All language subtitles for My Mixing Templates_ Mixing ITB vs OTB - Marc Daniel Nelson.mp4

[Applause]

[Music]

hi

i'm mark daniel nelson here today with

make my music today i'm going to go over

my template

my digital template and my analog

template utilizing

all of my upboard gear here so the

couple emails i've gotten in the last

few days were asking

about showing more in-depth detail about

what my digital template looks like so

i'm going to do that in a second

and i'm going to also go over my out of

the box chain

and for that i'm going to talk about the

summing

the compression the eq and the

conversion

because even with the conversion it's

going to make a big difference

on the sound when i first started

working in the commercial music world

outside of the album world i was asked

to go over

you know three or four projects a day in

recalls

and with film world and advertisement

world

there seemed to always be no shortage of

recalls so i needed to find a way to be

able to get

in and out of songs very quickly

starting mixes very quickly and having

them go

right off the bat now there's a lot of

people out there that talk about their

template and what it means to them and

why they

designed it around their custom taste

for me it was really simple make it easy

make it navigational for anyone who has

ever opened the session up to understand

what it means so that goes all the way

down to

labeling auxes labeling sends

everything is labeled and the color

coding is identical

usually per song so we'll go over that

too

the biggest thing i like to show you is

my analog chain that goes

after it for all the projects i do

outside of the box this is enormous

difference in sound between in the box

and out of the box and i found that even

with plug-ins i can't

seem to get the one special sauce that i

can get using my analog chain

let's talk more about that this song is

a song by the artist lena anderson and

was produced by nicolas johansen

this was also a really special project

and it was tracked in la here

by jeff emerick and co-produced by him

and i believe it was his

last project before he passed away

matt chamberlain on drums plays on it

which is really neat i might actually

come back to this song later on another

date

and do a breakdown of this mix because

this song is super super cool

but right now i'm going to use this as

an example of my template and my analog

chain

let me break it down i've talked about

this a handful of times

and i just wanted to put it all in a

compressed

video talking about my chain and what i

do

for my template in my template i usually

go and start with drums

grouped percussion grouped effects

grouped those go into their own stereo

busses

so drums on their own percussion on

their own

effects on their own and then i go and i

do bass guitar on its own

acoustic guitars on its own guitar is on

its own

keyboards usually b3s roads and pianos

on their own

synthesizers including the bass and the

low end frequency stuff

and then background vocals and lead

vocals

if there's orchestra there is strings

which is orchestra

brass and woodwinds those dump down to a

stereo

and those are always in yellow you can

see drums percussion effects

bass acoustic guitar keys all the way

down the line to lead vocals

these are altered and molted to a

separate analog chain but today i'm

going to show you just what i have here

that it's going to be on its own so for

right now i'll just demonstrate what i

have in the box because i already have

the analog

print printed due to routing for this

video once it goes down to that i

actually have

reverbs on their own too and these are

exactly what they are this is i've been

demonstrating on another video

the different styles that i have in my

head these are presets that i have

always in my template kind of set

up ready to go for my drums i usually

use

two or three different types of

compression

depending on the song this song seemed

to need a little more spanky snappiness

so i use the uad

it seems to be the best the stressor

that i found be the closest without it

having

any kind of other special

plug-in elements that some developers

like to put in their plugins

the other option i use is the fab filter

this is a little cleaner

more kind of tamed compressor that i

would use on

less aggressive drums

then i go down the line and i can go

into the acoustica

ultramarine which is the fairchild

version this is really good for

getting kind of vibe out of anything if

you really want to get super color

i don't like putting too much distortion

or

any kind of harmonic content in the

drums but if i did

i would go and put the decapitator or a

tape

simulator now these two are kind of

similar

which they're bringing out specific

elements that i need without it being

too

colored but for today i didn't use that

i also have a pultec which is always

doing

relatively similar things 60 and 10k

and that will just get me closer to the

jum sound that i want

right off the bat the bass actually has

two separate

amp emulations i need to use depending

on the song sometimes i don't use it at

all

too much harmonic thunder as i would

call it and i just don't use it i use

the b15 today but i've used the svt

as well this seems to really thicken it

up but you have to be careful i usually

cut some low end

which is my next plugin the air eq now i

like this eq

a little differently than the fabfilter

because it just sounds different

like the low pass filter and the high

pass filter

are very different than other eqs and i

like to put a little bump

at 1k and then the compressor of my

choice which it seems to always stay on

the tubetech

i've tried other compressors they

they aren't bad it's just this for some

reason i don't even touch the

compression

it always works on electric bass guitar

and then i have a little point again

at 1k on the pultec style going down the

guitars get a tiny bit of tube tech

and just a general cutoff on electrics

my acoustics i do like to use the

abbey road zener as it adds a little bit

of a flick

and sometimes that's too much and i'll

just go back to the mj

you see in the keys

the fairchild and then an eq

and today i have just a little bit of

thunder coming out

of the organ because the organ the way

jeff emerick

recorded the organ there's there was

three or four mics and

they wanted to retain a lot of the low

end so i had to cut some of that out

going down the since it's usually pretty

simple

i don't really like to put too much

compression on the sense because it

seems to

take a lot of the vibe out of that track

so i kind of leave that off and just eq

to taste woodwinds brass and orchestra

are very

same i have these already engaged but i

don't really ever use them

when they're ready i have them in the

session but i don't really put them up

other than the eqs

once again i do like to use the air eq

for

the brass and orchestra because it just

has a specific sound

that doesn't sound like anything else

out there down to the lead vocals

and backup vocals now my lead vocal

chain which i just did

an episode about strictly on just lead

vocals

changes specifically per song but it

stays relative

in the concept in the backgrounds you'll

see that i have

two de-essers going and one is usually

pulverizing

the s's so as you know you don't need

those as much as you need the master

uh lead vocal s's so i i kind of just

crush those just to kind of get them

tucked so when

it doesn't sound flammy against the lead

vocal for today i used maybe one

parallel track

and i think it's on a send on an

automation maybe on the bridge it comes

in

and that would be these these fillers

again which i've done in another video

and these stay the same on all my

parallels because drums

bass guitar piano they all relatively

have this

setting with all of these separate

plugins because it seems to add

a lot of energy and when you tuck it

under it adds

a ton of energy and a ton of excitement

which brings me to the master chain

now the first insert i have here is the

converter

so when it goes out of each stereo bus

into the solid state logic summing

it needs to come back and instead of

using

the orion converter for print i want to

use something that's a little more high

quality

and has a little bit of character on its

own and i've spent a long time

just demoing and experimenting with

different conversion

up until i met josh florian when he was

working for bill schneider and doug

sacks building their converters

and it was just after that was just very

obvious where to go because

it was very different than anything out

there that being said there's some

really good options out there i had the

burrow i had

a benchmark and i'll probably do another

video of converter comparisons

too for my setup the jcf just seems to

make things

bigger and more real imaging wise and

adds just a hint

of special sauce that really

takes it up that five percent and i'm

going to talk a little bit

about the analog chain and why combined

it should give you 20 and 20 percent as

you guys know is

huge to attain if you can't get above 90

if you hit your threshold at 90

it's hard to get that extra 10 percent

so if you got 110

after it you're you're in a slam dunk

era

for me i spent years trying to find the

perfect chain

and up until maybe two or three years

ago

i was going in between different

compressors

and different summing boxes and

i just was not satisfied because i was

switching genres so

much that it was not flowing

genre dependent so here i have the solid

state logic

sigma i go into

directly hard patched because i don't

like to use

patch base i don't have to i don't have

that much gear anymore that i have to as

much as i used to

but there's the big reason is i just

don't like the extra connection

sound quality wise it's best for me to

just go

hard patch as much as i can so i'm hard

patching from the sigma

into for today it's the the teegler

audio switchcraft

and then it's hard patched into the api

5500 mastering eq

and then it's hard patched directly into

the jcf

ad8 which i'm using two channels on now

this converter has

pep which is its own little cool thing

but i usually don't use that unless it's

orchestra related

because it does something that i'm not

really a fan of on

your transients and that's just my taste

on the compression

i can go in between this teegler or

the tubetech i have down here or even

the shadow hills which i do use from

time to time still

and i'll literally just heart patch into

those instead per song

and we're off to the races so i think

the kicker here is once i get it back

in to pro tools i go down the line where

i have a

multi-band kind of ready to go if

there's some area that's

in the the total of the stereo mix is

just bugging me

i'll pop that in but you relatively just

leave it

off same is just kind of overall

surgical eqs

i try to handle that inside the session

i drop down to the atr this guy really

does

help me get what i need and i've talked

about using the repo

had the high frequency to get

error out of things and it's a lot

easier to open something up like that

versus kind of going back and opening up

somewhere else

it sounds very different than the api 55

top band

it's just combined when you do subtle

movements

it really does kind of work that falls

down to

the api 560 by uad

which eric boulanger showed me years ago

that it's emulating the 2520 op

amp which is funny because it's

emulating what's in this hardware

but it still does something completely

different so when i take it off

it's it's different it's like i miss it

so even when i'm mixing in the box

or out of the box i still i'll use it if

i'm even using the real hardware

because it does add even one more step

of like this neat little

glue and for monitoring i use this

benchmark deck

and i started using this right after

seeing it at the mastering lab

years ago it's just a phenomenal deck

that's been around for many years and

it's pretty special and i like to use

this for directing

right into my monitors and using the

monitor leveler

without having to use a mono controller

once again skipping

a patch if i have to and then i can use

my

a daisy lcd x's for monitoring off of

the headphone amp too because it's got a

really good headphone send on it and

going between those two i usually can

really nail the low end and the imaging

between my atc's which are atc45s

and the headphones and then once i get

the mix i always

print it to a separate track which

usually has the ref on it but today i

actually have the analog

version printed so for today i'm going

to play

the analog version and then i can pop in

the input and it will be back to the in

the box version

so let's take a listen to that this song

is

called amy

amy is looking out through the window

so just take a listen to this this is

the analog print

i'm gonna kick in the in the box version

so you can hear what the chain is

actually doing

[Music]

here is the in the box version

[Music]

and back to the analog version

[Music]

listen to the width that it's added

the drums are actually sitting back the

vocal has a little bit of forwardness

and the summing seems to spread

everything up a little bit

[Music]

let's go between the two again so here

is the analog version

and then in the box

[Music]

thanks for watching

[Music]

[Music]

shopkins