All language subtitles for Top 10 004

hello everybody hope you're doing

marvelously well in this episode we're

going to come up with 10 things that the

pros do in every single mix please ever

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video so number one proper game staging

the last thing we want to do is do

something like this horrible clipping

going to our master buss just not pretty

you do that on multiple outputs and it's

gonna sound whole number two create

buses to really help you quickly and

creatively mix your song okay as you can

see here I've just demonstrated I have a

piano bus I also have

strings so there for instance we have

multiple string outputs all going to one

bus so if I want to control that so much

easier once I have my blend it's the

same thing for drums it's the same thing

for any instrument once you have your

blend that you love bussed them together

and then you'll have overall control of

that instrument so brush your drums

brush your bass brush your keys brush

your acoustic guitars your electric

guitars your programming create buses

you're then going to give yourself a lot

of control and you'll be able to move

really quickly through the mixing

process 3 use high-pass filters properly

this is a big one using high-pass

properly gets rid of unwanted noises

like AC

and Rumble it's particularly a problem

in vocals background vocals percussion

and other such instruments use high

passing properly and you'll open up the

low end to let the kick and the bass

guitar and other instruments down there

really breathe properly here for

instance I have an electric guitar which

has a gentle slope at 100 bypass set it

actually sounds thinner because I've

boosted the fundamental singer but I've

high-pass that 100 allowing gently

high-pass there allowing the bass guitar

and the kick to breathe more if you

boost the fundamental low end in a

signal and enhance that you can get rid

of the low Rumble and the guitar and any

other signal that you do this to will

sound much fatter

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here for instance on the vocal rolling

it 497 just gently getting rid of that

unwanted I'll take it off back on

audibly made absolutely no difference

but what it may do is just get rid of

some super low frequencies are in the

way it's not expecting it to make a huge

difference on its own but in a track the

build up of a lot of low frequency like

that in tons of different instruments it

could cause a lot of problems number

four focus and control your low end so

for instance the kick drum may be

boosted at about sixty Hertz the bass

typically maybe a little boost at eighty

there's going to be a crossover area at

about a hundred and 110 which you'd

learn to pull out you also might add

around sixty on the bass just want to do

a gentle slope to remove that that will

clear low-end

having the bass and the kick drum

overlap each other will not give you

more low-end it will give you a lot of

mud and a lot of masking of frequencies

so proper low-end control is fantastic

so here you see a kick which illustrates

everything we're talking about it's

actually high past at thirty nine

because there's a super low kick yeah

but there's 11 DB cut a huge cut at a

hundred Hertz because that is where the

bass is living so here we see the bass

synth plugin

it's gently high past at sixty Hertz out

of the way the kick drum is still some

crossover area here and the kick drum

has 110 pulled out of it between those

two things they get out of each other's

way

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simple management at the low end will

really help your mix and it's something

the professionals do really really well

number five compression use it in stages

now this is a big one and I get asked

about this all the time for instance if

you go to my vocal buss here you'll see

there's multiple instances of serial

compression that's a compressor followed

by another compressor first of all we

have a waves Renaissance compressor

which is giving us about three to four

DB of compression next we have a

Renaissance Vox also by waves which is

giving us again probably about another

three to four DB of compression now we

use this because each compressor has a

different characteristic next up we have

another our comp on the actual vocal

compression bus none of these individual

compressors is doing more than three

possibly four D being fact this last one

was doing more like two dB what they are

each doing is providing gradual amounts

of compression pushing the vocal forward

without choking it a single compressor

trying to do eight or ten DB s worth of

gain reduction will probably choke it

and with only one set of attack and

release time set won't work in every

single situation that's the other thing

about using serial compression is you

can use different attack and release

times so compressors come in at

different times and release at different

times so in this blend of drums which is

electronic and some real elements there

is a drum sub here so individual

channels are processed with compression

but the drum sub itself all the drums

grouped together has another set of

compression going on it then at the very

end on the master buss there's a

separate set of compression so you can

use small amounts of compression very

often you can use it in Syria

on your channel and you can run it into

a bus and then that bus sense to the

master bus small amounts of compression

used often will really get the track to

feel like it's got a ton of energy in it

number six use plugins not only for the

purpose they were intended

are you compression and EQ but also use

them for their sonic characteristics if

you look at the mix for instance we've

got going on here you can see I've got

an API EQ a very famous EQ it has its

own sonic characteristic but also

there's many many others these EQs and

compressors each have their own sonic

characteristic many of you have watched

tutorials with professional mixers and

you've seen them open up plugins and do

one DB of gain reduction it causes a lot

of consternation and quite often joke

videos the reality is is that it might

only do one DB of gain reduction or two

DB or it might only boost a DB or two

here and there also what it's doing is

adding another sonic characteristic it

might be adding additional saturation

these are all things that will take your

mix to another level number seven don't

be afraid to use parallel compression

parallel compression is your friend the

secret to use parallel compression is

still not necessarily have it that loud

if you take your drum mix and then

duplicate the sub you can squash the sub

really dramatically and then pull it up

very lightly underneath and it will add

so much Energy's your drums people will

do this on their to bus you can take

your two bus mix and duplicate it so

your whole mix is returning on a master

fader and there is a duplicate of that

master fader which has parallel

compression on it really heavy parallel

compression destroying the mix when

turned up but brought down really

lightly can add some extra energy glue

and just excitement to the mix one of my

personal favorite uses of parallel

rushon is on acoustic guitars when

playing arpeggios arpeggios when played

lightly are very uneven so if you

parallel compress the acoustic guitar

very heavily and then introduce it

underneath it will add energy to every

single individual picked note as it's

being played giving it more articulation

so use parallel compression where you

can't experiment on it everywhere that

you want because in a low-level

situation it can do amazing things

number eight pan your instruments to

create space and width in your mixes one

of the biggest secrets that professional

mixers do is utilize width in the chorus

and then narrow the verses it seems very

simplistic to explain but it's very

straightforward you can just take your

verse guitars and go fifty percent and

then when the chorus comes up go for a

hundred and suddenly you're using the

full stereo with panning as your friend

it's not only there to do things like

help those choruses stand out from the

verses but it's also there for other

reasons such as giving a defined Center

so if you pan your instruments around

you'll kick your snare your vocal and

your bass guitar all things that

traditionally and most of a time work

really well in the center you're

creating space in the center for those

instruments and that vocal to sit so get

into panning to create space having a

mix that stays completely stationary in

the panning can be good but there's

nothing more exciting and hearing things

move wide to create extra dynamics and

excitement in your mix 9 use reverbs and

delays to create additional space and

depth you'll find very very often that

many professionals will use tons and

tons of reverb scintillation however

they may have three or four reverbs and

or delays on the vocals at all time but

they're using them in different levels

they'll push up the reverb in a chorus

where it gets denser but in a verse will

come down the secret to using reverts

and delays it's not only

just to create a cavernous effect which

is very obvious to make something sound

dated you know 30s 40s 50s star

recalling it is there to create space

and depth spatial depth just a right

amount of reverb some delays can really

help place your instrument or your vocal

in a mix a lot of the times those

reverbs and delays are barely audible

until they're muted there will be times

as I was explaining earlier where you

want a retro sounding track and so

you'll have a lot of reverb that sounds

super like 30s 40s or 50s but other

times the effect is just there to create

some separation and help the instrument

or the vocal feel like it's inhabiting

its own space number 10 and possibly the

most important thing professionals use

automation automation really is the

secret key to taking your mix to the

next level just EQ and compressing your

track really really super flat it's

great you can go in there and you can

add more instruments to create dynamics

however pushing your kick and snare up

in the courses when it gets denser is a

straightforward thing to do with

automation however it can be even more

than that as a separate guitar part

maybe comes in and out and weed through

your mix the snare might be covered by

that so you're gonna have to get there

and automate a snare up here and there

not everything is solved by using

compressors making everything as loud as

each other using compression and

limiting is not going to make your mix

sound incredibly professional it will

make it sound like a big blob and a

brick square wave but you want to get in

there and automate and create interest

that's a big big deal creating interest

making things come and go so get in

there at the end of your mix and spend

some time doing some automation finding

out things that are covered that still

need to be audible pushing them up

deciding when something needs to be

featured like a guitar part needs to

come up like a riff in the middle of a

main guitar part needs to maybe be

featured and then the opposite finding

when a rhythm guitar shouldn't be

featured should just be supportive maybe

a piano part that's all things that come

with automation so have a great time

recording a mixing and remember one of

the most important things if you really

want to mix professionally is make sure

you're mixing the right things record

everything the way you want to hear it

record the parts so that when you come

to mix they make sense now obviously if

you're mixing somebody else's work don't

be afraid to mute quite often I'll get

something to mix which has five

different guitar parts on each side and

they're playing conflicting parts they

might be in tune and the parts might fit

together but my ear doesn't know where

to go

so sometimes automation can also mean

muting so if your own production think

that way if you're mixing somebody

else's stuff and you want to give them

the best results sometimes muting is the

key to a great mix thank you ever so

much for watching I really appreciate it

please download the cheat sheet it's got

all of the things we just talked about

in great detail so go and download that

have a marvelous time recording and

mixing and we'll see you again very soon

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