The last thing I'm gonna do is I've still noticing a few problem areas in my mix overall andi I'm not I don't really want to sit here and jump through and find you know find out may be what's causing the problem so one of my favorite techniques is to use the isotope oh zones learning each you and this works in oh zone six it was on five and ozone six I actually prefer how it works in five but I I've used a little bit in six and I think I think it does something similar and ozone has this really cool thing called matching so what I'm gonna do here is I just bring in the taking back sunday song right here and I'm gonna play it back through ozone and it's going it's going you know he's like a spectrum analyzer and analyze the frequencies in the mix so I saved you I saved this e q curve right here now we're done we're done with this I was taking max anderson I'm going to go back into my on it master chain here and open this back up and I'm gonna load in what I just saved which was the taki...
ng back sunday snapshot here so I can open this up and there it is there's the occur from that song so I want to play something kind of similar wanna play just a little bit of my verse and into my priest version of the chorus and capture my eq u curve of the song. We're currently working on some of that hit play and start captured. And just looking at this you can see the low end is quite it is different than the low mids especially a little bit different and it looks like his highs there gonna be a little bit more than mine so I can stop it here stop the capture so now we've got my mix right here is in yellow and the taking back sunday song is in purple so now I want to see what happens when I I used that taking back sunday q curve on my song so now you can go over this next tab called matching so I hit this and here it is that I want to use this taking back sunday as my reference so I can click this and I go to my mix apply to gonna hit that now I can hit match right here and I have the opportunity to slide this issue curve and it's going to start putting an echo on my mix that uses that taking back sunday song all it to one hundred percent which is going to be way too much but I know that I like I think I settled in on something around here where it really carved out these low mids and really bumped up my my lows here and did a little bit up here at the top in so I'm gonna play a part of the song here and insert the queue and take it in and out and you can hear that. What this it was doing to my mix. It's. A rather, but I wonder. I haven't had a single original between. The loan is a bit much here. I mean, I could just bring this down a little bit. But I really like what it's doing up here in the high range, it's it's, getting a little bit more clarity out of the overall mix. And again, it's. Helping. Carving this out, which has been a theme today with a lot of my stuff, is getting rid of these loam is that tend to make things sound pretty boxy. No surprise, but I wonder. I haven't had a single original between. Shit! That's it that's, the finish mix right there.
Bonus Materials with Purchase
Audio Tracks from 'I Want My Money Back' by The Money Pit
Casey Bates is a Seattle-based record producer, engineer and mixer. After starting legendary Seattle band Gatsby’s American Dream with fellow One Point Two member Bobby Darling, Casey began producing albums for some of the Northwest’s most noteable indie rock bands like Portual. The Man, A Skylit Drive, Chiodos, Pierce the Veil and The Fall of Troy. Casey has been a sought after producer from labels like Fearless, Fueled by Ramen and Equal Vision.
Regardless if you've listened to the music Casey has personally worked on or not, you'll find a lot of great information on his methods for mixing. It is such a great idea that this class comes with the files that Casey is actually work with so you can work side by side.
This class includes best practices in organizing mixes, using busses, and what I consider the most important take away: listening to the MIX and not necessary just a single track over and over again.
My requests: attendees had better formed questions to ask and to do another class -- I would love to hear some of the techniques and mixing that went into Church Mouth by Portugal. The Man.
It was straight forward and helped show everyone it doesn't take fancy plugins or shiny toys to make great records. Even his vocal chain is mid tier but he yields excellent results with years of knowledge on his side. Casey you should come back to do a song off Emarosa's 131 album. There has to be some cool tricks there.