Game-Changing Mix Prep Techniques You Need to Know!

WEBVTT
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Hello, and welcome to another episode of Inside the recording studio.
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I am Jody Whitesides.
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And with me as always is Mr. Chris Hellstrom.
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How are you today, Chris?
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I'm doing good Jody. How about yourself?
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Was I
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I'm doing pretty good.
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smacking my lips already?
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No, I'm just making a reference to what we might be talking about in today's episode.
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Ooh, I see.
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I see. Yes. We are talking about
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Yes, sir.
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preparing our tracks for mixing.
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So whether we're doing this ourselves or we're sending
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Yeah.
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off to somebody else to mix, these are good things to do. And this is something
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that you've always been a big proponent of for a fair bit of kind of doing this
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Well, I've not always been a proponent of it.
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and mixing in a different template that kind of thing, right? So no, but yes, but
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I am a proponent of it now.
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I would say probably for at least five years maybe, you've been kind of doing
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Longer than.
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this? See, I mean, it's a lifetime of doing this. Yeah, I guess. So what are we talking
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longer than that. Yeah, I guess once you get past the five year mark, it's a lifetime.
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about when we're doing this? Well, we're going to go through in detail here a little bit
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what we're doing. Both you and I are proponents of not necessarily mixing in the same project
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as we've done the writing or the recording. Hmm, I'm trying to think of an exception to
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same DAW file for those that don't know what he means because not every book not every
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DAW calls it a project.
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[LAUGHTER]
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that but I can't but either way. Okay, so fair enough. But yeah, so let's say the same
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(laughs)
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(laughs)
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(breathing deeply)
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project file or the same DAW that you're tracking and you've done all your writing, you recorded
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[Silence]
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everything in one window. The things that we're about to talk about here, they will
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work even if you don't have the habit of starting up another song file or a
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flying cars.
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project for the mixing duties. But these are good habits to have before you get
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going because I know I can speak from experience that early on when you find
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issues as you're doing a mixing and you're compressing your vocal or
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whatever and it's like what the hell is that? So we're gonna try yeah so we're
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(chuckles)
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gonna try to alleviate this. But the first thing I would say if you're opening
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By opening up a separate project file.
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up another song file, what are the benefits to you by doing that?
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Mindset, mindset is the first thing that comes to mind.
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Yeah for the mixing, going from one to the next, why would you not just mix in the same
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project file?
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The second thing is temptation,
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Yeah?
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because having the song file that you've done
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all of your writing and tracking in
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Okay.
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as your mixing file as well leads to,
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as a biblical reference,
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Eve tempting Adam with the apple.
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Just kind of holding it,
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shaking it in front of your face like,
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hey, I could change this sound
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at any given moment right now.
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And that just leads to problems down the road in my mind.
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Sure, I'm not there either, but I'm just trying to give an example.
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I'm going to bypass the whole religious angle because I'm not there with you.
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But yeah, no, yes, that is true.
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It's very easy to like go, oh, you know what, maybe I should change the sound because I
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can't or maybe I should do this or yes, it can have the benefit.
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Uh-huh.
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I agree with defining your tasks.
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Now I'm doing this and get a little bit more of a different perspective of the song, I
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Uh-huh.
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See, you've simplified what I was attempting to say.
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suppose.
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So I think that's the first on the podcast.
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[Laughter]
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Yes.
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This is usually the other way around.
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Another benefit of doing it like this,
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and even if you don't move to a different project file
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is it makes your archiving and backing up a lot easier.
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And that will make more sense
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Well, you're saying having a singular file makes it easy, right?
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when we get to talk into specifics here
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in the next half hour or so.
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No, not necessarily.
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Nope.
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Hmm. Nope.
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I mean, I can go both ways because I know that today
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The workflow isn't necessarily as defined.
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So I know that there is a temptation of just,
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okay, everything is tracked,
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I'm good to go and start mixing here.
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And there's not necessarily anything
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super inherently wrong with that,
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[BLANK_AUDIO]
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but the tasks that we're about to perform and talk about
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would be valid even if you stay
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in the same project file or not.
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But I'm with you on the mindset,
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that sounds really, really like I'm talking out
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It's quite possible, but some mixing engineers will say, hey,
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of both sides of my mouth here,
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but it's more the separation of the mindset, I think,
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but it's also obviously,
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if you're staying in the same project file,
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I'm assuming that you're gonna do the mixing yourself
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as you've done the tracking, you're not gonna outsource it.
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Yeah.
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Yeah.
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send me the Pro Tools file or send me the logic file or send me insert DA file.
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Right.
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Mm hmm.
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But even if I'm gonna do that,
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You don't say.
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because I'm anal retentive, possibly,
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is that I will still, well, I know,
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Of course.
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but I would still do cleanups on that file
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before I send it over to them
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because it's the size of a file or anything,
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One would hope.
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but there might be erroneous audio tracks and stuff
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that are not gonna be used.
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I'd like to get rid of them
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just so that they can see exactly what's going on.
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But the tasks that we're talking about here
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are on the surface, I think they're kind of obvious, right?
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But one would hope, and if not, they should be obvious
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Hope.
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[Laughter]
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after you listen to this episode, I think.
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And hopefully they'll help out the workflow.
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[Silence]
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And I know it certainly did for me.
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The big thing that I'm thinking about first
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is obviously things like comping tracks.
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If you have like multiple choices,
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whether it's whatever the instrument is,
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if it's vocals or guitars or whatever,
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Mm-hmm.
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do all the comping and have one track
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[BLANK_AUDIO]
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instead of all these little tracks.
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In the verse, I'm going to take number eight
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and then I'm gonna have take number two
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[LAUGH] I can stand by that.
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on the other one, right?
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Well, do all that comping
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so that you just have one continuous track or multiples,
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but comp the tracks.
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And that's an obvious one
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that I don't think that needs to be said,
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but I just said it, damn it.
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So, yeah, exactly.
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Comp those takes, yeah.
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Unless you don't trust yourself to cop your own takes.
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And the other thing would,
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Yeah, but I think then that's a different issue.
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Then you need to outsource that.
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Because I think if you're sending it to somebody to mix, let's say, and you're asking that
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person to comp the tracks for you, you can be harsh and say, "Well, that's not really
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that person's job."
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So what kind of emotion are you going across?
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It's one thing to ask for opinions, right?
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Was that well, what do you think when I went up with the vocal here when I stayed flat whatever but make those decisions before
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Sure.
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That's a big thing just straight off the bat.
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You even decide on mixing if you can't decide on the tracks. How are you gonna start mixing other thing is track organization?
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Right, so do you have an order how you like to have them laid out what's that?
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I do.
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Mm-hmm, right
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In terms of a DAW that's set up in its arrangement window,
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Vertically speaking, the very top will be the drum tracks.
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Yeah.
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The next tracks after that will be the bass tracks
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Hmm.
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or track, depending on how you track it.
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Following the bass tracks, going down the screen,
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Ah.
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so to speak, guitar tracks,
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Mm-hmm.
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and then pass the guitar tracks
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or any kind of stringed tracks,
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Mm-hmm.
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whether it's mandolin or ukulele
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or some other stringed instrument.
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From there, it goes to synth tracks
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or any kind of electronic track or soft synth track.
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[BLANK_AUDIO]
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Below that would be if there's any orchestral stuff,
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then I would start grouping the orchestral section
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after that.
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We've been working together for far too long because that's the exact same order
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And at the very bottom,
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and not to say that it's the very least,
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it is the vocal tracks.
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And I will do lead on top backing tracks
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all the way down to the bottom.
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(laughs)
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(laughing)
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that I do stuff in as well.
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Yes, and then to top it off,
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[BLANK_AUDIO]
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it's not just the organizational of doing that.
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It's also the coloration of the tracks.
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I will group sections of instruments
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(silence)
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to the same color of color.
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Mm-hmm.
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That just sounded really silly, but that's what I mean.
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In that all the drums will be some sort of yellow.
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All the bass is some sort of browns.
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Yeah, that's an easy, overlooked thing.
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All the guitars are some sort of blue.
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All the synths and stuff like that
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or some sort of green orchestral tracks
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will be some sort of purple.
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And my vocal tracks will be red.
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Or more.
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I think it just helps your workflow
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because once you get a bunch of tracks lined up,
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It's not unusual to deal with up to 100 tracks on a session these days, right?
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Mm-hmm.
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Yeah, or more.
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That gives you that overview.
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So when you're scrolling, you know, okay, here's my red tracks.
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That's my vocal.
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That's where I'm at in the arrangement.
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Yes, especially if you're sending it from the same DAW, like if you're sending it from
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That's a big one.
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I know I've played around with this in the past and tried to group things.
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I'm very similar to where you are as well with the color coding.
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Sometimes I get bored and look at stuff, but then I get thrown off if I change it.
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the basic organization and now of course if you're doing that and you're sending
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it to somebody else never mind you doing the work yourself it gives them the
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overview as well where it's not like oh yeah
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the same DAW, like if you're track everything in Pro Tools
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[ Pause ]
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and you're mixing engineer,
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or you are the mixing engineer,
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getting everything in Pro Tools,
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or say it's Logic Pro, or some other DAW,
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like Cubase, or Digital Performer,
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or Ableton's Live, or Studio One,
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or even Luna for that matter,
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having everything grouped visually speaking when you get it
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just makes it so obvious as to, here's my group of this,
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so that the mixing engineer can rearrange it.
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And if you are the mixing engineer getting this,
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Absolutely.
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it makes it easier for you to rearrange it
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if you need to rearrange it according to your whims.
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And you know what else that we're kind of
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And that's the first thing that I tend to do a little bit off topic.
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But if I'm receiving tracks from somebody, I want to make sure that I know what I have
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and then I organize it in the way that I like to have it so that I can see it.
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glossing over right now?
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What's that?
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naming each track appropriately.
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Oh, yes.
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So within my drum group,
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Hmm.
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I have two kick tracks usually,
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the kick inside, the kick outside,
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and possibly a kick sub.
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Hmm.
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I will have snare top and snare bottom.
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Maybe there's multiple mics on the top and bottom.
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[silence]
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So there's gonna be additional snares.
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And they're all gonna be labeled appropriately.
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Same thing with hi-hat.
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Hi-hat's gonna get labeled as hi-hat track.
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Then I've got overheads
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and whether or not it's mono or stereo.
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And then there might possibly be multiple Tom tracks as well
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for the individual Tom hits.
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They will all get labeled appropriately.
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So I know what piece of kit in the drum kit it is.
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Label that shit so that you don't get lost.
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Yeah, that's a giant thing, right? Because, you know, we
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All the way up to audio 150 take 45.
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all joke about that, but you get a session from somebody and
00:11:53.800 --> 00:11:57.360
they're all called audio one audio to audio three and now
00:11:57.360 --> 00:11:58.280
you have to listen to
00:11:58.280 --> 00:12:06.440
right. Yeah, exactly. So be kind, not just to yourself, but
00:12:00.520 --> 00:12:02.920
And you're like, what the hell am I looking at?
00:12:02.920 --> 00:12:14.920
I won't work with you anymore.
00:12:06.440 --> 00:12:08.800
if you're sending it to somebody else, please make sure that you
00:12:08.800 --> 00:12:11.280
label your track or they will not want to work with you
00:12:11.280 --> 00:12:22.480
anymore. Yeah. So that's what the basic general organization that I will do. So the naming,
00:12:14.920 --> 00:12:30.360
I'm going to interject again before you go anywhere.
00:12:22.480 --> 00:12:27.440
the organization, the color coding and all that type of stuff. Let's get into a little
00:12:27.440 --> 00:12:46.480
bit more specifics. Yeah, sure. Mm hmm. Oh, sure.
00:12:30.360 --> 00:12:36.560
I'm going to interject another thing and that is if you're not staying in the same file
00:12:36.560 --> 00:12:43.320
and you go to export all your tracks, the naming convention becomes highly important
00:12:43.320 --> 00:12:46.360
when you export your multi-tracks.
00:12:46.360 --> 00:12:50.760
It makes it so much easier for your mix engineer to pull it into whatever DAW they're working
00:12:46.480 --> 00:13:15.480
[ Pause ]
00:12:50.760 --> 00:12:53.040
on and automatically everything's labeled.
00:12:53.040 --> 00:12:58.000
Now saying that, I will actually label by group.
00:12:58.000 --> 00:13:02.220
So I won't just say kick drum in, kick drum out, kick drum sub.
00:13:02.220 --> 00:13:09.120
I will actually insert a custom tag in front of it that says drum, drum, kick drum in,
00:13:09.120 --> 00:13:11.480
drum, kick drum out kind of thing.
00:13:11.480 --> 00:13:16.920
Drum, snare, drum, hi-hat, drum, so that all of them are grouped under drums.
00:13:15.480 --> 00:13:20.480
Hmm.
00:13:16.920 --> 00:13:18.960
And that makes it easy.
00:13:18.960 --> 00:13:20.380
Same thing with guitars.
00:13:20.380 --> 00:13:25.240
Every guitar track will have the tag guitar in front of the name so that they all group
00:13:20.480 --> 00:13:35.600
Hmm. Yeah, I don't do that, but I see that because then it's the files are organized
00:13:25.240 --> 00:13:29.920
together when it gets imported into the mix engineers,
00:13:29.920 --> 00:13:30.760
DAW.
00:13:30.760 --> 00:13:39.800
Yes. Very much so.
00:13:35.600 --> 00:13:43.160
in their finder or their explorer if you're on a PC, right? So right. That's a good point.
00:13:39.800 --> 00:13:43.360
And with, yeah.
00:13:43.160 --> 00:14:00.120
Well, let's start with vocals.
00:13:43.360 --> 00:13:46.160
And now a word from our sponsors.
00:13:46.160 --> 00:13:49.640
And we're back.
00:13:49.640 --> 00:13:53.720
We're going to get into some bigger specifics other than just general
00:13:53.720 --> 00:13:57.600
organization and what are some of our specifics? Start us off, Chris.
00:13:57.600 --> 00:14:00.160
Oh yeah.
00:14:00.120 --> 00:14:05.040
I've already dealt with the comping obviously, but this is also before we start mixing, I
00:14:00.160 --> 00:14:02.160
(sighs)
00:14:03.160 --> 00:14:05.160
(sighs)
00:14:05.040 --> 00:14:13.140
will do any kind of tuning if necessary to make sure that I have a vocal that is as pristine
00:14:05.160 --> 00:14:09.160
(sighs)
00:14:09.160 --> 00:14:18.160
(sighs)
00:14:13.140 --> 00:14:21.220
and as good of a performance as it can be. That's a big one. Another thing that I do at this stage
00:14:21.220 --> 00:14:25.860
as well, because this is something that can kind of sneak up on you, I kind of like a hint at the
00:14:25.860 --> 00:14:32.980
beginning of the podcast, removing any kind of noise in between lines of the vocal. So let's say
00:14:31.160 --> 00:14:44.160
Yep. What?
00:14:32.980 --> 00:14:38.180
that there's the vocalist has done the verses separately in the choruses on another track,
00:14:38.180 --> 00:14:46.020
for example, make sure that there's no throat clearing any extraneous room noise exactly just
00:14:44.160 --> 00:14:47.160
[LAUGHTER]
00:14:46.020 --> 00:14:50.900
like that in between the takes because you might not hear them when you're just listening to the
00:14:47.160 --> 00:15:15.160
[ Pause ]
00:14:50.900 --> 00:14:56.740
raw file but when you are adding a little bit of compression and stuff you're sitting there and
00:14:56.740 --> 00:15:02.660
you're trying to find out what the is that noise in the mix right where is that and it's the singer
00:15:02.660 --> 00:15:08.660
you're going like in between the takes like something so get rid of all of that kind of
00:15:08.660 --> 00:15:16.580
stuff and pay special attention to right before and right after where the vocal line is or any
00:15:15.660 --> 00:15:17.660
Mm hmm.
00:15:16.580 --> 00:15:21.780
kind of room noise that could be leakage from headphones that kind of stuff get rid of all that
00:15:17.660 --> 00:15:28.660
Where you thank yourself for that matter.
00:15:21.780 --> 00:15:32.500
stuff in between and yeah you'll thank me later indeed yeah and because that's just a frustrating
00:15:28.660 --> 00:15:55.460
matter. Well, it also depends on the kind of nodes. Some types of noise can just be
00:15:32.500 --> 00:15:37.860
thing where you find yourself you're in this creative mode and you're mixing and you're
00:15:37.860 --> 00:15:45.060
hyper focused on what's going on on the soundscape of your mix and then you start noticing noises
00:15:45.060 --> 00:15:50.420
and things. Now you have to go into like scientific corrective mode and it's just yeah it just
00:15:50.420 --> 00:15:51.140
breaks the workflow.
00:15:55.460 --> 00:16:01.640
general mouth clicks, like your tongue is just moving through the mouth kind of thing.
00:16:00.420 --> 00:16:02.420
Sure, yeah.
00:16:01.640 --> 00:16:03.500
Other things can be breaths.
00:16:02.420 --> 00:16:12.420
Mm-hmm, yeah.
00:16:03.500 --> 00:16:08.400
And depending on how you're doing that or dealing with breaths, it could be something
00:16:08.400 --> 00:16:12.700
you're going to accentuate or something you're going to desensuate.
00:16:12.420 --> 00:16:22.420
[BLANK_AUDIO]
00:16:12.700 --> 00:16:17.000
Some people will probably remove them all together and that not necessarily something
00:16:17.000 --> 00:16:20.540
I like to do unless it's really, really distracting.
00:16:20.540 --> 00:16:24.280
It has pretty much the opposite effect.
00:16:22.420 --> 00:16:32.580
Right, the spinal tap paint.
00:16:24.280 --> 00:16:28.600
It's almost like what is that black paint that NASA came up with that's so black that
00:16:28.600 --> 00:16:36.580
it can't get none more black, Vanna black or Vanna something.
00:16:32.580 --> 00:16:36.500
Yes, the blackest color ever, right?
00:16:36.500 --> 00:16:37.000
Yeah.
00:16:36.580 --> 00:16:39.940
It's almost like looking at a shadow that has no dimension.
00:16:37.000 --> 00:16:40.200
[BLANK_AUDIO]
00:16:39.940 --> 00:16:45.560
So removing every breath can be the exact same functionality on a vocal.
00:16:40.200 --> 00:16:42.200
Hmm.
00:16:42.200 --> 00:17:01.960
Hmm.
00:16:45.560 --> 00:16:50.400
It can remove all the life out of the actual vocal.
00:16:50.400 --> 00:16:57.920
And some vocalists, such as, say, Steve Perry, they actually made an effort to accentuate
00:16:57.920 --> 00:16:59.900
where he was breathing.
00:16:59.900 --> 00:17:02.540
So it would come way up.
00:17:01.960 --> 00:17:27.960
[Silence]
00:17:02.540 --> 00:17:09.400
And some vocalists that are inspired by Steve also do the same sort of thing.
00:17:09.400 --> 00:17:12.900
So when they compress and they bring that up, they're really bringing the breath out
00:17:12.900 --> 00:17:16.360
because it becomes part of the actual performance.
00:17:16.360 --> 00:17:23.520
That becomes a conversation that you have between mix engineer and vocalist to make sure that
00:17:23.520 --> 00:17:30.040
you're getting what you want or what they want in your mix.
00:17:27.960 --> 00:17:33.560
Yeah, I wholeheartedly agree. To me, this is very dependent on style as well.
00:17:30.040 --> 00:17:50.720
A human.
00:17:33.560 --> 00:17:38.600
But let's say that you if you're working on a ballad, for example,
00:17:38.600 --> 00:17:44.040
I think it would be very detrimental to remove all the breaths because it is that
00:17:44.040 --> 00:17:47.120
emotional aspect of the vocal take.
00:17:47.120 --> 00:17:51.040
And you want to hear that it's actually it's not a machine doing.
00:17:50.720 --> 00:17:52.960
(laughing)
00:17:51.040 --> 00:17:53.480
Yeah, exactly. It's not a machine doing it.
00:17:52.960 --> 00:17:59.960
Yeah.
00:17:53.480 --> 00:17:56.000
This is a human being singing.
00:17:56.000 --> 00:17:59.520
In cases if it's they're too prominent the breaths.
00:17:59.520 --> 00:18:04.400
One thing I will do is I will change the gain of those.
00:17:59.960 --> 00:18:06.960
Yeah.
00:18:04.400 --> 00:18:07.360
I'll just pull them down a little bit and I will do this destructively
00:18:07.360 --> 00:18:09.760
as opposed to removing them all together.
00:18:07.960 --> 00:18:08.960
Hmm.
00:18:09.760 --> 00:18:11.840
But that is a very very good point.
00:18:09.960 --> 00:18:36.980
Fl
00:18:11.840 --> 00:18:16.160
I think we have to be a bit selective when we remove them.
00:18:16.160 --> 00:18:22.880
If it's a busier vocal and it's the singer has to take a quick breath in between two lines
00:18:23.680 --> 00:18:30.560
that might be a case where I remove them, but that would also be dependent on the type of mix.
00:18:30.560 --> 00:18:36.000
If it's a more dense mix, I'm probably going to be more aggressive with the breaths of the removal,
00:18:36.000 --> 00:18:42.240
but the more naked it is and more natural, so to speak, I would leave a lot of breaths alone,
00:18:36.980 --> 00:18:51.420
And now you know why when you're driving in your car and you're trying to sing along and
00:18:42.240 --> 00:18:47.120
and then if they pop out too much, just do an automation ride on them or something.
00:18:47.120 --> 00:18:48.120
(
00:18:48.120 --> 00:18:48.120
(
00:18:48.120 --> 00:18:49.120
(
00:18:49.120 --> 00:18:49.120
sound of
00:18:49.120 --> 00:18:50.120
the
00:18:50.120 --> 00:18:52.120
vocal
00:18:51.420 --> 00:18:55.380
you can't keep up with the same amount of breath, it's because Chris has removed the
00:18:52.120 --> 00:18:53.120
)
00:18:53.120 --> 00:18:54.120
(
00:18:54.120 --> 00:18:55.120
sound of
00:18:55.120 --> 00:18:56.120
the vocal)
00:18:55.380 --> 00:18:58.380
breaths.
00:18:56.120 --> 00:18:57.120
(
00:18:57.120 --> 00:18:58.120
sound of
00:18:58.120 --> 00:18:59.120
the vocal)
00:18:58.380 --> 00:19:02.980
Exactly.
00:18:59.120 --> 00:19:00.120
(
00:19:00.120 --> 00:19:01.120
sound of
00:19:01.120 --> 00:19:02.120
the vocal)
00:19:02.120 --> 00:19:03.120
(
00:19:02.980 --> 00:19:25.380
possibly even time corrected.
00:19:03.120 --> 00:19:04.120
sound of
00:19:04.120 --> 00:19:05.120
the vocal)
00:19:05.120 --> 00:19:06.120
(
00:19:06.120 --> 00:19:07.120
sound of
00:19:07.120 --> 00:19:08.120
the vocal)
00:19:08.120 --> 00:19:09.120
(
00:19:09.120 --> 00:19:10.120
sound of
00:19:10.120 --> 00:19:11.120
the vocal)
00:19:11.120 --> 00:19:12.120
(
00:19:12.120 --> 00:19:13.120
sound of
00:19:13.120 --> 00:19:14.120
the vocal)
00:19:14.120 --> 00:19:15.120
(
00:19:15.120 --> 00:19:16.120
sound of
00:19:16.120 --> 00:19:17.560
and probably...
00:19:17.560 --> 00:19:21.820
Yes, that's a big one too.
00:19:21.820 --> 00:19:26.040
And if you're, especially if you're going for, you know,
00:19:25.380 --> 00:19:45.100
some pure pop bliss.
00:19:26.040 --> 00:19:32.440
yeah, but you got like multi stacked like BVs and things.
00:19:32.440 --> 00:19:36.600
I'll make sure that they're nice and tight
00:19:36.600 --> 00:19:39.960
'cause nothing can get more frustrating in a mix
00:19:39.960 --> 00:19:41.520
but you're losing that impact.
00:19:41.520 --> 00:19:43.160
But now we're going into a little bit more
00:19:43.160 --> 00:19:44.360
vocal tracking and things.
00:19:44.360 --> 00:19:49.360
but I'm thinking now in groups of like bass and or guitar.
00:19:45.100 --> 00:19:46.180
What's coming next?
00:19:46.180 --> 00:19:47.420
Let's just boot it right over.
00:19:47.420 --> 00:19:50.420
What's the next instrument?
00:19:49.360 --> 00:19:58.020
The biggest thing here for me is if I am using amp sims,
00:19:50.420 --> 00:19:56.340
Mmhmm.
00:19:56.340 --> 00:19:58.340
Mm hmm.
00:19:58.020 --> 00:20:02.860
if I want to print the amp sim at this time,
00:19:58.340 --> 00:20:23.340
[ Pause ]
00:20:02.860 --> 00:20:07.600
that's usually a yes, but I always keep the DI there
00:20:07.600 --> 00:20:10.180
if something is not working in the mix.
00:20:10.180 --> 00:20:12.820
If somebody is sending me tracks to mix,
00:20:12.820 --> 00:20:14.820
I would ask them to do the same.
00:20:14.820 --> 00:20:19.100
Print a track with the sound that you have in mind
00:20:19.100 --> 00:20:20.660
and that you're kind of working with,
00:20:20.660 --> 00:20:21.980
but please give me the DI
00:20:21.980 --> 00:20:24.700
so that if something really isn't working
00:20:23.340 --> 00:20:34.620
I think what you're also intending to say is that you're not actually using the DI track
00:20:24.700 --> 00:20:27.660
and the guitar is too fuzzed out or whatever,
00:20:27.660 --> 00:20:29.640
I can make adjustments there.
00:20:29.640 --> 00:20:37.860
No, no.
00:20:34.620 --> 00:20:36.560
in the actual mix.
00:20:36.560 --> 00:20:41.580
You just want it for the option to change tonality.
00:20:40.540 --> 00:20:47.420
Correct, but I actually have done both but yeah, yeah a little bit of clarity in there, but yes generally
00:20:41.580 --> 00:20:43.580
Mm-hmm.
00:20:43.580 --> 00:20:45.580
Mm-hmm.
00:20:45.580 --> 00:20:53.580
Uh-huh.
00:20:47.420 --> 00:20:52.920
999 times out of a thousand. I'm not using the DI blended in there
00:20:52.920 --> 00:20:58.140
But but you could obviously do it if you need to hear again just as with vocals removing
00:20:53.580 --> 00:21:19.180
Mm hmm.
00:20:58.140 --> 00:21:06.660
You know noise in between lines or parts and this is usually the string noise where the fingers are flickering on top of the strings
00:21:06.660 --> 00:21:12.260
or whatever. I would get rid of those. We've talked about before if there's excessive like
00:21:12.260 --> 00:21:18.340
string noise this might be a case for like RX or something to to fix that kind of thing.
00:21:18.340 --> 00:21:26.660
Oh yeah there's a lot of that you can do that either with RX or make sure your gate is set
00:21:19.180 --> 00:21:26.180
for amp hum.
00:21:26.180 --> 00:21:33.180
Right.
00:21:26.660 --> 00:21:31.860
properly if you need to use that. Very much the same just kind of like a cleanup type of thing
00:21:31.860 --> 00:21:37.860
but a good thing to have there is to have that DI to be able to go back to if something needs to be fixed.
00:21:33.180 --> 00:21:40.180
Uh-huh.
00:21:37.860 --> 00:21:45.860
Now drums, let's say that we're dealing with an acoustic kit that is mic'd up for recorded drums.
00:21:40.180 --> 00:21:48.100
Uh-huh.
00:21:45.860 --> 00:21:47.860
What do you tend to do there?
00:21:47.860 --> 00:21:53.860
Yeah.
00:21:48.100 --> 00:21:53.660
First thing I'm going to listen for is any phasing between the individual recorded tracks.
00:21:53.660 --> 00:21:59.580
Yes, phasing can be a real issue, especially between the stereo overheads.
00:21:53.860 --> 00:21:59.860
Mm-hmm.
00:21:59.580 --> 00:22:03.100
And you want to make sure that hopefully you don't have any of that stuff.
00:21:59.860 --> 00:22:02.020
(silence)
00:22:02.020 --> 00:22:20.000
I am the face reversal if it would be needed to, right?
00:22:03.100 --> 00:22:08.420
And if you do, if there's hopefully a way to correct that stuff by moving it by whatever
00:22:08.420 --> 00:22:12.020
or sample forward or back on the particular track
00:22:12.020 --> 00:22:12.940
that you're trying to move
00:22:12.940 --> 00:22:16.400
and get the phasing removed from the situation.
00:22:16.400 --> 00:22:22.460
Yes, also, that would be interesting to have
00:22:20.000 --> 00:22:20.840
As well, yeah.
00:22:20.840 --> 00:22:27.740
On that note though,
00:22:22.460 --> 00:22:25.520
the left and right mics be out of phase.
00:22:25.520 --> 00:22:27.700
Mm-hmm.
00:22:27.700 --> 00:22:32.820
Uh-huh.
00:22:27.740 --> 00:22:29.300
when you're going through this process,
00:22:29.300 --> 00:22:30.600
'cause I know what I tend to do,
00:22:30.600 --> 00:22:32.060
but I wanna hear what you do.
00:22:32.060 --> 00:22:36.020
Where do you have your reference, if you will?
00:22:32.820 --> 00:22:34.980
(silence)
00:22:34.980 --> 00:22:53.840
I would reference to the overheads
00:22:36.020 --> 00:22:40.140
Do you start with like the overheads and then go by that,
00:22:40.140 --> 00:22:42.020
or do you start from like,
00:22:42.020 --> 00:22:44.400
when it comes to phase here, I'm talking.
00:22:44.400 --> 00:22:48.060
Do you reference like your kick and your snare
00:22:48.060 --> 00:22:51.100
to the overheads, or do you do it the other way around?
00:22:51.100 --> 00:22:54.460
Yeah, me too.
00:22:53.840 --> 00:22:55.100
'cause that's where you're gonna get a lot
00:22:54.460 --> 00:22:57.620
See if it minus or notice like that soft?
00:22:55.100 --> 00:22:58.540
of your spatial reality outside of your room mic,
00:22:57.620 --> 00:23:11.460
mild, or do you kinda see it Wi-Fi-icated?
00:22:58.540 --> 00:23:01.780
if you've got room mic or mics going on.
00:23:01.780 --> 00:23:04.740
a lot of your room soundy sound would probably be coming
00:23:04.740 --> 00:23:09.740
from your overheads and setting that to the phasing.
00:23:09.740 --> 00:23:12.940
Now that makes it also slightly difficult,
00:23:11.460 --> 00:23:17.940
Why it Open up more really?
00:23:12.940 --> 00:23:16.940
especially if you're comping takes of drums.
00:23:16.940 --> 00:23:20.620
You have to be very, very careful about how you go
00:23:17.940 --> 00:23:22.120
That I can't respond for this though.
00:23:20.620 --> 00:23:23.840
about that because multiple takes could have different types
00:23:22.120 --> 00:23:22.700
You recognize?
00:23:23.840 --> 00:23:25.240
of phasing going on.
00:23:24.380 --> 00:23:31.380
Right.
00:23:25.240 --> 00:23:28.020
And then that becomes a real nightmare to fix
00:23:28.020 --> 00:23:30.020
in the mixing process.
00:23:30.020 --> 00:23:32.360
So you hope that your tracking engineer
00:23:31.380 --> 00:23:34.380
Yeah.
00:23:32.360 --> 00:23:37.280
is an absolute drum recording stud or stud at.
00:23:34.380 --> 00:23:37.380
Yeah.
00:23:37.280 --> 00:23:46.480
Mm-hmm, yeah, but it can happen.
00:23:37.380 --> 00:23:44.380
The biggest thing I would see that when it comes to phasing would be like if something is changed in between takes, which is a big no no.
00:23:44.380 --> 00:23:46.380
Right.
00:23:46.380 --> 00:23:47.380
It can happen.
00:23:46.480 --> 00:24:12.600
Anal, yes, anal, anal. Mm hmm. Mm hmm.
00:23:47.380 --> 00:23:50.380
Yeah, you knock the mic a little bit on the snare or whatever.
00:23:50.380 --> 00:23:53.380
And so that's something that you want to avoid, obviously.
00:23:53.380 --> 00:24:00.180
I'm with you there when you correct for phasing and time alignment and all that kind of stuff that I know both you and I tend to do,
00:24:00.180 --> 00:24:03.860
even if it's just 150 milliseconds or whatever.
00:24:03.860 --> 00:24:12.020
To me, again, it appeals to my anal retentive nature, but at least I'm eliminating one issue with that, hopefully.
00:24:12.020 --> 00:24:17.380
What's your go-to move when it comes to TomTrax?
00:24:12.600 --> 00:24:19.600
It's changed over the years.
00:24:17.380 --> 00:24:20.280
Yeah.
00:24:19.600 --> 00:24:20.600
Mm-hmm.
00:24:20.280 --> 00:24:21.120
- Yeah.
00:24:20.600 --> 00:24:29.760
Originally, I would literally cut them individually and remove any section that had no tom hidden
00:24:21.120 --> 00:24:25.880
- Mm-hmm.
00:24:25.880 --> 00:24:31.860
- Yes.
00:24:29.760 --> 00:24:31.480
to silence.
00:24:31.480 --> 00:24:35.200
I don't do that anymore.
00:24:31.860 --> 00:24:34.640
- Okay, what changed that for you?
00:24:34.640 --> 00:24:38.360
- Right.
00:24:35.200 --> 00:24:38.000
Spatial value of drums.
00:24:38.000 --> 00:24:42.140
It just changes the quality of when the tom actually hits.
00:24:38.360 --> 00:25:07.360
[ Pause ]
00:24:42.140 --> 00:24:46.620
It becomes a little bit too obvious that the tom has actually just made a hit because suddenly
00:24:46.620 --> 00:24:51.440
the spatial relationship inside the whole kit changes.
00:24:51.440 --> 00:24:52.440
I don't do that anymore.
00:24:52.440 --> 00:24:53.640
I leave the track going.
00:24:53.640 --> 00:24:59.440
I might do like a light gating that's not 100% pulling it to silence, but it might pull
00:24:59.440 --> 00:25:06.480
the individual room sound that you're getting off of the rest of the kit from a tom mic,
00:25:06.480 --> 00:25:09.600
maybe down 10 DB or something just so it's there,
00:25:07.360 --> 00:25:17.120
So you wouldn't gate it out completely, you would just sort of attenuate it by like 10
00:25:09.600 --> 00:25:11.340
but it's not gone.
00:25:11.340 --> 00:25:18.260
Not unless it was an absolute sloppy mess.
00:25:17.120 --> 00:25:18.600
dB.
00:25:18.260 --> 00:25:22.580
If it was an absolute sloppy mess, I might consider it.
00:25:18.600 --> 00:25:20.640
Right?
00:25:20.640 --> 00:25:22.640
Yeah.
00:25:22.580 --> 00:25:30.600
Mm-hmm, yeah.
00:25:22.640 --> 00:25:27.400
I will generally take out all the information.
00:25:27.400 --> 00:25:30.860
Basically what I'm trying to say is I tend to cut out tom hits.
00:25:30.600 --> 00:25:31.440
Mm-hmm.
00:25:30.860 --> 00:25:35.360
But this is a little bit dependent on the style of the track that you're doing.
00:25:31.440 --> 00:26:01.120
Mm hmm.
00:25:35.360 --> 00:25:44.020
I find that works best if you have more of a dance track and if I'm doing more of a rock
00:25:44.020 --> 00:25:49.260
track it tends to be a little bit more of a hyped sound anyway.
00:25:49.260 --> 00:25:55.340
So I find that that works best for me and I can treat them and I don't mind them actually
00:25:55.340 --> 00:25:59.580
popping out a little bit because all of that kind of stuff is going to be present in the
00:25:59.580 --> 00:26:01.220
overheads as well.
00:26:01.120 --> 00:26:09.440
You hope.
00:26:01.220 --> 00:26:06.280
So that's the way, yeah, well, actually I would prefer if I didn't have any of that
00:26:06.280 --> 00:26:07.620
in the overheads.
00:26:07.620 --> 00:26:16.140
I would love that because, no, in Superior you can, yeah, when you're miking an actual
00:26:09.440 --> 00:26:11.560
You hear that superior drummer?
00:26:11.560 --> 00:26:13.760
No, I know.
00:26:13.760 --> 00:26:15.800
I'm aware.
00:26:15.800 --> 00:26:17.960
(exhales)
00:26:16.140 --> 00:26:20.380
kit I like the idea of having things separate because it just solves so many issues with
00:26:17.960 --> 00:26:32.020
Mm-hmm.
00:26:20.380 --> 00:26:21.380
bleed and stuff.
00:26:21.380 --> 00:26:26.660
It makes it potentially a nightmare for the drummer to have to perform two takes, that
00:26:26.660 --> 00:26:27.660
kind of thing.
00:26:27.660 --> 00:26:30.360
That's a drum recording that we talked about that with Chris
00:26:30.360 --> 00:26:31.960
Alice and stuff in the past.
00:26:31.960 --> 00:26:34.360
Yes, I like to do that, but that's a judgment call.
00:26:32.020 --> 00:26:50.180
(silence)
00:26:34.360 --> 00:26:38.640
If you have some track that is going to breathe a little bit more,
00:26:38.640 --> 00:26:40.500
I would probably leave them in.
00:26:40.500 --> 00:26:44.880
This is part of the process for me when I'm cleaning up drum takes.
00:26:44.880 --> 00:26:50.100
I might also do some slight corrective EQ at this point.
00:26:50.100 --> 00:26:57.000
If for example, my overheads have a little bit too much low end in them.
00:26:50.180 --> 00:26:51.020
- Mm-hmm.
00:26:51.020 --> 00:27:08.660
- Yes.
00:26:57.000 --> 00:27:00.700
I might roll off a little bit, but you have to be careful here
00:27:00.700 --> 00:27:06.980
I found because if I start getting too aggressive with you know a low cut they just start sounding unnatural
00:27:06.980 --> 00:27:13.660
But if there's stuff going on in the subs little things like that. I will do before I do this as well
00:27:08.660 --> 00:27:15.280
- Right.
00:27:13.660 --> 00:27:16.920
Yeah
00:27:15.280 --> 00:27:16.520
That makes good sense,
00:27:16.520 --> 00:27:20.000
especially if you're going to export it to another mix.
00:27:20.000 --> 00:27:26.000
If you're keeping it within the same one, maybe it's advantageous to use a gate.
00:27:26.000 --> 00:27:34.000
Mm-hmm.
00:27:26.080 --> 00:27:29.680
Yeah, it can be I think depending on how the kit is
00:27:29.680 --> 00:27:33.040
Recorded and of course, this is all workflow based
00:27:33.040 --> 00:27:33.600
All right
00:27:33.600 --> 00:27:40.360
But it can be tricky to have a gate that is that accurate where it just doesn't sound like something
00:27:34.000 --> 00:27:44.000
[BLANK_AUDIO]
00:27:40.360 --> 00:27:45.820
It's just popping in and out and depending on how dynamic the drummer has been with their performance
00:27:44.000 --> 00:27:55.200
Yeah.
00:27:45.820 --> 00:27:50.600
Let's say that all the mic bleed is at a certain level and there are some
00:27:51.080 --> 00:27:55.360
softer tom hits that are not reaching above where the gate would be type of thing.
00:27:55.200 --> 00:27:59.520
[BLANK_AUDIO]
00:27:55.360 --> 00:27:59.360
So there is that, but that's probably a gating episode that we might do.
00:27:59.360 --> 00:28:04.260
Last thing when it comes to editing drums here, because I think this is a big one
00:27:59.520 --> 00:28:00.260
Yeah, sure.
00:28:00.260 --> 00:28:01.100
Sure.
00:28:01.100 --> 00:28:24.700
(silence)
00:28:04.260 --> 00:28:06.680
and I want to make sure we address it a little bit.
00:28:06.680 --> 00:28:13.040
When you talked about comping, if you are comping drum takes and they say,
00:28:13.040 --> 00:28:15.640
Oh yeah, take two was awesome.
00:28:15.920 --> 00:28:24.320
except that kick was a little bit late going into the downbeat of verse two, whatever.
00:28:24.320 --> 00:28:31.120
Don't just comp the kick from another take. You have to do all the shells and all the room mics
00:28:24.700 --> 00:28:26.700
Mm-hmm.
00:28:26.700 --> 00:28:28.860
(silence)
00:28:28.860 --> 00:28:36.140
Yep.
00:28:31.120 --> 00:28:34.880
and everything because if not, that kick is still going to be present in the other mics.
00:28:34.880 --> 00:28:40.640
So that's something that can be very frustrating when somebody go, "Well, why don't you just take
00:28:36.140 --> 00:28:49.140
That's where, yeah, I get it.
00:28:40.640 --> 00:28:44.880
a kick from the other take?" It doesn't quite work that way because the kick is already in
00:28:44.880 --> 00:28:48.480
the other shells, that kind of thing. Does that make sense when I'm trying to get across that? Yeah.
00:28:48.480 --> 00:29:02.480
Phase locked. Yeah.
00:28:49.140 --> 00:28:51.460
Certain DAWs will deal with it differently.
00:28:51.460 --> 00:28:55.620
Like Logic has the ability to use phase locked audio
00:28:55.620 --> 00:28:56.960
And that makes it a lot easier,
00:28:56.960 --> 00:28:58.420
especially when you have everything grouped
00:28:58.420 --> 00:29:01.460
into an actual folder, the actual instrument.
00:29:01.460 --> 00:29:05.180
So with drums, you have like your eight or 12 or 16 tracks
00:29:05.180 --> 00:29:06.660
of drums all in a single folder.
00:29:06.660 --> 00:29:08.980
And then you have that folder being a comp.
00:29:08.980 --> 00:29:10.320
That makes it easy.
00:29:10.320 --> 00:29:14.800
Yeah, and also other last thing here before we move on to the last point here.
00:29:10.320 --> 00:29:11.160
So.
00:29:11.160 --> 00:29:20.300
Mm-hmm.
00:29:14.800 --> 00:29:19.280
When you're doing that, you also have to pay attention to cymbals and things.
00:29:19.280 --> 00:29:23.800
Because that crash and something and all of a sudden that crash is cut off.
00:29:20.300 --> 00:29:35.180
Oh yeah.
00:29:23.800 --> 00:29:27.520
We have to pay special attention when we're comping drums.
00:29:27.520 --> 00:29:33.160
But again, that's a process that needs to be done before I start thinking about mixing.
00:29:33.160 --> 00:29:39.160
Last setup is virtual instruments.
00:29:35.180 --> 00:29:45.500
What's our last set up here?
00:29:40.080 --> 00:29:42.720
This is of special importance.
00:29:42.720 --> 00:29:45.800
Even if you don't do any of the other stuff, do this one.
00:29:45.500 --> 00:29:47.580
(laughs)
00:29:45.800 --> 00:29:50.480
Because how many times has it happened to you?
00:29:47.580 --> 00:30:01.160
10 years plus.
00:29:50.480 --> 00:29:53.360
It's happened to me a couple of times and I know it's happened to you as well.
00:29:53.360 --> 00:30:00.840
You decide to go back and remix a song from Eon's path.
00:30:00.840 --> 00:30:01.880
Yeah.
00:30:01.160 --> 00:30:11.800
Or has been modified so that it's not the same.
00:30:01.880 --> 00:30:08.080
Now that virtual instrument that you had in that track is no longer available.
00:30:08.080 --> 00:30:09.200
Right.
00:30:09.200 --> 00:30:18.280
Yeah, or whatever upgrade it's been, right? It might not be there. If you don't have that
00:30:11.800 --> 00:30:13.800
(sighs)
00:30:13.800 --> 00:30:25.020
Or you're in need of keeping an old computer around
00:30:18.280 --> 00:30:31.800
track printed, guess what? Your SOL. Right. And either case, yeah, and it's just, it's
00:30:25.020 --> 00:30:27.120
just to open shit like this up.
00:30:27.120 --> 00:30:31.500
And that gets expensive. (laughs)
00:30:31.500 --> 00:30:52.180
[silence]
00:30:31.800 --> 00:30:37.280
just a pain, right? Even if you keep the MIDI file, which I would actually encourage when
00:30:37.280 --> 00:30:41.480
you go into mixing should you have to go back and tweak something. You might have
00:30:41.480 --> 00:30:45.200
to change a register where something is played. You might have to change
00:30:45.200 --> 00:30:48.560
velocities of whatever the performance is. So that's a good thing to keep a
00:30:48.560 --> 00:30:56.480
backup just as a DI when we're talking about bass or guitar, right? But we're
00:30:52.180 --> 00:30:54.180
Uh-huh, yeah.
00:30:54.180 --> 00:30:58.180
But you're talking about virtual instruments, so stick with it.
00:30:56.480 --> 00:31:01.500
talking about very, I will. So I would definitely print them before I get to
00:30:58.180 --> 00:31:27.260
Yep. It
00:31:01.500 --> 00:31:05.800
mixing because then you have it and you know if you need to open it up later you
00:31:05.800 --> 00:31:09.400
you have what you intended it to be as you started to mix.
00:31:09.400 --> 00:31:11.820
Now one question, when we're dealing with that though,
00:31:11.820 --> 00:31:15.800
is let's say that you have the straight up synth part
00:31:15.800 --> 00:31:18.700
that has delay on it or reverb or anything
00:31:18.700 --> 00:31:22.220
kind of like time-based effect in the patch,
00:31:22.220 --> 00:31:26.600
would you print it with that or would you leave those out?
00:31:26.600 --> 00:31:29.080
Yeah.
00:31:27.260 --> 00:31:32.680
on the feel. Yep. More often than not I might actually remove it so that I can do it from
00:31:29.080 --> 00:31:31.080
And...
00:31:31.080 --> 00:31:51.180
Yeah, I'm with you there. It's one of those things that we want to be aware of. If it's an integral part of the patch,
00:31:32.680 --> 00:31:39.040
the mix standpoint, make it cleaner. However, if the feel goes completely awry by doing
00:31:39.040 --> 00:31:47.100
it precisely in a mix, then you will want to keep the original intent of the performance.
00:31:47.100 --> 00:31:49.280
(silence)
00:31:49.280 --> 00:32:13.620
Yeah, it becomes difficult with your volumic value.
00:31:51.180 --> 00:31:53.480
then you keep it in.
00:31:53.480 --> 00:31:59.320
But if it's something where it just becomes a swirly mess possibly in a mix, right?
00:31:59.320 --> 00:32:02.440
You might want to remove those just so that you have that control
00:32:02.440 --> 00:32:07.080
When it comes to mixing because it would be very unfortunate you have something there and you go
00:32:07.080 --> 00:32:11.480
Oh, that's the delay is just way too loud in here. It's not working in the mix
00:32:11.480 --> 00:32:15.880
There you go the volumic value
00:32:16.620 --> 00:32:18.520
of your sonic juiciness, damn it.
00:32:18.440 --> 00:32:21.640
Ooh, he gets them both in here. I like it. I like it.
00:32:18.520 --> 00:32:21.600
(laughs)
00:32:21.600 --> 00:32:34.720
Well, it falls under virtual instruments as well.
00:32:21.640 --> 00:32:27.080
Yeah, so those are things just to keep or be aware of when you're doing virtual instruments.
00:32:27.080 --> 00:32:31.240
And I don't think we need to go into if you're dealing with orchestral samples and stuff,
00:32:31.240 --> 00:32:35.080
because that's a different thing as well. Yeah.
00:32:34.720 --> 00:32:35.640
The other thing too,
00:32:35.080 --> 00:32:42.760
Absolutely.
00:32:35.640 --> 00:32:38.000
in terms of printing your MIDI tracks out
00:32:38.000 --> 00:32:39.500
with the sounds that you've actually used
00:32:39.500 --> 00:32:42.100
is it just helps with your archival purposes
00:32:42.100 --> 00:32:45.260
as it does with amp-syms and bass-syms
00:32:42.760 --> 00:32:58.840
Absolutely. Right, absolutely. So one last point before we put a bow on this. When you're
00:32:45.260 --> 00:32:47.780
and any other effects that are integral
00:32:47.780 --> 00:32:50.600
to what you're putting into the mix.
00:32:50.600 --> 00:32:53.180
Print that shit.
00:32:53.180 --> 00:32:58.060
Poke my eye out, man.
00:32:58.840 --> 00:33:03.120
doing this, when you are printing the guitar tracks, when you're printing your virtual
00:33:03.120 --> 00:33:08.020
instrument tracks, when you're done comping your vocals, all this kind of stuff, bounce
00:33:08.020 --> 00:33:17.380
everything from the beginning of the track. So you're going from, yeah, go that until the end.
00:33:12.520 --> 00:33:14.760
wherever your zero start is.
00:33:14.760 --> 00:33:39.600
Uh-huh.
00:33:17.380 --> 00:33:21.860
Well first of all, if you're sending it to somebody else, they're going to have a nightmare of a time
00:33:21.860 --> 00:33:27.140
aligning things if you don't. Again, if you're opening this up again for archiving or something
00:33:27.140 --> 00:33:32.260
down the line, you want to make sure that there's no issues with that. I have been given tracks
00:33:32.260 --> 00:33:40.020
before where I got somebody that had been using a different DAW during tracking and
00:33:39.600 --> 00:33:46.600
Right.
00:33:40.020 --> 00:33:44.220
I asked for it was one of those communication things they said do you
00:33:44.220 --> 00:33:49.000
want the stems I said no I want the multi-tracks okay you want me to stem it
00:33:46.600 --> 00:33:48.600
Right.
00:33:48.600 --> 00:34:17.220
Crap.
00:33:49.000 --> 00:33:54.160
out no I want the multi-tracks and they ended up sending me the session file
00:33:54.160 --> 00:33:59.080
with no multi-tracks nothing bounced out I just had the little regions and stuff
00:33:59.080 --> 00:34:02.760
and I just ended up having to rerecord a whole bunch of it because
00:34:02.760 --> 00:34:08.840
Yeah, that was unfortunate. So that's just good habit to do even if you're mixing it yourself
00:34:08.840 --> 00:34:16.600
You'll be happier probably mix faster because you're not fixing as many issues. So get that done before you start mixing
00:34:17.220 --> 00:34:21.940
Now that we're happy with the way we're actually exporting and dealing with our mixes,
00:34:21.940 --> 00:34:27.620
let's move on to our Friday finds. Chris, what have you got today?
00:34:27.620 --> 00:34:37.620
Very ethereal.
00:34:28.280 --> 00:34:35.320
Woo-hoo! I discovered an artist and sound designer that goes by the name Venus Theory.
00:34:35.320 --> 00:34:45.000
Yes, and this guy's got called Cameron. He has, well he's got music out, great sort of ambient
00:34:37.620 --> 00:34:44.620
Mm.
00:34:44.620 --> 00:35:13.620
[ Pause ]
00:34:45.000 --> 00:34:51.560
type of electronic stuff that I love. And he also has a really really good YouTube channel
00:34:51.560 --> 00:34:57.880
where he talks about different forms of synthesis and sound design kind of thing. And
00:34:57.880 --> 00:35:01.800
It was one of those guys that yeah it was just really inspiring to see them work because that's
00:35:01.800 --> 00:35:08.280
a little bit outside of what I do on the daily so to speak. So do yourself a favor if you're
00:35:08.280 --> 00:35:13.240
into that kind of stuff go check him out Venus Theory. I like it what do you got?
00:35:13.240 --> 00:35:23.640
That's a mouthful.
00:35:13.620 --> 00:35:16.940
I'm going with the caveman audio
00:35:16.940 --> 00:35:19.860
AP1
00:35:19.860 --> 00:35:21.940
compact acoustic preamp
00:35:21.940 --> 00:35:25.580
Now yes, it is. It is a giant mouthful
00:35:24.440 --> 00:35:50.640
S
00:35:25.580 --> 00:35:33.020
the idea here is that the caveman comes from a guy out of Denmark and
00:35:33.020 --> 00:35:42.300
he has built custom gear for some of the biggest names in our music history past in
00:35:43.100 --> 00:35:45.820
in terms of modern recorded music.
00:35:45.820 --> 00:35:48.740
Steen Skrädströp.
00:35:48.740 --> 00:35:50.740
I'm probably butchering that name,
00:35:50.640 --> 00:35:57.640
Cool.
00:35:50.740 --> 00:35:52.420
but I believe that's his name.
00:35:52.420 --> 00:35:57.420
So, but well, he's decided to shrink this shit.
00:35:57.420 --> 00:35:59.820
So it's much like his original thing,
00:35:57.640 --> 00:36:04.640
Cool.
00:35:59.820 --> 00:36:02.380
but now it's much smaller and much more compact
00:36:02.380 --> 00:36:05.940
and weighs a lot less, like half as much less.
00:36:04.640 --> 00:36:11.640
Cool.
00:36:05.940 --> 00:36:09.180
So it's the AP1 acoustic preamp
00:36:09.180 --> 00:36:11.180
that I'm going with for this week.
00:36:11.640 --> 00:36:12.140
Cool!
00:36:12.140 --> 00:36:41.140
[ Pause ]
00:36:12.460 --> 00:36:14.080
While we've got your attention,
00:36:14.080 --> 00:36:17.420
we ask that you go to insidetherecordingstudio.com
00:36:17.420 --> 00:36:19.140
and sign up for our mailing list.
00:36:19.140 --> 00:36:20.960
Doing so will get you weekly reminders
00:36:20.960 --> 00:36:22.820
about the Tuesday tips when they come out,
00:36:22.820 --> 00:36:24.260
and we'll make sure you don't miss
00:36:24.260 --> 00:36:26.860
any future episodes of the podcast.
00:36:26.860 --> 00:36:31.860
Send us an email at goldstar@insidetherecordingstudio.com
00:36:31.860 --> 00:36:34.740
with the phrase, "mix prep,"
00:36:34.740 --> 00:36:37.620
and you'll get something cool back in your inbox.
00:36:37.620 --> 00:36:40.020
If you have a topic of suggestion for Chris and I
00:36:40.020 --> 00:36:41.540
to explain in a future episode,
00:36:41.140 --> 00:36:50.920
Thanks for listening, people.
00:36:41.540 --> 00:36:45.340
contact us at the contact page and we'll put it into consideration for a future
00:36:45.340 --> 00:36:49.420
episode. And with that, I'll say, see you next week.
00:36:49.420 --> 00:36:51.420
(no audio)
00:36:50.920 --> 00:36:51.960
I'll talk to you later, Jody.