Everything is everything :-)

On point!

A valuable fact!

I get the vibe that he's always talking about both. It must be the hair

Whoa! Interesting concept.

Yeah this video was sometimes a bit distracting due to that,.... interesting content but too much noise

SO WAAAAAAARMMMMM lol

😂 This is how I speak in the living room when I don't want to wake up the kids

Hahaha 😂

Annoying

Get Songs Done *anything 😂

Panning helps, and getting your velocities and volumes right is very important...SBN

we like variation

yeah for real that was a good one

Thank you! I have to say, judging by the comments, that I actually think most of the love for these episodes is coming from newbies and early intermediate mixers, precisely *because* the presentation is non-technical and (mostly) plain-language :-)

@@TheHouseofKushTV I agree

@@TheHouseofKushTV Exactly what newbies need to hear! no reason to start speaking another language when the person hasn't even learned the alphabet.

He talks so well about the feeling, then picks and demonstrates them well. He doesn't teach you what to do, but how to know what to do.

Its especially unusual as he BUILDS that gear, and still isnt just going on about it, but maybe building it takes away some of the snakeoil mysticism of technical talking channels? I built (and designed, not cloned) guitar pedals, and they kind of became less special, like so many arbitrary choices inside just suit different situations/arbitrarily hyped pedal -i question- so whats the end goal??

that's my kind of knowledge music wise in the modern era. There's too much 0II000I is better than 00I0II0 going on and even during some other tutor's videos many get distracted by the thought of "he's using 0II0I0 DAW and i use 000IIII and because i'm a fan of his work and i want to achieve the same sound then i should reach for the same tools otherwise i'll never get close". This is just pure overthinking and procrastination. A destination is a destination. Moving towards it will get you there regardless of what shoes you wear. It's all in the will, goal and proactivity.

Have you accepted Reaper into your life?

@@wardamo LOL I had to take a break after this comment. My musical life was saved by Reaper.

right!

@@wardamo I use reaper heavily!

You as well!

This has been an issue for years; it what happens when you let someone who knows next to zero about the complexities of mixing (A&R men - yeah, you. Stop avoiding eye contact) blundering into the control room and saying "make it louder". As the engineer sighs, puts a brick wall limiter across the mix and dies a little inside.... The loudness wars were a thing. Alan Parsons (Dark Side Of The Moon - Pink Floyd recording engineer if I recall) made a whole video about it. The loudness wars are slowly fading into memory (thankfully), but the battle is still there. Ironically - TLWs made mixes really dull. Instead of bathing in the divine beauty of the wonderful huge dynamic range digital technology bestowed upon us, giving our ears glorious roller coasters of volume curves and dynamics... We got blocks of sound. Which the brain just processess like a car alarm after a while - and just tuned it out. So glad things are changing. Slowly, but they are changing. And this guy right here - is helping that a hell of a lot.

The many show off pretentious mixes that grate over time..

Thanks for your endorsement, oh verified one!

It’s good to come back to a mix after a few days. That first listen is pretty much how a new listener would hear it.

It really is. I'm so critical while I show shit to friends and they always like it. While I hate it lmao

think of your mix as a stage and you provide lighting. when do you put a spotlight on an actor? when do you turn up the colours on the background?

Very true. Like being a player in the crowd at a show. It's hard to remember. Unless one becomes like a little child, they will not see the kingdom of God.

@@TRFAD I used to be like this, until one random thing that happened at a festival. There was a loose screw in one of the speaker cabinets in this wall of sub scoops, and it was really grating my ears as it was distracting me from the experience. I mentioned it to my friend, an avid music listener, but not into making music in any way shape or form himself. It was at this moment, when it took me like 5 minutes to get him to be able to hear it (and even then I think he was just humoring me as I wouldn't shut up about it lol), that I realized most people don't have that level ear for micro details in sound or music. It helped make me look at mixing differently, as what's the point of making these tiny adjustments that only you can notice because you know you did it, and not because you can clearly hear it (as well as everyone else). There is however a difference between this and making many tiny adjustments to create an overall bigger change in the music, that is something else entirely that is still a very important aspect of mixing. It's the tiny changes of one aspect of a mix, purely standing on it's own, that's probably inaudible to 99% of listeners, that this made me pay attention to and worry about less going forward in my work flow.

On that subject: Where can I find UBK’s discography?

Curry Sinatra lmao

Dudes a pure rockstar/Guru 😂😂 seriously tho

@@alexmack416 Hey, who you calling asexual??

@@alexmack416 Hey, who's nuts are you pulling??

U said it all bruh....this two combination is wat u need after hours

yes

I just keep waiting for Gregory to say something like, "Rachmaninoff. The 18th Variation of a Rhapsody on a Theme of Paganini. Recorded in 1992 by the Boston Philharmonic, Benajamin Zander, the longstanding conductor of the BPO, was quoted saying it was the most emotional expression of the piece he's ever heard"......

Both man

i realize it's kinda off topic but does anyone know a good site to stream newly released movies online ?

He could be also bring you back to the right spiritual path, I sense it.

Strong choice!

You're right, it does not work in daylight. :-)

That’s fair.

Listening to this first thing in the morning, with coffee. Works fine. (I’d like to consider this: a creatively unbalanced move)

@@jeff7775 downright unhinged

Ditto!

@@julesalexander2583 Such a mood

All part of the process! I had a song I thought was “mixed” until I realized how crucial mixing in mono is. When I opened up the project and switched it to mono the entire song caved in on itself. It was a pain but the track sounded a million times better after it was re-mixed :)

Taye Skywalker always check mono! And I avoid using sample delay for that exact reason. I double track everything if I want it wiiiiiiiide

Pord Lartsa never had that. What causes it?

All about how it sounds.

Make sure when you compress you drop the dB gain back to about what the sound was like before with some A/B sound checks

What would Alan Watt think?

@@duaynedaniels1996 You mean "What would Alan Watts drink"?

What the FUCK lol I got on KZfaq to look up one of his lectures to fall asleep to and then saw this and got distracted. Thanks for reminding me

i was just listening to some alan watts like several hours LOL

Alan Watts... another alcoholic guru, that telling you about courage, but have no courage to quit alcohol. 99% of those gurus are full of crap.

Well stated!

Exactly

He is this is it

He could comment anything boring and make it interesting.

On point!

Oh shit, is this why live mixes often sound kind of lifeless? Because the engineer is kinda forced to either balance everything or bias one of the instruments/musicians??? Except even with amazing compression there’s really no way to get a perfect live mix without sacrificing SOMETHING... oh my goodness it’s all making since

This is so true. I've come to realize that about 80% of the mix is established in the arrangement.

true man! for me too!

Thanks man, that's definitely the plan, I enjoy doing these!

I know what you mean, but he's completely speaking to me. I often find myself telling myself to be more bold, but then I'll hold back because I think something is "wrong" with what I'm doing. Ironically, I'm completely free form when I write music, but engineering has been a struggle to not think so black and white.

@@cbrooks0905 You're not alone on that. Even today, 2 decades in, I *still* have a little devil on my shoulder when mixing, talkin' shit in my ear about what I'm doing wrong. I usually take that as my cue to go farther :-P

This video makes sense, though. It's good to think about one or two elements being more aggressive than "balanced."

There are rules. Always.

@@executionsquad3926 uhh not really... not ones that u have to follow at least (or even should follow) which makes them not rules

Thanks for taking the time to say thanks! I'm just paying it forward, so much of what I know was passed to me in the same way. Keep at it!

sidechain the reverb and cut the lows

oh and pan the verb different from the source, cheers!

create virtual rooms thru bus sends

This is one of really deep questions and I don't think one can fit it in 5-10 minute video...

It's not that deep...and it could be 20 mins if needed.

HELL YEAH

I LIKE physical faders. Got a half decent audio interface.... Love it. Still brought a nice little Soundcraft desk for some sneaky analogue fader action.

Well said!

With occasional Matthew McCaunaghey coming through

Sounds like you're eventually (and finally) letting go and allowing your instinct to take over without fear or hesitation. Awesome!! Now... just try to get there sooner. Have you seen the episode on mixing too slow? If not, check it out, it might hold the key to your freedom :-P

Serving the song - just what great live musicians do.

Terry Brown was an amazing producer, such big and honest tones from everything. The drum sound on Caress of Steel is still a benchmark/reference for me 🥁

@@TheHouseofKushTV Well said! Yes, Caress of Steel is pure sonic magic with the drums. I just found your channel today and totally dig your production style and vibe......You really have a gift for explaining complex concepts with an extremely understandable delivery. I learned more about compressors in just one of your vids in all the 23 years of engineering. I highly appreciate what you are sharing. The best to you, kind friend!!!

Singer: my voice is too loud. Band members: isn't loud enough, is too loud. Mix engineer: kill me now please.

The House of Kush I’d definitely be interested in anyone’s methods on how to break this cycle. I’m heavily inspired by things in music that I have to really lean in to listen to. Sometimes I get it wrong, but sometimes the more a band gives notes about just volume, the more I find myself flattening it out until nothing grabs me anymore.

@@stevedoesnt I guess you then need to play around with panning,eq,compression and reverb/distortion to give everything a place. Volume is the least sophisticated tool to make something stand out in a mix...cheers!

@@stevedoesnt I have had that happen a lot, it's a drag. When I'm producing as well, I'll really try to imagine a place I can push the artist towards. Usually during prepro I'll start to push the artist into making more daring choices; it's helped me to be constructively-assertive-with-a-smile, pulling up some examples of how making big choices can elevate the material (whether that be sounds, arrangement or mix). I'll usually play some Nine Inch Nails for alternative/rock stuff, or Elbow for indie/folk/singersongwriter stuff. +Really hammer home that the experience REALLY changes once the music comes out of 2 speakers instead of a rehearsal room (it usually gets more detailed, but isn't as physically exciting), and to emphasize what qualities of theirs you'd like to highlight (usually for me that's (the beginnings of) a stylistic nuance that sets them apart.) That does put the onus on you to 1. make the artist trust you and your ability+dedication to the project (just talking about music over coffee or beer never hurts) and 2. to communicate your vision and convince them to go along. That's hard of course, not all songs respond equally to a different type of execution + at any point they might get cold feet, when some ideas only work as a finished whole. If I'm truly convinced that the choices they're making are gonna hurt the project in the end, I'll tell them that 'look, of course this is your record and I'll always do what you want, but here's why I think you don't want X because Y and/or Z. For me, when I'm passionate, give waaay too much long-winded context for my point of view (see this whole comment as an example), and be considerate of their emotional+financial investment, the artist has usually swayed (at least somewhat). When I'm only mixing I'll still talk about their influences, what I like and want to highlight (like on X song/album), what THEY like about the versions they have at that point, what they like about my work, get some enthusiasm going. Of course, you haven't had as much control, so your tools for improvement are limited. If you try something, you better nail it, haha. Then again, sometimes you just have those artists/groups who just haven't matured enough musically to listen beyond their own instrumentalism, and there's no fighting it. -I've even had a band come to me to record their EP (mostly kinda forgettable songs with a lead guitarist who plays 2000x too many notes), then completely balk at the mere notion I might want to actually, y'know, change stuff. If you don't want my input, don't come to me. Good luck dude!

Steve B >> (My) joking aside, I think artists get short shrift sometimes because they don't have a language for sound the way we do. But if you interpret what they say less literally, make it more vague and emotional, "my guitar isn't loud enough here" becomes "I'm not feeling this part of the song because something is off." That's often a good instinct that *something* can be made more interesting or dramatic. Challenge yourself (and the artist, if there's trust) to find a different way to solve their problem. It might be the spatial aspect of their instrument, or the frequency aspect of a different one. Sometimes they actually don't love their part or their performance, but they couldn't know that until the production is mature, and their head is in 'analyze sound' mode so they focus on sound. Your job is always 1 part engineering and 4 parts psychotherapy, and IME if you're dogged from day one about reassuring the artist that you're committed to their music and bringing their vision to life by any means, they'll be more open to creative solutions and giving you space to work things out less rigidly.

It makes total sense, and if you ever hear Michael Brauer or CLA talk, that's exactly how they describe it: the console as an instrument :-)

The more 2020 I see, the more 1975 I be.

100% completely and totally agreed on all counts. I've stressed the power of section-to-section contrast in roughly half my videos so far (vocal automation, fills and decrescendos, automated mutes, mixing for spatial transitions, arranging and mixing elements to come and go dramatically across sections...). You're right, it's not talked about nearly enough in other places, but you're in The House of Kush now :-)