Fundamentals of Mixing Rock and EDM

Lesson 7 of 35

Improperly Using Auxes

 

Fundamentals of Mixing Rock and EDM

Lesson 7 of 35

Improperly Using Auxes

 

Lesson Info

Improperly Using Auxes

We were just talking about a river we made some of these points I walked out of further expected this because I see this constantly effect said's our for shared plug it's so I actually have a good me call up my really good example for this while I tell you guys all about this so as we were talking about with your reverb um you if we want to use iraq's for anything that you're going to said to so river mes and delays are very common for this because we're going to wantto at times send different things to the way said different things to the reverb so toxin is great there. Um we talked about the head room in the game staging a little bit before that like the idea of that you also don't want to overload like it's not okay to just put a pre bastard bus on it and then pull that down because then you're just clipping your pre master bus and you're adding something to it um that gets toe what I kind of had to that before, which is you were using ox is the sub mix everything and it's killing y...

our tone so like we kind of a re occurring fee but this class and the last crosses is that there's a lot of things that these nerds tell you with that like it's just ones and zeros there's no possible way it's killing your tony. What I'd love for all of you to do is if you take your guitars and put a whole bunch of guitars through talks said and put a plug it on, it mixed that song where they're all going through that plug in and down that hawkes said, and then put those same effects on each individual track and listen to it, it's a very, very different sound. I don't care if they say it because I hear it over and over and over again, is that? Would I? My biggest advice is that I've seated on a lot of mixes when I fix up somebody's makes like a bad often times will come like we mixed this ourselves, we just want touch it up a little bit the second I take all the jobs, all the guitars, all the vocals out of an ox that they've put it all through, they fed each water that they're leveling of off like that. I just put him through the bat bastard bus out and I apply some of the same process the sound opens up now. Some of this has to do with different things is that, you know, when you're putting all your guitars through are all your sins through and there's a compressor on there, the compressors riding it and it's riding all these things that coming in and out of the mix in different ways lead guitar going over like jin jin jin jin jin jin jin and it's going nino nino nino like every rise records core bad does that compressors going move in such a crazy way as compared to if you just compressed it on each track and controlled them individually the same thing goes with like drums and cymbals and you know you're tom's don't always need an overall compression that's the same as your drugs and in general these auc's is a lot of time like everybody's like, well, I'm just going to take it down would really it's a lot of overthinking and I really advise against that I know a lot of times your little one processing power you go how can I do this without this processing power? It could be a riel it could be really not fun to have to deal with like the idea of yes you're gonna have to process all these, you'd have to find a way we're going to show you how you save some dsp a little bit later on with this stuff, but I want to really advise you to try to learn to just put everything through the bastard busted visually except for a few exceptions so a perfect exception is like we deal with a lot of bob gag vocals what do you got? Our you know, our tracks in heavy music so for example, of this song this's ascending from ashes there is really awesome metal band from new jersey every court and sean the singer of the band is really, really tell it to do and so sean does tons of layers of harvard ease of oz. So now what? I was talking about what these before since we're not dealing with the dynamics of a different thing moving against each other like a weed guitar and rhythm guitar that airplane two totally separate things I could put these data knox because I didn't have enough plug it in power to put effects on each one of these so like doing something like this, processing something that all moves the same down to knox track could be great now if I also put the weed vocal through that it was compressing all of them will comprise press and move all sorts of weird ways the balti bad compressor would move all sorts of weird ways. It just makes your job a lot harder and I see people do this over and over and over you guys that all the odds with the lead vocal are all going down walks and in general, I know you think it's simplifying and you're able to just think about the vocals and move a fader it's not helping you much um so with that stuff let's get into submitted gritty of the differences between some of the settings out of talks. So the first misconception I really want to get into is f m p so what does that offend people match? So this means that if I put this on wherever a vocal is panned, so this one's probably better examples, as you could see, this truck is pad about twenty three on the pending scale. If I put on fn p wherever ipad, this it's gonna move with it so as you could see, if I do this it's gonna go so ideally, while a time you're going to want to do this so that anything that you're setting oxes to maintains that stereo place, the becks. But there are exceptions to this rule, so this ox is one of the exceptions of the rule and which is why I don't have it pant to where it should go, and I don't have a frumpy on um, so this is going to our harmonizer, so we should get into what a harmonizer is, since I think that a lot of people don't realize this isn't a mix a lot of time, what a harmonizer is, and this is on almost every pop and, you know, dance, metal, hardcore. Radio polish working like you may not hear it on your ross to d records like you're not going to hear it I'm like bon iver or steve albini mix all the time but like what we're basically doing is we're delaying the vocal little bit overall and then on one side I'm making it sharp ten cents and the other side I'm making it flat ten cents so a basic this is doing is it's a kind of course that just makes the vocal sound wider in the stereo spread so this is really important because what's very crucial to this balance is that the vocal mix comes into this and it's not getting any more of this eleven cents or this eleven cents or else that's going to skew the balance of which of these is louder and then your vote goes into sound out of tune so because I'm good going down and hitting this with a fader on a stereo walks now you could just put this on a model walks but unfortunately that's not always how it is that's no it always what you will do that different subject right there but if you pad this a little you're going to get a little bit mohr and you're also going to get that vocal hitting that stereo spec trouble different you want to keep this so it's made take the stereo spectrum exactly evenly since it's doing stereo wide big for your vocal so in that case, you don't want to have the fn p on, but so then once you get into something like a vocal, if you're doing a vocal and you're panting hard right out all your oz, if you put on that fn p you then be able to keep that right vocal that you want really hard in stereo and you don't want clouding your stereo spectrum, you're able to keep that without having to worry about that in the talks. So it's the same thing with the reverb. So this is my reverb said for some of these vocals, um, and if I send that down the fn p that no matter what I do so you know there's some songs where you're gonna pan the vocal all through it all through the song like maybe the harmony bounces around or something you want that faded always move it that makes it so you don't have to add an extra layer of automation, so you want to be very conscious of where, whether you're fader is following that into your ox is and where your ox is air panned with that now the office that could also be true that some songs I will put the fn p on my guitars so that the pan is always following it. And then when the guitars a well know, I might want the reverb on lee to be on the opposite side of it so that the opposites died still has some information, it sounds like it's all in a room, and I'll reverse the panning on my reverb so that that way it's always the other side and there's something cool happening on the other side there. So with that one last function you see on every ox is pre fader in post fader, so I touched on this a little bit before with the reverb, and I guess this is probably great chance to demonstrate the fun stuff you could do with this. So we were talking about before the idea of that, like, when you want to keep a song a little raw or would say you wanted just excite your reverb with good sound um, so what? You could do it? What say you fi, you know that you want don't want samples on assault now we're on a metal song right now, so the odds of you not wanting samples are pretty minimal, but we're going to pretend for the sake of this demonstration, so this is the sound of the scare in going into our river, okay, so we can now hear how that works is going into their so right now this is odd post fader so what this means is that any level I have on this fader is going to determine what goes into that this reverb so watch this so you hear how the reverb level was very dependent on this pre or post it was defended on how this fader worked without me in post fader mode if I put this pre but non you'll see the reverb never disappears or even gets affected so what's nice about this is is if you have an element of their mix or you want to treat something into it talks differently you could put this pre bowed odd pull the fader all the way down and it won't affect the blood this is also great for your drums subba times so if you have a drug sub you could do it one of two ways this mix I have that my feeders effect how much of the kick drum is going into my parallel compression so so I should make a note ears like why just soloed here is all my sleigh triggers this mix in particular is very rare for me where there's no real drums in it it's really symbols with only slight troubles on it his aesthetic choice we made because the records the bad played me we disturbing this is how they were doing about those records so let's try it this way it's not my usual aesthetic but so you hear the difference of that? Here is the dry drums, and here they are with the drum sub a pretty big difference and sound when I put that trump subban. So the one thing is, though, but that all my levels so if I turn off my automation that I have on these drums, um, will affect what goes into this compressor, so if you watch where they are now, so these again, so as you could see, that said that compress that way. But if I let's say, I'm moving around of the big stop doing a lot of movements, the picks and I'm like, all right, well, bye kick drums too loud, and I pull it down all the sordid we're not getting that in the compressor anymore, so what's nice about the pre bowed is that if you like the blend of that you were getting into here, if you put this on pre it's, never going to get affected. So the one thing is, though, that if you're getting too much kick, you're going also, I've pulled out your trump sub or it's going to screw up. How much of your parallel compress? Yeah, so this becomes a matter of style, and you have to determine how you'd like to do this, I personally go back and forth between these and I kind of know that I have to a tweet by compressor as I pull up, kick it, stare, and I do automation stuff with that. But a lot of the time, I actually think this is a kind of a rare cases. I put this on pre at that idea with my drug sub afterwards, but you have to make a decision at some point which way you'd like to go about doing this there's no real right and wrong way with pre and post said's. When it comes to parallel compression it's something you need to determine yourself of how you like to work. But you have to know what that is and allow it to work with you by particular favorite way of letting that button work for me is exactly the thing I played before is having in l a bit of the mix where you could just send it into a reverb without actually I would have that element in the mix. You could keep its fate or all the way down.

Class Description

While it’s easy to get distracted by the latest and greatest gear, plugins, and flashy tricks, the real key to a great mix is mastering the fundamentals. In this online class, veteran producer/engineer/mixer Jesse Cannon (The Cure, Animal Collective, Senses Fail) shows you all the essentials of mixing rock and electronic music.

In this 3-day class, you’ll learn how to set up a session the RIGHT way — including routing, gain structure, listening techniques, and other best practices. He’ll show you how to mix vocals, bass, drums, guitars, and synths. You’ll also learn how to use compression, reverb and EQ to make your mix come together, while achieving the punch and separation that takes it from good to great. The class is taught with Pro Tools, but the concepts easily translate to any DAW.

Whether you’re new to mixing, or are a seasoned pro looking for a refresher on the basics, this class will teach you how to seamlessly merge individual sounds into polished, cohesive tracks.

Reviews

a Creativelive Student
 

I just want to say I have watched a lot of the tutorials on the creative live site, all dealing with audio. And I was so impressed with the knowledge and professionalism of Jesse. This guy walks the walk and talks the talk. Anyone who is an engineer or who wants to become and engineer this is a treasure chest of knowledge.I went to an audio school and we had seminars all the time. A workshop like this will really advance you. And I mean that from an engineers point of view but also that of a consumer because I watched the course for free and a couple of days later I bought the course. You may be thinking to yourself I just can't afford it. You can't afford not to invest in yourself and education. Creative live is a great site and a wealth of knowledge. Thank you very much to Jesse Cannon. Great workshop. You guys at creative live need to bring him back again.

a Creativelive Student
 

Excelent class! Suitable for all levels of mixers & musicians. Jesse is real pro, and knowledge what he gives cost much more than 149$! CrativeLive, please make recording & producing tutorial from Jesse, i'll praise you!