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Mixing Master Class

Lesson 10 of 13


Kenneth Gioia

Mixing Master Class

Kenneth Gioia

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Lesson Info

10. Guitars

Lesson Info


So now ready to some guitars. So we have acoustic guitars. Let's do those first. What's on me? These and but what? Mute these guys. Good. Do you Sorry. I forgot. You still can hear me. All my little tricks that I usually get to do I can't do today You guys were all watching me. People using you Leave me alone when I mix my classic Kenny move for acoustic guitar Used to get rid of all the low and I don't need I just work on one Put up the middle and I never compress acoustic guitars I know some people love that. I hate it. I don't want to bring out any of that meat and stuff I want to be is because it is possible this transience so Ali que it so I start out by rolling off any Lohan that we don't need and then crank Hi, uh, shelving the song like this because it's so dense We could actually make this little bit brighter and then bring it down in the mix. That won't hurt so much. But it'll find this space because it's really this bright little percussive part. If it's not bright enough an...

d it's not cutting through. You have to make it really loud. Will you make it lower than you hear it? So, in order, find a space for it's really best that it be kind of bright. So here's a little trick. Also in Reaper. If you want a copy, any cue from one to the other, just drag it, drop it on the track. And now we have the same e que on Botham saves a little time. Let's blend that into the track. We're not going to leave you with the way on that, because I don't want to wash out too much. So way have another keyboard entering, which want to turn off first the world, sir. And then check out again. Just remember to forget to put this guy back over here. That's why wasn't cut through a swell seeking really hit up a custom. Nissen it because it's just on the sides and it's nice and bright were not really hearing the meat of it, but you don't really need to hear the meat of it. There's so much else going on. We have again this Wehrli gig or world, sir, so I really just want a little percussive ear candy for these guitars. I always like to hear without you the difference. I feel good again. We'll save it. We will zoom out. And what's next is the other guitars, the clean ones. They're playing the same part. What, together? And so it's working the 1st I think they got a slightly but brighter. What's going to our effects? Me que? I don't think we need. Know what? What striking, pressing a little bit. See what happens. Let's try that first, then in Q. I mean for this someone who's a shelter. You Excuse me for this. Sunday's A Parametric EQ. You clearly don't need the upper brightness of this just more the upper mid range and what would hire And it's good. Let's try a little reverb on that. I don't think What's your that the way? Sounds like I'm not sure. What's you, this one here in the track? E. It's kind of nice to keep that there and let's maybe even give it more of it. Hey, again, let's add some River E said. Some reverb that work. So it's putting these effects right over here. Now this guitar has it as well. How much is double check we have here about 29 11 for the effects for a delay and take him out of solo. I think they're levels about the scenes was up a little bit and it's putting them together. Just a feature. One more. I'm gonna bring us a little more to the center. Keep this to the side. I'm gonna bring this one up a little bit and this one down a lot of it. So the double is more of a double instead of them both being equal a little more centered. And this doesn't happen during the vocal, so we don't have to worry about that does happen during the back on vocal. But that's OK. I think this is more feature than the Who's, so we will save that. And now we have two more guitar tracks, but don't happen until the bridge. Clean this up a little more and we'll start with one track in the middle. I think it can cut a little more, so it's add some que on it, using a parametric acu about two kilohertz without it. So what a muffle sounding way may readjust this once. We, uh, here, the vocal who stuff's happened during the vocal will drag and drop it to the other bridge guitar. So they both get the same treatment pin this one left and what's blend this with this song? I think they're a bit thin. So I'm gonna take this down to about three db instead and the same the other one. Not that. Okay. Our funeral, if you notice. But because I want to take you down a little bit how to make the guitars a little bit louder to compensate, which makes him sound four. But they're also takes up more space. So the brighter you make him the well. You can keep in mix but obviously have to sound good as well because the vocalist playing during the spot, we should compare it with it in I know it seems you got no way. It's feeling pretty good. I would say that. And you have some questions? Yeah, he promised. Yeah, I did promise. So Hey, Kenny, glad you mix with Reaper. Have you compared the sound of the dog to pro tools or other Dawes Er's Or even a perceptible difference? I don't hear any perceptible difference. I look it. I look at all the doors as computer is not computers calculators. If you can argue over which it calculate your accountant uses, it doesn't really make any sense to me. The thing that makes it hard to compare the two, though, is that, for instance, in this mix right here, we're using all of Reapers accuse. So no matter what I do, I'm not gonna match the exactly accused I use on DG a Q three in pro tools or the one that comes with, um, logic or any other one like that, the only way to really do it, I guess if you use only third party stuff, but still, there's so much if you've ever tried to compare the things that way, they're really, really it's just way too hard to figure it out anyway to do his baseball field. And I've mixed back and forth between both, and I really don't feel the differences in how you react to the software. The graphic interface, just your own personal way of working it really to me has nothing to do with sound quality. I rule that out as a non non part of it. Okay. Um, Coop, Music wants to know I've recently been wanted to make. My mix is more and more dynamic. I've been using T TVR dynamic range meter both online and offline. How much dynamic range do you think feels good for most pop and pop rock? Well, if you look at the diamond if assuming identical and you're talking about the lowest sound to the higher sound pop music is like the least you put on any CDU by now. It's just like I almost no dynamic range. Yeah, so I've always kind of shot for that. The best story I can give with that is when I first started mixing. I don't use any compresses on the to bus, As you see I'm using to now. And sometimes even three. What happened was I mean, some mixed. That sounded really good. They got put on the radio and they sounded really bad because radio compresses the heck out of. So as my career went on, people started. I knew my son is gonna wind up on radio. I knew I had to sound good on radio, so I started reading articles. I think Massenburg had mentioned the fact that when you, the more you control your dynamic range in your mix and the mastery and stuff when it goes to radio and they smell the heck out of it, that isn't much more they can do. You mean it's still gonna change? It's gonna have mawr compression on it, but your balances will be your balances, whereas if you keep your your mix very dynamic, meaning dynamic sound like a good word. But really, um, it's not always the best thing because you listen to something that's very sparse and very loud and soft. That stuff's gonna get crushed way down. If it does go to radio or any other broadcast format. Now, if you really wanted to be that way, then just don't put too much compression on your two bus. Don't put compression all over the things, but you find out. Give another perfect example. Work with a singer once who said they didn't like compression on the vocal and I was like, What you're talking about? You're in a rock band. I don't want a compression medical. Okay, so I said, You just record your vocal and then you can come back and hear it. And as you heard in our rough mix, if you hear it, you like. Okay, I can kind of hear myself in the course. I can't hear myself in the verse or vice versa. It's like that's what happens if you don't compress it. It's unnatural. So when you sing loud to be here, when you sing soft to be at the same level, that seems crazy. But if you listen to any popular records, it usually is, and again if you want it to be different. If you want to sing soft, never be soft. You can do that. But most most music is not made that way. People can tell the difference between singing soft, even if it's loud and singing loud. Even if it's soft, your emotions was coming through, but the volume just can't come through this. There is no volume difference between most pop records. Awesome

Class Description

Kenny Gioia is a multi-platinum engineer and producer behind pop and rock records from the likes of Bayside, American Authors, Ingrid Michaelson, and Mandy Moore. He is also a trusted educator and founder of

In this mixing masterclass, Kenny will walk you through his specific mixing techniques getting top-40 friendly mixes entirely inside the box in Reaper. He will cover:

  • EQ, compression and dynamics
  • Reverb, delay and time-based effects
  • Vocal automation and vocal tone
  • Drum, guitar and bass mixing techniques
  • Mix-buss and pre-mastering tricks
If you’ve been looking for a way to get that big studio sound from your bedroom DAW setup, Kenny will show you how to get your mixes sounding like they’re radio-ready.

Ratings and Reviews

Student Work

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this is really great mixing course, kenny has a great workflow and i learned quite a lot and it was easy to undestand, and i dont even use reaper, what you learn in this course applys to all daw and tools, which is great

Evan Phillips | Alaska

Kenny's Mixing Master Class blew my mind. His workflow and level of organization during mixing is a real eye opener. I'm also a longtime Reaper user so this is an excellent all around resource for me. I feel like I just stepped up my game. Thanks Kenny!

Geneo Van Engers

so far this has been a great training class for brushing up on the basics it would have been nice if you would of went over gain staging more and how you got the static mix level wise when faders are at zero its a little deceptive. I did appreciate the minimal set up you use though.