"If you like this, go ahead and pull in your limiter. Get the mix rough mixed and as hot as you can as soon as possible, so that you can then work backwards, as opposed to keep pushing things up, and you're running out of headroom and all of that."
"My mix is almost like you would have like in a recording studio."
"I'm happy with how that's sounding, I've mixed it, I am ready to watch this back."
"By setting the pre-delay properly, you can maintain the dry signal while still adding all the ambience that you want within your mix."
"Good arranging is good mixing. A killer mix is one that was mixed long before it was even recorded."
"Mixing is like painting a picture; you're drawing a picture with sound."
"If you're clipping your master bus, the fix is not bringing the master fader down; the fix is bringing all your individual channels down relatively."
"Using two room reverbs to build a more cohesive mix."
"Experiment with mix buss compression, saturation, stereo imaging, and see whether it enhances your mix. Be really honest with yourself."
"If you understand the individual bands of the eq, this will help you to make better decisions."
"If you understand what each band of the eq does from a fundamental standpoint, you can then make and assess a problem within your mix."
"Not all tracks should be at the level you're given. There is a sweet spot."
"Mixing with the limiter on, you're gonna find out in that moment what your mix is made of."
"Remember - we want a reliable frequency response when mixing."
"LF it's perhaps one of the most critical pieces of the mix process to take control of and ultimately ensure translation of low-end information to playback devices."
"The auto mix feature is a really great feature."
"A pad sound can serve as the glue in your mix."
"Mixing music and dialogue: fading audio for a balanced blend."
"Tightening your kick drum by high-passing super low frequencies actually makes your mix feel louder."
"Levels are your most important tool for mixing."
"I hate saying this, but it is an industry standard and I have sat with so many mixers that just know Echo Boy back to front and can get it to sound good immediately."
"We have to, there has to be sort of a footnote to it, the reality is like no I don't because I have been mixing on speakers with headphones my whole career."
"Clearly that's all I'm fitting in there so we'll get that mixed it down and incorporated together and we'll make some space"
"Make sure you spend enough time in the context of the full mix to understand what you're doing and how it is affecting everything else."
"I wanted to break down how I use gain staging in my mix, how I structure my mix, how I set my levels, and how you can ultimately do the same thing to achieve a much louder and cleaner mix."
"Try to spend as little time in solo as possible. What really matters is the overall effect in the overall context."
"Our job as a mixer is to shine a spotlight around and enhance and light different things so that there's always something of interest in the mix."
"...getting your vocals to really be present throughout the whole entire mix... without sounding unnatural and too squashed."
"...a very very compressed and present vocal without sounding unnatural and too squashed."
"One of saying is when you mix that together with the dry signal, it becomes absolutely freaking glorious."
"So once you see that that cloudiness is disappearing you know that you're getting closer to finishing mixing."
"...the most important thing to do in general when I mix is that the kick and bass work well together."
"...if you mix through something, it is part of the sound of your mix. You want to leave that on. You don't have a mastering engineer redo it or recreate it for you."
"The slap delay, a really great way to just add presence to a mix without needing to use reverb."
"EQ changes can start in isolation but they cannot be completed in isolation. Ultimately, as we're mixing sound, what we're doing is blending all of those sounds together."
"If my mix sounds good in the room, it better sound good online."
"If you are mixing and you're using a bunch plugins and you're doing vocals doing a lot of processing, what you're going to want to do is you are going to want to allocate the buffer rate to be higher."
"His voice is mixed more like a pop singer would be mixed into a song."
"Learn to use the high pass filter. It's going to improve the quality of your mixes quite a bit."
"Using an equalizer allows you to avoid a lot of the contention and muddiness that happens when you have two different audio sources that are occupying similar frequency ranges."
"If you're not already using parallel sends and effects chains, I know that they can be intimidating but hopefully this video helped break that down for you."
"A practice CLA always employs when beginning a mix."
"It's all about understanding what the source needs to fit in the track."
"Chances are if you're struggling with the low end in your mixes you're probably putting too much low end in there."
"Now let's adjust the volumes because now the bass obviously became a lot louder."
"So this is a good starting point as to the bass sounds good with the kick drum."
"Lead lines can be played with a piano sound, but sometimes you want that part to stick out a bit more in the mix or to sound a bit different, and this is where lead sounds come into play."
"That is how to properly configure input channels on your digital mixer."
"It's going to sound wonderful and magical and dynamic within that mix."
"Mixing on a channel strip just makes you work faster, it makes you make smarter and more conscious decisions."
"These are very very transparent sounding monitors and should allow us to create mixes that translate well onto different speakers and different systems."
"Gain staging is getting your song to a level where you're going to be able to mix and process your entire song and have headroom to do so."
"People talk a lot about how to get their mixes sounding wide, but way more impressive, in my opinion, is to have a mix with depth. That's a much more compelling and mesmerizing illusion."
"I'm looking forward to more people mixing in immersive audio."
"Subgrouping...combines the outputs of multiple tracks to one channel so that they can be processed at one place."
"Having two compressors on your vocal really helps bring that vocal up into the mix and just allows you to hear it much better."
"Auditioning your mix and master on a variety of different sources enables you to make better mixing decisions."
"The overall sound of the mixer: wonderful. The phono preamps: top-notch."
"Mixing in mono is where you take that stereo mix and you listen to it in mono whilst you're mixing."
"It's very easy to hear when a snare is poking out too loud or when a guitar part is too quiet or too loud."
"It's so easy for that to turn into mush, but you get that effect level right and it just thickens everything out."
"I simply select a channel, adjust the gain for the source, set a fader level for the mains in the room, and continue on until I have a rough mix that I like."
"If we center our mix around zero dB on these meters, we will naturally have fourteen dB's worth of headroom to play with whilst we work."
"You need to keep headroom at the top of your mix."
"The ability to hear multiple different sounds and then combine them together... that's the skill of blending."
"Keep in mind that Reverb and Delay, the more you have on a track, the more present it becomes in the mix."
"Reduce the peaks in the sound and to glue our drums together."
"The only proper answer for how loud the preset should be is as loud as you can get it without having a negative effect on your final outcome."
"You got to do some panning, give space to everything."
"Every time you achieve a good mix in mono, I promise you it'll always sound good in stereo."
"If you really want the best mix possible, don't just EQ the master, EQ these sounds individually so they stand out."
"It's got this really rich and loud bass, high highs and low lows, crisp drums; it's a very high contrast mix."
"Trust your ears, trust your eyes when you're mixing things."
"Apple's Spatial Audio can put another dent into your mix."
"This plugin is fantastic and it gives me a lot more control over a mix."
"It's shocking sometimes how much top-end and kind of gnarly mid-frequency you need to have in your bass for it to be able to cut through the mix well."
"It's honestly such a great tool again for kind of adding a professional feel to a lot of your productions and mixes."
"This has to be, you know, if I had to pick one EQ to mix with for the rest of my life, this would have to be it."
"You learn how to listen; you learn philosophy and approaches in mixing."
"The kick is the most powerful thing in your track; it should be the loudest thing in your track if you're in a dance track."
"Waves has come out with a number of products their NX line to help you visualize what your mix would sound like inside of a room."
"Sounding loud is a lot more to do with production decisions and processing and the mix and the arrangement than it is the raw loudness level."
"I'm thinking that sounds pretty fat, so why don't we put this over a beat and see how it works out."
"It's really quick, quite aggressive pumping, and that's just to glue the vocal into the drums and bring it all together."
"It really adds like a nice amount of mid-range to the mix, it fills in all the gaps."
"It's so much about the ears here, it's so much about how you're hearing what you're mixing."
"Now having the mixer at the bottom is cool, but there's one special mixer item called the master track, and that's the first one I like to have nice and big on the screen."
"Attack and release controls are not superfluous extra features that just get in the way; they're crucial to getting a mix just right."
"For mixing, this signal is the sound of an audio file flowing through your DAW, all of your plugins, all of your channel routing, all the way to your stereo output, and then into your speakers or your headphones."
"Once you can listen to your beat without needing to add any further adjustments, I would say you've reached a good mix and a good leveling."
"It's really good for adding flavor to a mix on different things like maybe a drum bus or a vocal."
"That's so cool because you're now creating a situation where the high end is kind of stereo and the low end is centered."
"The big thing to take away from this is that whenever you're setting up your reverbs, ask yourself what room do I imagine this instrument is in."
"If you're able to focus on accomplishing these two goals of reverb space and style, you're going to be able to create unbelievably good mixes."
"Blending on the mixer is an absolute joy."
"Can you really mix and master on these things? Well, maybe not these, but can you mix and master on these? Or is it simply impossible to get industry quality results without a set of these? Let's find out."
"Now it's subtle, of course, but it's something that has a huge difference by the end of a mix."
"We're just turning down the peaks so that we can bring up the valleys."
"If you want a wide mix, you have to pan wide."
"With EQ, we have two goals: minimize the bad and highlight the good."
"The goal of compression on the master track is glue; we're just trying to gel the tracks together a little bit."
"Automation tells your software to turn things up and down at different points in your mix."
"The Dry Mix knob enables you to do internal parallel compression."
"It was mixed by Jeffrey Norman from the original 16 track analog reel-to-reel tapes at Bob Weir's TRI Studios in Marin County, California."
"Every output can have its own custom mix, which is really cool."
"One little trick... you use what's called pink noise."
"Distortion plug-in... it's really great to use on drums as it'll help them cut through the mix a bit more."
"The stereo separation knob... game changer."
"Fruity soft Clipper... use this on your drums to get that punch."
"EQ is a very, very vital part in the mixing process that you need to have down."
"What's really interesting about Trackspacer is that it's actually been around for like eight years, but it's only exploded in popularity over the last two or three."
"Every time the kick hits, we want the bass to duck or get out of the way so that that kick can come through and be articulate and intelligible."
"This is how you handle your levels towards the front of house mixer in a live situation."
"Reverb is sonic glue, right, like it can just really stick your guitar sound in a track."
"The goal of mixing is simple: it's to blend the individual tracks containing the various instruments and sounds in a way that creates a polished, unified, and pleasing auditory experience for the intended listener."
"Do not skip this step because this will maximize the punch of all of your drums."
"Volume balance might be the most straightforward and simple aspect of the mixing process."
"Volume balance alone accounts for 80% of a great mix."
"In order to actually hear or perceive a sound clearly in a mix, we don't actually need all of its frequencies to be present."
"Achieving an overall balance in our mix is crucial because that is what will help guide our decisions as we bridge the gap between where the mix currently is and where you're headed."
"What a really, really great tool for mixing low-end."
"Mixing is about how these elements fit together in the context of the mix as a whole."
"The next step is the mix where we get to combine all of these elements including the music."
"This guy here is a great mixer for a jack-of-all-trades type of guy who wants to set something up and have everything they're looking for."
"Sliders are built to be conveniently looked at, is a channel on, is a channel off, that's why you see sliders instead of knobs."
"You can use this to assign say your lead vocal, your main mix, and maybe your main reverb if those are going to be the three most important channels to you."
"We now have buses A, B, C, D, E, F, and G and those buses are stereo buses, meaning they're effectively two channel."
"If you can get EQ right, you really will get your mix sounding 80% of the way there."
"These tricks will hopefully give you some ideas to basically dial them in and make them live ready or mix ready in different ways."
"Using these tools and using them in the right way is the key to getting great sounding mixes for your video projects."
"What if I was to tell you that you, yes, speaking to you, may be oversaturating your mixes and not even realizing it?"
"All the pros add warmth and color to their mixes; that's why their mixes sound best."
"Subtle moves and two or three subtle moves maybe a little boost here and a little cut in another frequency is all we needed to just add some sparkle to it."
"Generally for vocal compression, you're looking for a gain reduction of about negative 3 to negative 6."
"The mixer is awesome, I love this, I love the mixer."
"It's very important to understand your side chaining and to understand clearly that you're pushing everything out of the way of your important framework sounds that need to eat up the full scale all the way to zero."
"How well sounds are controlled in a mix is the biggest difference between an amateur and a professional mix."
"Sometimes we do replace K-Clip with something else, but the trick is to do it at the right point in the project."
"Panning is huge; it is really important."
"When you collapse everything to mono, you don't want to hear any important sounds lose too much volume."
"If you locked me in a room and just gave me a standard EQ and a standard compressor, I could still get the job done."
"We do want to control mix translation; it's the same as stereo in the fact that how well our mixes translate from our studio to the car to the earbuds to the laptop."