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These are the user uploaded subtitles that are being translated: 1 00:00:00,000 --> 00:00:09,060 [Music] 2 00:00:09,070 --> 00:00:12,190 hi I'm Mike Brower and I'm just wrapping 3 00:00:12,190 --> 00:00:19,550 up another week second seminar this year 4 00:00:19,560 --> 00:00:24,070 it's December and it was a great group 5 00:00:24,070 --> 00:00:29,650 and it has become the custom now we have 6 00:00:29,650 --> 00:00:33,309 a few questions at the end so let's 7 00:00:33,309 --> 00:00:37,449 start with Anthony what is your approach 8 00:00:37,449 --> 00:00:39,160 when you start the mixed process in 9 00:00:39,160 --> 00:00:40,390 other words which instrument do you 10 00:00:40,390 --> 00:00:42,910 start with and secondly when processing 11 00:00:42,910 --> 00:00:44,500 a particular instrument do you use 12 00:00:44,500 --> 00:00:46,420 compression up to the EQ in the signal 13 00:00:46,420 --> 00:00:50,020 chain or the opposite give me an example 14 00:00:50,020 --> 00:00:53,770 well what my approach for starting the 15 00:00:53,770 --> 00:00:57,309 mix process is that I'm immediately 16 00:00:57,309 --> 00:00:59,680 looking for what is the essence of this 17 00:00:59,680 --> 00:01:01,539 song what are the two or three 18 00:01:01,539 --> 00:01:05,350 ingredients that that I need to focus on 19 00:01:05,350 --> 00:01:08,860 first and then build the mix around that 20 00:01:08,860 --> 00:01:10,600 so it doesn't have to be drums and bass 21 00:01:10,600 --> 00:01:12,940 quite often actually that becomes more 22 00:01:12,940 --> 00:01:17,590 of a support so I'll start maybe with 23 00:01:17,590 --> 00:01:19,990 the piano in a vocal or an acoustic 24 00:01:19,990 --> 00:01:22,689 guitar in a vocal or maybe it's just a 25 00:01:22,689 --> 00:01:26,470 particular keyboard feel and build 26 00:01:26,470 --> 00:01:27,880 around that because that's what feels 27 00:01:27,880 --> 00:01:33,070 good to me on and that allows the focus 28 00:01:33,070 --> 00:01:37,090 to never get diluted because these are 29 00:01:37,090 --> 00:01:39,189 the most important ingredients of the 30 00:01:39,189 --> 00:01:42,610 mix and I that has to be center stage 31 00:01:42,610 --> 00:01:45,220 and everything else I build around it 32 00:01:45,220 --> 00:01:48,549 and I li EQ properly and as soon as I'm 33 00:01:48,549 --> 00:01:50,619 starting to lose the main ingredients I 34 00:01:50,619 --> 00:01:55,479 know that that new new instrument needs 35 00:01:55,479 --> 00:01:58,810 to either be taken out or EQ differently 36 00:01:58,810 --> 00:02:07,450 I generally compress after the EQ I mean 37 00:02:07,450 --> 00:02:14,170 I usually EQ after I compress on and the 38 00:02:14,170 --> 00:02:16,900 reason is that the EQ is going to be 39 00:02:16,900 --> 00:02:20,199 triggering the compressor so if I have a 40 00:02:20,199 --> 00:02:21,940 lot of compression going on and it's 41 00:02:21,940 --> 00:02:23,030 it's 42 00:02:23,030 --> 00:02:25,270 it's squeezing the sound and it's maybe 43 00:02:25,270 --> 00:02:28,250 taking some of the top end off I want to 44 00:02:28,250 --> 00:02:31,190 be able to EQ it and have the transience 45 00:02:31,190 --> 00:02:36,860 of the EQ unfold a lot easier than if 46 00:02:36,860 --> 00:02:40,670 I'm doing it before unless I want to do 47 00:02:40,670 --> 00:02:46,850 that very thing I might compress after a 48 00:02:46,850 --> 00:02:51,320 snare drum but I might arm I mean I 49 00:02:51,320 --> 00:02:53,810 might I might EQ after I compress a 50 00:02:53,810 --> 00:02:55,850 snare drum if I wanted to compress the 51 00:02:55,850 --> 00:03:01,070 snare drum but I might EQ before a 52 00:03:01,070 --> 00:03:04,870 compressor if I for example I 53 00:03:04,870 --> 00:03:07,940 specifically the job of that EQ is to 54 00:03:07,940 --> 00:03:10,550 trigger the compressor so if I've got a 55 00:03:10,550 --> 00:03:13,310 bass and I wanted to control it a little 56 00:03:13,310 --> 00:03:17,480 bit more I might push some 700 and that 57 00:03:17,480 --> 00:03:19,580 will trigger the compressor a certain 58 00:03:19,580 --> 00:03:22,250 way and so I can mould the compressor 59 00:03:22,250 --> 00:03:25,130 and then I might EQ again afterwards so 60 00:03:25,130 --> 00:03:27,010 that's an example of where I 61 00:03:27,010 --> 00:03:32,380 specifically want to use the EQ to to 62 00:03:32,380 --> 00:03:39,870 tone the whole sound and looking for 63 00:03:39,880 --> 00:03:43,990 Sergio asks since your SEM 64 00:03:43,990 --> 00:03:45,580 in our in 2011 I've been using a 65 00:03:45,580 --> 00:03:47,920 technique and slightly changing it on my 66 00:03:47,920 --> 00:03:52,090 own way lately I went from OTB to hybrid 67 00:03:52,090 --> 00:03:53,590 and heard some stories that you have a 68 00:03:53,590 --> 00:03:56,050 second smaller mixing setup I just 69 00:03:56,050 --> 00:03:57,880 wonder if you have made some setup 70 00:03:57,880 --> 00:04:00,220 downsizing in the hybrid way that would 71 00:04:00,220 --> 00:04:03,310 be really interesting oh yeah for sure I 72 00:04:03,310 --> 00:04:09,430 had to UM I've set up a second room it's 73 00:04:09,430 --> 00:04:12,790 more like a low-budget room lower budget 74 00:04:12,790 --> 00:04:19,450 and the hybrid is like a mini-me of the 75 00:04:19,450 --> 00:04:25,840 main room I have one rack that has my 76 00:04:25,840 --> 00:04:30,970 ABCD set up with summing amps different 77 00:04:30,970 --> 00:04:36,100 sounding summing amps for a B C and D 78 00:04:36,100 --> 00:04:38,650 which also shares the return of a lot of 79 00:04:38,650 --> 00:04:44,890 my effects and the second rack has my 80 00:04:44,890 --> 00:04:47,230 mastering compressor is the final stage 81 00:04:47,230 --> 00:04:50,800 compressors equalizers instead of having 82 00:04:50,800 --> 00:04:52,840 four different compressors to choose 83 00:04:52,840 --> 00:04:57,430 from I have two the ones that sound the 84 00:04:57,430 --> 00:05:00,010 most different from each other and I 85 00:05:00,010 --> 00:05:05,650 also have a few um mono compressors that 86 00:05:05,650 --> 00:05:09,190 I use for my vocal returns 87 00:05:09,190 --> 00:05:12,490 so I'm condensing from maybe four or 88 00:05:12,490 --> 00:05:15,820 five compressors down to three for my 89 00:05:15,820 --> 00:05:21,670 vocal sound and that works great I still 90 00:05:21,670 --> 00:05:24,610 want to maintain a hybrid I want the 91 00:05:24,610 --> 00:05:29,710 sense of the analog that feel and that 92 00:05:29,710 --> 00:05:37,110 seems to be a great combination heading 93 00:05:37,110 --> 00:05:38,750 asks when 94 00:05:38,750 --> 00:05:40,160 lead vocals I understand you sometimes 95 00:05:40,160 --> 00:05:43,160 you're using one fader bus to three to 96 00:05:43,160 --> 00:05:46,340 five vocal compressors when you do it 97 00:05:46,340 --> 00:05:48,230 like this or your effects and delay and 98 00:05:48,230 --> 00:05:52,190 reverb sends pre compression also do you 99 00:05:52,190 --> 00:05:54,170 find that there are times when feeding 100 00:05:54,170 --> 00:05:56,000 an effect processor an uncompressed 101 00:05:56,000 --> 00:05:58,310 signal is preferable to the more 102 00:05:58,310 --> 00:06:00,110 traditional other way around 103 00:06:00,110 --> 00:06:04,160 let's not forget by the time I don't 104 00:06:04,160 --> 00:06:06,140 think I have ever gotten a vocal that 105 00:06:06,140 --> 00:06:08,930 hasn't already been processed and now 106 00:06:08,930 --> 00:06:12,830 I'm processing it more so is never 107 00:06:12,830 --> 00:06:16,400 really a time when it isn't already 108 00:06:16,400 --> 00:06:19,790 uncompressed to a degree but yes you're 109 00:06:19,790 --> 00:06:24,140 right because I'm sending post a fader 110 00:06:24,140 --> 00:06:27,440 to four or five other compressors that 111 00:06:27,440 --> 00:06:30,169 are down here I am mixing into the 112 00:06:30,169 --> 00:06:35,630 compressor which are returning but the 113 00:06:35,630 --> 00:06:38,180 reverbs and the delays that I'm sending 114 00:06:38,180 --> 00:06:42,950 off the sends are from basically pre the 115 00:06:42,950 --> 00:06:46,460 return of the compressors which I never 116 00:06:46,460 --> 00:06:48,410 really noticed that I was doing until I 117 00:06:48,410 --> 00:06:50,419 think maybe somebody pointed it out now 118 00:06:50,419 --> 00:06:50,570 I 119 00:06:50,570 --> 00:06:53,720 ayuh that's probably why it's 120 00:06:53,720 --> 00:06:58,910 interesting how the reverbs seem to be 121 00:06:58,910 --> 00:07:02,229 clearer and at the same time sometimes 122 00:07:02,229 --> 00:07:06,560 hard to hear if I've got too much of the 123 00:07:06,560 --> 00:07:10,340 returns because I can't match how much 124 00:07:10,340 --> 00:07:13,010 I'm sending to the reverb so sometimes 125 00:07:13,010 --> 00:07:17,960 they seem to like um feel I have to turn 126 00:07:17,960 --> 00:07:18,860 them up more 127 00:07:18,860 --> 00:07:24,740 so that's but I find that I prefer that 128 00:07:24,740 --> 00:07:26,960 sound than going down to the other end 129 00:07:26,960 --> 00:07:29,330 of the console and feeding those 130 00:07:29,330 --> 00:07:31,850 compressors into the reverb off the 131 00:07:31,850 --> 00:07:39,840 returns um you know are there time 132 00:07:39,840 --> 00:07:41,610 when feeding an effect processor and 133 00:07:41,610 --> 00:07:44,639 uncompressed signals preferable again I 134 00:07:44,639 --> 00:07:48,180 don't know it's does it sound good yes 135 00:07:48,180 --> 00:07:50,970 then that's preferable but also remember 136 00:07:50,970 --> 00:07:54,650 that it's already processed to a degree 137 00:07:54,650 --> 00:07:58,139 Haas Cal asks what is your method to 138 00:07:58,139 --> 00:08:00,330 turn super busy arrangements into clear 139 00:08:00,330 --> 00:08:05,960 and punchy mixes well whatever is busy 140 00:08:05,960 --> 00:08:12,270 goes down and maybe out if it's too busy 141 00:08:12,270 --> 00:08:16,040 I may just remove it to a point where 142 00:08:16,040 --> 00:08:21,740 there's a reason for it but busy means 143 00:08:21,740 --> 00:08:26,280 two people two sounds are fighting for 144 00:08:26,280 --> 00:08:31,099 the spotlight so to make it less busy 145 00:08:31,099 --> 00:08:33,360 choose which one is going to take the 146 00:08:33,360 --> 00:08:35,130 spotlight and the other one either takes 147 00:08:35,130 --> 00:08:40,289 a super support role or if in the case 148 00:08:40,289 --> 00:08:42,479 somebody says yeah this is a lot 149 00:08:42,479 --> 00:08:44,370 happening but I like it super super low 150 00:08:44,370 --> 00:08:47,550 well I say get it to super super 151 00:08:47,550 --> 00:08:49,620 out of here know what I mean hit the cut 152 00:08:49,620 --> 00:08:55,690 rid of it if it's that low who cares 153 00:08:55,700 --> 00:09:00,360 AJ asks uh wondering if you could fire 154 00:09:00,360 --> 00:09:02,339 some suggestions for creating thickness 155 00:09:02,339 --> 00:09:06,810 in a vocal without the mud and then the 156 00:09:06,810 --> 00:09:09,240 second question which also kind of 157 00:09:09,240 --> 00:09:12,180 connected why do all the lead vocals you 158 00:09:12,180 --> 00:09:14,810 mix have that special distinctive sound 159 00:09:14,810 --> 00:09:17,850 there's a special sound to the esses of 160 00:09:17,850 --> 00:09:20,279 Chris Martin KT Tunstall and John Mayer 161 00:09:20,279 --> 00:09:22,980 they're quite loud but far from harsh 162 00:09:22,980 --> 00:09:25,830 there's a solid bottom to your vocals 163 00:09:25,830 --> 00:09:27,959 but no boo meanness and the mids cut 164 00:09:27,959 --> 00:09:29,850 through but never sound too phony 165 00:09:29,850 --> 00:09:32,400 is it always the same processing chain 166 00:09:32,400 --> 00:09:34,110 and do you ever use multiband 167 00:09:34,110 --> 00:09:36,750 compression how much gain on the EQ 168 00:09:36,750 --> 00:09:39,660 would you consider heavy EQ is it more 169 00:09:39,660 --> 00:09:41,250 boosting or is it more dipping or 170 00:09:41,250 --> 00:09:44,070 combination whoo it's about eight 171 00:09:44,070 --> 00:09:46,589 million questions in one all right let's 172 00:09:46,589 --> 00:09:48,490 start with 173 00:09:48,490 --> 00:09:54,660 creating thickness well I am creating a 174 00:09:54,660 --> 00:09:59,800 compilation vocal sound by sending to 175 00:09:59,800 --> 00:10:02,200 four or five compressors each one of 176 00:10:02,200 --> 00:10:05,380 those compresses on their own are okay 177 00:10:05,380 --> 00:10:08,140 but they only give you part of the 178 00:10:08,140 --> 00:10:10,330 picture I'm specifically finding 179 00:10:10,330 --> 00:10:12,730 compressors that are part of the picture 180 00:10:12,730 --> 00:10:15,580 if I wanted one to do it with just one 181 00:10:15,580 --> 00:10:17,260 compressor I'd have to find one that 182 00:10:17,260 --> 00:10:19,000 really does it best 183 00:10:19,000 --> 00:10:22,080 but I'm not doing it that way so by 184 00:10:22,080 --> 00:10:25,060 getting one that has good head tone good 185 00:10:25,060 --> 00:10:29,560 throat good may be way more intensity 186 00:10:29,560 --> 00:10:32,470 then the singer actually had I can feed 187 00:10:32,470 --> 00:10:34,120 that in there I can make a little bit 188 00:10:34,120 --> 00:10:37,089 more intense I can add maybe one that's 189 00:10:37,089 --> 00:10:39,700 very aggressive sounding or little has 190 00:10:39,700 --> 00:10:42,010 some distortion gives that some 191 00:10:42,010 --> 00:10:46,570 thickness natural warmth um you know you 192 00:10:46,570 --> 00:10:48,790 by doing this you have the option of 193 00:10:48,790 --> 00:10:51,370 changing a bit the attitude of the 194 00:10:51,370 --> 00:10:53,470 performance because sometimes it's 195 00:10:53,470 --> 00:10:56,560 lacking and so by doing this approach 196 00:10:56,560 --> 00:11:02,110 you can bring back or bring enters into 197 00:11:02,110 --> 00:11:05,770 the performance what was lacking which 198 00:11:05,770 --> 00:11:09,700 could have been intensity on so creating 199 00:11:09,700 --> 00:11:11,410 that thickness is it kind of comes 200 00:11:11,410 --> 00:11:13,060 naturally now maybe some of these 201 00:11:13,060 --> 00:11:16,149 returns I'll take a little 300 out of it 202 00:11:16,149 --> 00:11:17,589 so as you're joining them all they're 203 00:11:17,589 --> 00:11:21,579 not they're not piling up on certain 204 00:11:21,579 --> 00:11:28,209 frequencies so 205 00:11:28,209 --> 00:11:31,660 yes I am basically doing that same chain 206 00:11:31,660 --> 00:11:37,160 all the time that is part of the sound 207 00:11:37,170 --> 00:11:42,129 um the de-essing you know because I've 208 00:11:42,129 --> 00:11:44,529 got these four or five compressors 209 00:11:44,529 --> 00:11:48,639 coming back in there again it depending 210 00:11:48,639 --> 00:11:50,829 on I try to find one that that might be 211 00:11:50,829 --> 00:11:52,569 bright in the upper mid-range and one 212 00:11:52,569 --> 00:11:54,220 that's dull so I don't have too much of 213 00:11:54,220 --> 00:11:58,809 a loading in the 4k area but um because 214 00:11:58,809 --> 00:12:01,720 of that there is a tendency to for some 215 00:12:01,720 --> 00:12:04,360 of the esses to be enhanced but I have 216 00:12:04,360 --> 00:12:08,290 um two or three different dealers that 217 00:12:08,290 --> 00:12:13,240 might be working I might have the the 218 00:12:13,240 --> 00:12:16,300 Renaissance at the at the end of the 219 00:12:16,300 --> 00:12:20,619 chain the arm the Oxford at the 220 00:12:20,619 --> 00:12:23,860 beginning of the chain maybe even this 221 00:12:23,860 --> 00:12:28,569 one that's called the fab fab something 222 00:12:28,569 --> 00:12:31,899 fab s ER or something um somewhere in 223 00:12:31,899 --> 00:12:36,279 the chain and my assistant will just 224 00:12:36,279 --> 00:12:39,309 work those all carefully so that I have 225 00:12:39,309 --> 00:12:43,899 a strong ass but not one that's causing 226 00:12:43,899 --> 00:12:49,269 any bleeding in the ears but it gives it 227 00:12:49,269 --> 00:12:52,809 solidness but it's it's silky its soft 228 00:12:52,809 --> 00:12:54,279 because I don't like that I want to be 229 00:12:54,279 --> 00:12:56,559 able to turn the speaker's up and I 230 00:12:56,559 --> 00:12:58,929 don't want to be distracted by an S 231 00:12:58,929 --> 00:13:01,899 because if you do it if it's to sizzle 232 00:13:01,899 --> 00:13:03,850 II it just takes away from the 233 00:13:03,850 --> 00:13:06,389 performance and I'm not believing the 234 00:13:06,389 --> 00:13:07,839 singer anymore 235 00:13:07,839 --> 00:13:11,399 because say it just sounds too hyped um 236 00:13:11,399 --> 00:13:14,690 I don't use 237 00:13:14,690 --> 00:13:17,660 Dabangg compression across the vocal and 238 00:13:17,660 --> 00:13:20,450 this is what I'm saying it what the 239 00:13:20,450 --> 00:13:24,790 question is you know quite often if I'm 240 00:13:24,790 --> 00:13:28,550 before it even comes to the desk I might 241 00:13:28,550 --> 00:13:30,980 be in Pro Tools if I hear there's a 242 00:13:30,980 --> 00:13:34,040 problem I may choose a actually a 243 00:13:34,040 --> 00:13:38,300 multiband equalizer that to me it's 244 00:13:38,300 --> 00:13:40,580 doing the same job as a compressor and 245 00:13:40,580 --> 00:13:41,480 I'll trigger 246 00:13:41,480 --> 00:13:44,090 I'll find the frequencies that are that 247 00:13:44,090 --> 00:13:47,800 are bothering me and then when whenever 248 00:13:47,800 --> 00:13:51,590 that frequency is triggered it brings it 249 00:13:51,590 --> 00:13:54,380 down a bit I use a just one plug-in 250 00:13:54,380 --> 00:13:58,130 hoffa there's I'm sure plenty more you 251 00:13:58,130 --> 00:14:02,900 can play with it or in waves on you 252 00:14:02,900 --> 00:14:08,560 consider heavy qe3 DB or 5 DB i I don't 253 00:14:08,560 --> 00:14:10,880 the first thing I want to do is 254 00:14:10,880 --> 00:14:13,070 attenuate before I boost I want to clean 255 00:14:13,070 --> 00:14:14,900 up the sound because if you clean up and 256 00:14:14,900 --> 00:14:17,000 you may not need to boost because now 257 00:14:17,000 --> 00:14:20,150 the problem you've just removed it so 258 00:14:20,150 --> 00:14:23,060 now the natural sound is showing itself 259 00:14:23,060 --> 00:14:28,550 but I I don't I don't know what heavy EQ 260 00:14:28,550 --> 00:14:32,030 is what I want to do is get it to sound 261 00:14:32,030 --> 00:14:34,760 right and I so I'm not looking at what 262 00:14:34,760 --> 00:14:37,450 I'm doing if it's a lot I don't care 263 00:14:37,450 --> 00:14:41,330 it's not heavy Q it's if it's it's not 264 00:14:41,330 --> 00:14:44,450 heavy EQ if it was lacking 5 DB at a 265 00:14:44,450 --> 00:14:46,370 certain frequency and all I'm doing is 266 00:14:46,370 --> 00:14:48,650 actually boosting that amount just so I 267 00:14:48,650 --> 00:14:50,900 go back to zero again where it's you 268 00:14:50,900 --> 00:14:57,660 know where it should be so so they're 269 00:14:57,670 --> 00:15:01,490 Minko he asks what are the three most 270 00:15:01,490 --> 00:15:03,200 common mistakes in mixing and how to 271 00:15:03,200 --> 00:15:04,010 avoid them 272 00:15:04,010 --> 00:15:11,030 well mistake is you forget that it's 273 00:15:11,030 --> 00:15:16,790 music have fun have fun is what it's 274 00:15:16,790 --> 00:15:17,740 about 275 00:15:17,740 --> 00:15:20,150 you've learned how to work one of these 276 00:15:20,150 --> 00:15:24,589 things so once you've done that throw it 277 00:15:24,589 --> 00:15:28,430 all the rules aside and have fun 278 00:15:28,430 --> 00:15:34,190 on second mistake common mistake is you 279 00:15:34,190 --> 00:15:38,810 think too much you should you forgot to 280 00:15:38,810 --> 00:15:42,950 just use your heart and base things on 281 00:15:42,950 --> 00:15:45,380 on an emotional experience make 282 00:15:45,380 --> 00:15:48,500 decisions on that don't be sitting there 283 00:15:48,500 --> 00:15:50,330 old twinkling and stuff when you're 284 00:15:50,330 --> 00:15:51,620 thinking and you're thinking you're 285 00:15:51,620 --> 00:15:53,779 thinking because it it gets you tired 286 00:15:53,779 --> 00:15:57,470 and and what are you thinking about you 287 00:15:57,470 --> 00:16:00,140 shouldn't be thinking it's music just 288 00:16:00,140 --> 00:16:03,170 react you know if you're a musician all 289 00:16:03,170 --> 00:16:05,180 the more reason why you shouldn't be 290 00:16:05,180 --> 00:16:08,330 thinking so much you're playing an 291 00:16:08,330 --> 00:16:09,080 instrument 292 00:16:09,080 --> 00:16:11,330 you're not thinking you're just feeling 293 00:16:11,330 --> 00:16:18,200 so do that when you're mixing third the 294 00:16:18,200 --> 00:16:23,060 mistake is building the song around what 295 00:16:23,060 --> 00:16:26,480 should be a support role instead of the 296 00:16:26,480 --> 00:16:29,750 main rule what is the essence of that 297 00:16:29,750 --> 00:16:33,800 song build around that not around the 298 00:16:33,800 --> 00:16:35,600 support factors just build around 299 00:16:35,600 --> 00:16:37,490 support factors and you're going to try 300 00:16:37,490 --> 00:16:41,270 and cram the main the main ones around 301 00:16:41,270 --> 00:16:44,420 it it's not going to work the fount and 302 00:16:44,420 --> 00:16:46,339 a foundation it's not like being a 303 00:16:46,339 --> 00:16:48,020 construction worker where you have to 304 00:16:48,020 --> 00:16:51,700 build the foundation of the ground up no 305 00:16:51,700 --> 00:16:55,459 foundation can be the roof it can be the 306 00:16:55,459 --> 00:16:57,380 acoustic guitar and build around that 307 00:16:57,380 --> 00:17:00,680 not around the kick and drums and bass 308 00:17:00,680 --> 00:17:02,990 not necessarily that could be just a 309 00:17:02,990 --> 00:17:05,809 support factor around the way the song 310 00:17:05,809 --> 00:17:07,520 was written which was around something 311 00:17:07,520 --> 00:17:14,020 like a guitar or a keyboard and a vocal 312 00:17:14,020 --> 00:17:20,240 so llego how's your pro 313 00:17:20,240 --> 00:17:22,429 to get midrange separation to make the 314 00:17:22,429 --> 00:17:29,179 vocals fit in the mix well that's making 315 00:17:29,179 --> 00:17:31,250 the assumption that I built the whole 316 00:17:31,250 --> 00:17:33,770 track up and now I'm just trying to fit 317 00:17:33,770 --> 00:17:37,460 the vocal in the way I do it is the 318 00:17:37,460 --> 00:17:41,020 other way around I'd fit the song around 319 00:17:41,020 --> 00:17:44,330 the vocal because after all if this song 320 00:17:44,330 --> 00:17:46,910 is telling a story and the vocal is 321 00:17:46,910 --> 00:17:49,550 driving this song that's not going to be 322 00:17:49,550 --> 00:17:51,470 the last thing I add to the mix that's 323 00:17:51,470 --> 00:17:54,200 something I start early in the process 324 00:17:54,200 --> 00:18:01,010 and build around that so I fit basically 325 00:18:01,010 --> 00:18:03,260 the song around the vocal not the vocal 326 00:18:03,260 --> 00:18:08,000 to the song quasi how do you deal with 327 00:18:08,000 --> 00:18:09,770 the recall epidemic these days 328 00:18:09,770 --> 00:18:12,050 especially from younger artists being 329 00:18:12,050 --> 00:18:14,990 used to instant recalls not from a 330 00:18:14,990 --> 00:18:19,040 technical POV I got that sort out with 331 00:18:19,040 --> 00:18:21,440 my cell but from a business are you 332 00:18:21,440 --> 00:18:24,260 doing flat rates how many revisions are 333 00:18:24,260 --> 00:18:27,190 you including how do you do des rates 334 00:18:27,190 --> 00:18:32,030 well there are many options and you 335 00:18:32,030 --> 00:18:34,429 certainly find one that that works best 336 00:18:34,429 --> 00:18:38,870 for your clientele and the budget I mean 337 00:18:38,870 --> 00:18:41,540 you can't you can't be demanding stuff 338 00:18:41,540 --> 00:18:45,429 that's beyond what the budget can take 339 00:18:45,429 --> 00:18:52,880 but it's true I think a master mix these 340 00:18:52,880 --> 00:18:57,050 days is more like a more like a recall 341 00:18:57,050 --> 00:19:00,679 in progress the final decisions haven't 342 00:19:00,679 --> 00:19:02,890 been made it's a good starting point 343 00:19:02,890 --> 00:19:06,290 sometimes and other times it's done 344 00:19:06,290 --> 00:19:09,710 the mix is done everybody is committed 345 00:19:09,710 --> 00:19:11,300 to it and there might be some tiny 346 00:19:11,300 --> 00:19:17,260 little tweaks on how to charge for it I 347 00:19:17,260 --> 00:19:21,590 think my manager usually includes one 348 00:19:21,590 --> 00:19:27,580 maybe two days on an album project of 349 00:19:27,580 --> 00:19:31,660 four recalls and 350 00:19:31,660 --> 00:19:37,330 um maybe on a single I don't know couple 351 00:19:37,330 --> 00:19:39,100 revisions the bottom line is you got to 352 00:19:39,100 --> 00:19:43,240 get these done and I do full sets of 353 00:19:43,240 --> 00:19:47,230 stems now so I rarely have to bring back 354 00:19:47,230 --> 00:19:51,070 on the desk a full recall because yes 355 00:19:51,070 --> 00:19:53,320 you're competing with people who can do 356 00:19:53,320 --> 00:19:56,470 a million recalls in in their mixing in 357 00:19:56,470 --> 00:19:58,450 the box they hit it both everything is 358 00:19:58,450 --> 00:20:00,460 back for those of us who are doing 359 00:20:00,460 --> 00:20:03,630 analog or even all right well hybrid you 360 00:20:03,630 --> 00:20:06,040 everything is pretty much being 361 00:20:06,040 --> 00:20:08,800 untouched in a hybrid situation but but 362 00:20:08,800 --> 00:20:12,250 what I'm doing is I'll I'll have all the 363 00:20:12,250 --> 00:20:15,220 stems done and then while I'm mixing if 364 00:20:15,220 --> 00:20:19,330 there's requests for recalls I'm having 365 00:20:19,330 --> 00:20:22,060 my assistant in the bee room doing these 366 00:20:22,060 --> 00:20:24,730 fine tweaks sometimes it's usually just 367 00:20:24,730 --> 00:20:28,980 level changes so I'm not I'm not 368 00:20:28,980 --> 00:20:32,110 dedicating a specific amount of time 369 00:20:32,110 --> 00:20:33,820 where I'm not doing anything else but 370 00:20:33,820 --> 00:20:38,400 these recalls I'll have my assistant on 371 00:20:38,400 --> 00:20:40,810 doing the changes and then I'll go in 372 00:20:40,810 --> 00:20:42,730 and I'll listen to and I'll go okay 373 00:20:42,730 --> 00:20:43,660 that's good 374 00:20:43,660 --> 00:20:47,560 send it on and some being very efficient 375 00:20:47,560 --> 00:20:50,770 with my time I'm still mixing and I'm 376 00:20:50,770 --> 00:20:52,990 dealing with the recalls at the same 377 00:20:52,990 --> 00:20:58,540 time yarn after working on a mixer 378 00:20:58,540 --> 00:21:00,310 several hours I feel that my work gets 379 00:21:00,310 --> 00:21:01,450 worse and worse 380 00:21:01,450 --> 00:21:03,910 I hear people working on a mix for 16 381 00:21:03,910 --> 00:21:05,710 hours or more but I would start to 382 00:21:05,710 --> 00:21:08,440 destroy my mix long before that how can 383 00:21:08,440 --> 00:21:14,290 I improve my mixing stamina um you're 384 00:21:14,290 --> 00:21:18,490 probably micro mixing that's why you're 385 00:21:18,490 --> 00:21:21,730 getting so tired you're focusing on all 386 00:21:21,730 --> 00:21:26,830 the wrong things you should be not 387 00:21:26,830 --> 00:21:30,310 thinking you should just be putting up 388 00:21:30,310 --> 00:21:32,530 the tracks finding the ones that feel 389 00:21:32,530 --> 00:21:36,460 good have fun be having more more fun 390 00:21:36,460 --> 00:21:39,400 and do not think the thinking process 391 00:21:39,400 --> 00:21:42,040 comes way way later in the process when 392 00:21:42,040 --> 00:21:44,410 everything automation is done 393 00:21:44,410 --> 00:21:45,880 you've got the 394 00:21:45,880 --> 00:21:47,890 way you like it you think it's good then 395 00:21:47,890 --> 00:21:50,110 you listen to it on a small monitor like 396 00:21:50,110 --> 00:21:52,210 a little boom box or something and then 397 00:21:52,210 --> 00:21:54,910 you start thinking asking yourself 398 00:21:54,910 --> 00:21:57,220 questions do is this sounding good or 399 00:21:57,220 --> 00:21:59,290 why does why doesn't the chorus feel 400 00:21:59,290 --> 00:22:01,060 good enough at this point then you can 401 00:22:01,060 --> 00:22:03,820 start thinking and micromanaging but 402 00:22:03,820 --> 00:22:08,410 until then spending hours on the drum 403 00:22:08,410 --> 00:22:11,380 sound which is in a total vacuum because 404 00:22:11,380 --> 00:22:13,240 you don't know how really everything 405 00:22:13,240 --> 00:22:15,550 else is going to relate to it will tire 406 00:22:15,550 --> 00:22:21,300 anyone out so stop arm stop focusing on 407 00:22:21,300 --> 00:22:24,910 detail and just get the mix going you 408 00:22:24,910 --> 00:22:27,430 should have a mixed feeling really 409 00:22:27,430 --> 00:22:30,580 really good in under 20 minutes by 410 00:22:30,580 --> 00:22:33,310 quickly defining the the things that 411 00:22:33,310 --> 00:22:35,770 groove the things that feel good what is 412 00:22:35,770 --> 00:22:38,620 the essence of the song find it quickly 413 00:22:38,620 --> 00:22:41,070 and then start building around that 414 00:22:41,070 --> 00:22:44,230 that's what I do that's what my friends 415 00:22:44,230 --> 00:22:49,120 do and then you can get nitpicky later 416 00:22:49,120 --> 00:22:52,030 if for a reason you're not quite getting 417 00:22:52,030 --> 00:22:58,950 the feel you're looking for 418 00:22:58,960 --> 00:23:04,509 that's it 419 00:23:04,519 --> 00:23:04,610 you 420 00:23:04,610 --> 00:23:10,410 [Music]30061

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