Original subtitles

Cisco asks do you think that your for

bus mixing method is doable

ITB well I don't know about whether it

can all work to the depths that I'm

creating by the use of the parallel and

the Sun returns returning to sometimes

other compressors but certainly it works

in the hybrid because we've been doing

that now for about six eight months and

on the hybrid approach has no problems

meaning that once we send the buses

everything is summing to two to four

different summing busses summing mixers

and once I leave Pro Tools nothing comes

back so they all sum and then I process

all for the mixers so

is it dual in ITV I don't know for sure

my suspicion is no but certainly in the

hybrid it works fine

Roderick says I always have problems

with using reverb I can never seem to

get the sense of space that commercial

recordings have big and open but not

obviously reverb II you use lots of

different reverbs in individual

instruments or so that it becomes an

aggregate effect or do you use just a

couple of global verbs I have one two

three somewhere between four and five

verbs at my disposal off of the of the

sentence and they start in they all go

in different lengths I have one that is

very short and roomy and an old sound

from a lexan lexicon 200 something on

the roomie thing very short and then I

have a PCM 81 where I get my long reverb

that I made to patch it I made but it's

a very long generally very long reverb

it can be a big plate it can be a huge

haul then I have the EMT plate that we

have Electric Lady I have a choice of

two well more than that but there's two

great place that I use all the time and

those are generally go into a short

delay and then into the plate that is

either very short or very long depends

on the song and then I have an al t verb

and I again it depends on the record I'm

doing but the al t verb tends to be

allocated to a spring reverb spring rear

was very

and sound than all the other they kind

of grainy a little distorted I have that

maybe three seconds because you don't

really hear the final you just hear the

initial sound and then I have an m7 that

and again that can vary depending on the

record I can be using a clear ambience

which is very little reverb if if at all

or a patch that I made it is a longer

reverb or even the ANM studio which is

nice so um but what's really going on

where you you're feeling that depth is

it's just I don't have it on all the

instruments on I think what you're

hearing is just the compression on the

depth being created by the compression

and quite often just by the very sound

that I've been given on

and there's also little delays going on

I might have instead of using a reverb I

might have a delay with a fair amount of

repeats a short delay so in essence it

appears to be going deep but it's not a

reverb I have fun doing that quite often

I may use the Benson the Benton has an

amazing sound that quite often you would

think is some form of a spring reverb or

something when in effect it's just a

delay and I have many delays different

sounds and I use those I think it's just

a matter of choosing wisely and

carefully how much reverb you put on

something if you hear it back it off

that's basically rule of thumb for me

unless I want to hear it but by just

adding a little bit of short room and

maybe also adding a little bit of a

spring reverb a little something it

creates a depth without it sounding

reverb II and of course when you if you

send a delay to the reverb you're

hearing the initial sound and then the

reverb and sometimes of course that

gives you a more present sound so I'm

Rick asks what is your favorite vocal

reverb for a big long lush style also

what advice could you give to someone

who wants to get the low end right those

are two very different questions bass

growling but not overpowering

kick pumping not weak but not boom me

either hardest task I find in mixing I

don't know if I can answer both those

questions in time we have I'll start off

with a simple one vocal reverb for a big

long lush style doesn't have to be a

reverb quite often I have a stereo delay

that's just going back and forth you

know it may be 350 milliseconds or 400

or sometimes 600 or sometimes it's just

it's at 125 or something and it's

repeating back and forth but it's just

sits underneath it's percolating

underneath and I might have that going

to a reverb and that's it so you're

hearing the initial presence but then

this spread and if that if I want

something really subtly to feel like

it's even lasting longer I'll just send

a little bit of the really big plate

just a very small amount of it and so

you hear just at the end an inference of

something still trailing off the vocal

or a guitar getting the low-end right ie

you want the kick and the bass generally

one of them is going to be sitting in

the other depending on the style of

music you're doing the R&B might have

you know the kick wrapped around the

base and if you're doing rock you're

going to have the the kick right kick

wrapped around the base if you if you're

doing rock it might be the other way

around you want some point I'll let me

think let me backtrack on this one R&B

might be good wrapped around the base

no probably base kick wrapped around the

base kick around base a eighths you know

it's one of these combinations you're

gonna have something with a lot of

points on it or not and you you should

have some big enough speakers so you can

hear what's going on I mean if it's if

it's sounding really boo me um what is

boom you might be having you might have

too much of a hundred you might have too

much forty you might just need to

attenuate attenuate these sounds maybe

compress them a bit so that they're

little tighter sounding on they'll

sometimes want to kick is just it's got

that boom eNOS it's really easy you get

them you know you put the plug in

transient designer across it and you can

tighten that right up which is great you

can tighten up a bass with that you can

tighten up acoustic guitars with the

transient designer you can tighten up

vocals with a tragic designer it's

endless what you can do with the

transient designer so that can often be

the right tool for you a tool is simply

just not to let all that bottom and add

up on and obviously you know if the kick

that you have isn't a good kick you

should have yourself a sample that you

can have underneath to give it that

tightness it does don't always depend on

what you're given because it might be

really crappy Bernardo asks

a very interesting question how do you

manage your time with a quality and

quantity of your clients how can you

balance the work hours your clients time

inspiration never lose quality when

mixing what's your daily habit in life

any advice to keep us with an open heart

and focus mine and make great mixes

every day well first thing you're doing

the will waking up in the morning is say

this is going to be a great day and then

let it go from there nothing gets in the

way of my mixing the best potential that

that song has to offer nothing does

whether I'm sick whether I have problems

going on

I'm here to mix a song and I want to mix

a great job that's it everything else at

that point then finds its way to fill it

in when I'm done with a mix I'm ready

for the client the client will come in

and we'll talk about it we'll make

comments you'll listen to the mix I've

done and then we'll get that done and

you know in timely fashion till he's

happy and the faster you work at making

the comments faster the artists of the

client producer is going to be happy

with what you've done

on the inspiration kind of happens every

day every time hearing a great song I

get inspired so that our that's already

part of the mixing process

I think that's it as long as you keep

the one focus which is mixing finding

great songs to mix and doing a great job

everything else will fall into place

ben says tell me one piece of hardware

that you have not found an emulation for

and that you cannot live without thank

you for your time sir well if I tell you

that somebody out there is going to go

immediately find that emulation start

making it and then release it probably

before me so my answer that is I'm not

telling you

AJ Steele I was wondering how you deal

with the mid range I find sometimes it

can become a little hard especially

guitars and making rock vocals but then

when I try and tame it in the track it

loses its excitement and energy I

thought about that I think maybe if

you're using too much mid-range you're

not using enough bottom in now your

problem isn't the mid-range is that you

aren't adding enough bottom end and real

top end to your mix so it's it's looking

really pointed on I mean when I do rock

guitars I'm pushing three K or four K

all the way to the right and then maybe

I'm taking some of the top end off so

one would think that that's going to

sound really really harsh and mid-range

e but it doesn't because the rest of the

track is so fat so it just kind of sits

there and also you know you can put well

known about guitars but on vocals you

can you can put dynamic equalizers and I

use a Hoffa that and there's other ones

there waves has a bunch I mean pick

whatever you want they all do basically

the same thing and when the mid-range in

a vocal just gets a little bit too

aggressive just

nice lead brings it down or you choose a

compressor that doesn't enhance the

harshness of the of the mid-range

there's a lot of ways but I don't I I

don't seem to find a problem sometimes I

get a track that has just a whole lot of

mid-range and so maybe I'll back off a

little bit but certainly not enough so

that sorts of feel tame but I think you

you should be focusing more on taking

what there is there and fattening up the

areas underneath and around it and then

you'll be fine

Kerry Boyle says is it a vegetable a

mineral or an animal and the answer that

is is it a big black Douglass writes a

lot

riding faders riding faders and getting

the dynamics by being a bit physical

with the faders and he says he asked so

when mixing dynamic vocals how much will

you depend on compressor limiters for

dynamic control before you leave the

dynamic control up to the fader to your

fader ride well I can give you like a

one-minute explanation but the best

thing is at the seminar I actually spend

a day on a workshop showing you how that

works

the answer question is I will control it

with a in pre compression I'll control

the you know I might even use some

plugins in in Pro Tools first I might

use an 1176 followed by an la-2a first

even before it gets to the desk right on

the desk

I might have in frequent you know and an

insert another compressor that just

tones it down a little bit I'm not

trying to squeeze the life out of it I'm

just trying to get a little bit more

control and then when that feels right

and it's not out of the pocket all the

time too quiet too loud too explosive

then I ride it a lot so that I can get

the dynamics without fighting the fact

that it's already it's either too loud

or too quiet um I think that's the

simplest answer I can give you without

and then you'd have to kind of watch me

do the doing the rest Germans asks do

you use any cue on across the master bus

if so is it always is it the same curve

or curve you know always work or like

it's a good idea instead of e queuing

all the channels needing eq thanks all

for your time well I I have what's

considered

it's a mastering rack when I'm done with

the mix there's very very little that

the mastering engineer needs to do I am

preparing it for him I'm not slamming it

he still has room to be mastering he has

some levels yes some you know a window

there but I don't feel like I should

allow leave it to him to do the finally

cueing if because if something if it

needs EQ I'm going to hear I'm going to

go wow overall now it's an overall thing

and it depends again because I get

different tracks from different artists

every day the engineering of those

tracks are going to vary and sometimes

of course I'm doing individually cueing

but sometimes just the overall picture

might need just to be pumped up and so

yes I have EQs as the last part in the

chain it's after the compressors that I

use and even when the compressors I mean

they might barely be moving but I'm

doing the final final processing and

that EQE

it varies it varies on the reason why I

need to use it maybe it needs a little

bit more mid-range that even that

overall just to glue the whole thing

maybe needs a little bit more 90 that I

can't it just doesn't sound the same if

I do it on individual tracks I use on I

use a clarify neck I love that it's very

subtle and it's parallel EQ and I like

it I use it often and sometimes that's

all it needs

I use a curve bender and again curve

bender I might just be bringing up some

16,000 maybe it just needs more air on

it or maybe the track is very thick and

so I'm not actually boosting I'm

attenuating I may take some 300 and

clean it up and as soon as I do that it

just comes a lot

it opens up so sometimes I do sometimes

I don't but it's there for my use Ola

garish oh maybe Oleg Erik asks

saturation every sound in your mix

sounds with character like if it would

be saturated something often use

saturation tools I have one of my sense

aux ends sends to this little distortion

unit that I have it's very warm it's

very natural it's kind of feels like

it's got even harmonics as opposed to

the crunch odd harmonics and I use it if

it's necessary again every day is

different the tracks are different

there's some times when it's so well

recorded that I don't really need to

touch anything

so um yes I use them when I need them

and it certainly gives it character

sometimes the tracks just too clean and

you want to dirty up the drums you know

you can take the drums and send it to if

all you have is what would be the

Decapitator is one you put in the

capitate err and then you know just add

it to the drums now you've got dirty or

drums you have to know that you know

that there's reason for it that they

need to be a bit dirty high and low-pass

filter you're using high or low pass

filters on every track ah

that's a good question I use high pass

filters on every track except for maybe

kick and bass and I don't lose it I

don't use low well sometimes I may use

the low pass filter on the cake because

I don't I don't want it to it's having

too much of an influence on my snare

sound but overall I always clean up the

bottom end because I take out what I

don't hear and then

bring it up all the way point where I

hear the bottom end disappearing then

I'll back off so I get rid of all this

stuff that you don't really hear but you

don't need and then that allows my

bottom and my kick my base any other

low-end instrument that's supposed to

kick in through that point to have that

area and it's not fighting muddiness and

and low-end stuff Misha please library

brow rising a vocal or a track I would

love to know what is the course of

action you take on a voice like Chris

Martin's that's too complicated I can't

really answer that that's certainly

something if you come to seminar you I

will discuss in detail but you know it's

all based on emotion so that's in a

nutshell what I do sorry I can't give

you it's too long an answer skip this is

I've been working with your multibus

technique in the box for about a year

now and one of the things that puzzled

me is when to make adjustments to the

individual buses to get the appropriate

amount of reduction on each bus

sometimes a song has a ton of guitars

but maybe just one twinkly keyboard part

so what I'm sending to see is much

hotter than what I'm sending to a Cee

Cee may be reducing too much at what

point your process do you make these

adjustments to the individual buses to

get the right amount of compression on

each well if you've calibrated them

properly where ABC and D all read zero

um if I put five things if I bring up

five instruments period that are louder

that better at one level and I want to

bring up another one I bring up the

other one louder so I can hear it I mean

and and if I'm I'm hitting the

compressors compressor let's say C to

hard it's actually going to get quieter

and if I'm sending a little twinkly

thing

to a you can naturally hear it louder

but if you're if you're if you're

reducing too much you have a problem

you're reducing too much on so I the

only time I touch any of the ABC or D is

for lowering or or increasing the

threshold on B on the drums that's the

only one I touch everything else your

you should be balancing a bit better I I

don't know what else is that the direct

answer to your question is I don't touch

anything

but the threshold on the distress errs

and sometimes because they might be

hitting too hard I'll bring up the

number towards five or six or something

and if it's not enough but I just I want

it to feel like it's grabbing I'll lower

it towards three or two that's about it

[Music]

think that's it