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[Music]
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hi I'm Mike Brower and I'm just wrapping
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up another week second seminar this year
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it's December and it was a great group
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and it has become the custom now we have
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a few questions at the end so let's
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start with Anthony what is your approach
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when you start the mixed process in
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other words which instrument do you
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start with and secondly when processing
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a particular instrument do you use
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compression up to the EQ in the signal
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chain or the opposite give me an example
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well what my approach for starting the
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mix process is that I'm immediately
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looking for what is the essence of this
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song what are the two or three
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ingredients that that I need to focus on
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first and then build the mix around that
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so it doesn't have to be drums and bass
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quite often actually that becomes more
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of a support so I'll start maybe with
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the piano in a vocal or an acoustic
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guitar in a vocal or maybe it's just a
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particular keyboard feel and build
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around that because that's what feels
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good to me on and that allows the focus
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to never get diluted because these are
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the most important ingredients of the
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mix and I that has to be center stage
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and everything else I build around it
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and I li EQ properly and as soon as I'm
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starting to lose the main ingredients I
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know that that new new instrument needs
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to either be taken out or EQ differently
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I generally compress after the EQ I mean
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I usually EQ after I compress on and the
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reason is that the EQ is going to be
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triggering the compressor so if I have a
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lot of compression going on and it's
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it's
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it's squeezing the sound and it's maybe
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taking some of the top end off I want to
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be able to EQ it and have the transience
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of the EQ unfold a lot easier than if
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I'm doing it before unless I want to do
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that very thing I might compress after a
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snare drum but I might arm I mean I
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might I might EQ after I compress a
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snare drum if I wanted to compress the
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snare drum but I might EQ before a
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compressor if I for example I
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specifically the job of that EQ is to
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trigger the compressor so if I've got a
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bass and I wanted to control it a little
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bit more I might push some 700 and that
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will trigger the compressor a certain
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way and so I can mould the compressor
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and then I might EQ again afterwards so
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that's an example of where I
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specifically want to use the EQ to to
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tone the whole sound and looking for
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Sergio asks since your SEM
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in our in 2011 I've been using a
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technique and slightly changing it on my
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own way lately I went from OTB to hybrid
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and heard some stories that you have a
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second smaller mixing setup I just
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wonder if you have made some setup
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downsizing in the hybrid way that would
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be really interesting oh yeah for sure I
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had to UM I've set up a second room it's
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more like a low-budget room lower budget
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and the hybrid is like a mini-me of the
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main room I have one rack that has my
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ABCD set up with summing amps different
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sounding summing amps for a B C and D
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which also shares the return of a lot of
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my effects and the second rack has my
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mastering compressor is the final stage
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compressors equalizers instead of having
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four different compressors to choose
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from I have two the ones that sound the
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most different from each other and I
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also have a few um mono compressors that
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I use for my vocal returns
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so I'm condensing from maybe four or
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five compressors down to three for my
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vocal sound and that works great I still
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want to maintain a hybrid I want the
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sense of the analog that feel and that
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seems to be a great combination heading
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asks when
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lead vocals I understand you sometimes
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you're using one fader bus to three to
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five vocal compressors when you do it
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like this or your effects and delay and
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reverb sends pre compression also do you
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find that there are times when feeding
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an effect processor an uncompressed
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signal is preferable to the more
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traditional other way around
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let's not forget by the time I don't
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think I have ever gotten a vocal that
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hasn't already been processed and now
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I'm processing it more so is never
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really a time when it isn't already
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uncompressed to a degree but yes you're
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right because I'm sending post a fader
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to four or five other compressors that
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are down here I am mixing into the
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compressor which are returning but the
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reverbs and the delays that I'm sending
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off the sends are from basically pre the
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return of the compressors which I never
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really noticed that I was doing until I
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think maybe somebody pointed it out now
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I
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ayuh that's probably why it's
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interesting how the reverbs seem to be
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clearer and at the same time sometimes
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hard to hear if I've got too much of the
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returns because I can't match how much
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I'm sending to the reverb so sometimes
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they seem to like um feel I have to turn
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them up more
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so that's but I find that I prefer that
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sound than going down to the other end
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of the console and feeding those
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compressors into the reverb off the
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returns um you know are there time
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when feeding an effect processor and
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uncompressed signals preferable again I
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don't know it's does it sound good yes
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then that's preferable but also remember
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that it's already processed to a degree
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Haas Cal asks what is your method to
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turn super busy arrangements into clear
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and punchy mixes well whatever is busy
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goes down and maybe out if it's too busy
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I may just remove it to a point where
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there's a reason for it but busy means
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two people two sounds are fighting for
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the spotlight so to make it less busy
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choose which one is going to take the
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spotlight and the other one either takes
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a super support role or if in the case
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somebody says yeah this is a lot
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happening but I like it super super low
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well I say get it to super super
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out of here know what I mean hit the cut
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rid of it if it's that low who cares
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AJ asks uh wondering if you could fire
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some suggestions for creating thickness
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in a vocal without the mud and then the
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second question which also kind of
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connected why do all the lead vocals you
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mix have that special distinctive sound
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there's a special sound to the esses of
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Chris Martin KT Tunstall and John Mayer
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they're quite loud but far from harsh
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there's a solid bottom to your vocals
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but no boo meanness and the mids cut
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through but never sound too phony
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is it always the same processing chain
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and do you ever use multiband
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compression how much gain on the EQ
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would you consider heavy EQ is it more
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boosting or is it more dipping or
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combination whoo it's about eight
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million questions in one all right let's
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start with
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creating thickness well I am creating a
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compilation vocal sound by sending to
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four or five compressors each one of
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those compresses on their own are okay
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but they only give you part of the
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picture I'm specifically finding
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compressors that are part of the picture
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if I wanted one to do it with just one
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compressor I'd have to find one that
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really does it best
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but I'm not doing it that way so by
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getting one that has good head tone good
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throat good may be way more intensity
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then the singer actually had I can feed
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that in there I can make a little bit
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more intense I can add maybe one that's
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very aggressive sounding or little has
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some distortion gives that some
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thickness natural warmth um you know you
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by doing this you have the option of
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changing a bit the attitude of the
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performance because sometimes it's
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lacking and so by doing this approach
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you can bring back or bring enters into
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the performance what was lacking which
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could have been intensity on so creating
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that thickness is it kind of comes
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naturally now maybe some of these
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returns I'll take a little 300 out of it
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so as you're joining them all they're
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not they're not piling up on certain
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frequencies so
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yes I am basically doing that same chain
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all the time that is part of the sound
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um the de-essing you know because I've
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got these four or five compressors
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coming back in there again it depending
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on I try to find one that that might be
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bright in the upper mid-range and one
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that's dull so I don't have too much of
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a loading in the 4k area but um because
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of that there is a tendency to for some
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of the esses to be enhanced but I have
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um two or three different dealers that
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might be working I might have the the
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Renaissance at the at the end of the
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chain the arm the Oxford at the
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beginning of the chain maybe even this
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one that's called the fab fab something
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fab s ER or something um somewhere in
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the chain and my assistant will just
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work those all carefully so that I have
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a strong ass but not one that's causing
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any bleeding in the ears but it gives it
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solidness but it's it's silky its soft
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because I don't like that I want to be
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able to turn the speaker's up and I
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don't want to be distracted by an S
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because if you do it if it's to sizzle
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II it just takes away from the
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performance and I'm not believing the
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singer anymore
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because say it just sounds too hyped um
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I don't use
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Dabangg compression across the vocal and
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this is what I'm saying it what the
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question is you know quite often if I'm
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before it even comes to the desk I might
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be in Pro Tools if I hear there's a
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problem I may choose a actually a
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multiband equalizer that to me it's
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doing the same job as a compressor and
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I'll trigger
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I'll find the frequencies that are that
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are bothering me and then when whenever
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that frequency is triggered it brings it
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down a bit I use a just one plug-in
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hoffa there's I'm sure plenty more you
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can play with it or in waves on you
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consider heavy qe3 DB or 5 DB i I don't
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the first thing I want to do is
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attenuate before I boost I want to clean
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up the sound because if you clean up and
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you may not need to boost because now
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the problem you've just removed it so
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now the natural sound is showing itself
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but I I don't I don't know what heavy EQ
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is what I want to do is get it to sound
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right and I so I'm not looking at what
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I'm doing if it's a lot I don't care
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it's not heavy Q it's if it's it's not
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heavy EQ if it was lacking 5 DB at a
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certain frequency and all I'm doing is
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actually boosting that amount just so I
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go back to zero again where it's you
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know where it should be so so they're
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Minko he asks what are the three most
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common mistakes in mixing and how to
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avoid them
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well mistake is you forget that it's
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music have fun have fun is what it's
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about
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you've learned how to work one of these
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things so once you've done that throw it
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all the rules aside and have fun
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on second mistake common mistake is you
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think too much you should you forgot to
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just use your heart and base things on
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on an emotional experience make
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decisions on that don't be sitting there
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old twinkling and stuff when you're
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thinking and you're thinking you're
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thinking because it it gets you tired
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and and what are you thinking about you
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shouldn't be thinking it's music just
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react you know if you're a musician all
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the more reason why you shouldn't be
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thinking so much you're playing an
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instrument
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you're not thinking you're just feeling
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so do that when you're mixing third the
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mistake is building the song around what
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should be a support role instead of the
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main rule what is the essence of that
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song build around that not around the
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support factors just build around
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support factors and you're going to try
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and cram the main the main ones around
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it it's not going to work the fount and
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a foundation it's not like being a
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construction worker where you have to
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build the foundation of the ground up no
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foundation can be the roof it can be the
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acoustic guitar and build around that
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not around the kick and drums and bass
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not necessarily that could be just a
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support factor around the way the song
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was written which was around something
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like a guitar or a keyboard and a vocal
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so llego how's your pro
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to get midrange separation to make the
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vocals fit in the mix well that's making
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the assumption that I built the whole
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track up and now I'm just trying to fit
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the vocal in the way I do it is the
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other way around I'd fit the song around
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the vocal because after all if this song
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is telling a story and the vocal is
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driving this song that's not going to be
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the last thing I add to the mix that's
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something I start early in the process
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and build around that so I fit basically
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the song around the vocal not the vocal
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to the song quasi how do you deal with
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the recall epidemic these days
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especially from younger artists being
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used to instant recalls not from a
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technical POV I got that sort out with
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my cell but from a business are you
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doing flat rates how many revisions are
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you including how do you do des rates
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well there are many options and you
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certainly find one that that works best
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for your clientele and the budget I mean
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you can't you can't be demanding stuff
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that's beyond what the budget can take
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but it's true I think a master mix these
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days is more like a more like a recall
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in progress the final decisions haven't
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been made it's a good starting point
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sometimes and other times it's done
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the mix is done everybody is committed
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to it and there might be some tiny
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little tweaks on how to charge for it I
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think my manager usually includes one
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maybe two days on an album project of
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four recalls and
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um maybe on a single I don't know couple
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revisions the bottom line is you got to
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get these done and I do full sets of
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stems now so I rarely have to bring back
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on the desk a full recall because yes
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you're competing with people who can do
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a million recalls in in their mixing in
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the box they hit it both everything is
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back for those of us who are doing
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analog or even all right well hybrid you
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everything is pretty much being
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untouched in a hybrid situation but but
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what I'm doing is I'll I'll have all the
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stems done and then while I'm mixing if
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there's requests for recalls I'm having
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my assistant in the bee room doing these
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fine tweaks sometimes it's usually just
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level changes so I'm not I'm not
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dedicating a specific amount of time
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where I'm not doing anything else but
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these recalls I'll have my assistant on
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doing the changes and then I'll go in
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and I'll listen to and I'll go okay
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that's good
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send it on and some being very efficient
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with my time I'm still mixing and I'm
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dealing with the recalls at the same
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time yarn after working on a mixer
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several hours I feel that my work gets
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worse and worse
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I hear people working on a mix for 16
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hours or more but I would start to
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destroy my mix long before that how can
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I improve my mixing stamina um you're
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probably micro mixing that's why you're
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getting so tired you're focusing on all
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the wrong things you should be not
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thinking you should just be putting up
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the tracks finding the ones that feel
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good have fun be having more more fun
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and do not think the thinking process
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comes way way later in the process when
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everything automation is done
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you've got the
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way you like it you think it's good then
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you listen to it on a small monitor like
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a little boom box or something and then
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you start thinking asking yourself
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questions do is this sounding good or
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why does why doesn't the chorus feel
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good enough at this point then you can
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start thinking and micromanaging but
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until then spending hours on the drum
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sound which is in a total vacuum because
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you don't know how really everything
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else is going to relate to it will tire
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anyone out so stop arm stop focusing on
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detail and just get the mix going you
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should have a mixed feeling really
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really good in under 20 minutes by
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quickly defining the the things that
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groove the things that feel good what is
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the essence of the song find it quickly
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and then start building around that
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that's what I do that's what my friends
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do and then you can get nitpicky later
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if for a reason you're not quite getting
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the feel you're looking for
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that's it
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you
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[Music]30061
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