We have a good idea

@@duragkev yep

When you discovered to use fx? Mind-blowing

Ok.

He needs that soothe plug-in lol

🤣🤣🤣 I’m weak asf

@@autofocus4556 🤣

😂

Not years.

@@kensmechanicalaffair increments of 12 months

@@CarsonHoy 🙌

@@kensmechanicalaffair yes years. the more you know, the more you realise how little you knew..... it takes years, and is never ending

Wow listening to this and learning at 11 at night before I am about to go to sleep is priceless

Tom Elmhirst mixed that record.

@@Incusaudio really? Oh I guess wells just produced it then? I was under the impression he mixed it as well. 🤔 got to look up more Tom Elmhirst Thanks

@@Limit5482 Paul epworth produced it.

He is really Pauly Shore incognito .....

😄

Oh god, you nailed it.

He worked on vessel?????

@@theonygard5694 yep!

Exactly u jus gotta know how to use it but every compressor sounds different

CLA is all over the place with his answers because he purposely doesn’t want to give away his secrets.

Huh, interesting. Good info!

Ha! That’s super cool to know. Makes sense. Thanks for that!

Bro is it weird how I kinda hate very stero vocals. To me I prefer a mono nicely compress vocal but just having little subtle stero from plate verbs

@@shabanshabani7721 oooo nice I’d like to try that with some breurers motion

@@froebelpacheco5701 yess sir I use that pluggin on melodies and sometimes hihats

Drums and bass is the only think I won't double . Vocals and guitar definitely need double

stop listening to live sound engineers

holy shit

I was like: pauly shore is doing music now?

Probably they've been using tape emulation plugin on his mic :-)

It’s not engineered with the masters Just mixed

All studios with that much gear in it have background noise like that. Coupled with the gear itself, the cooling needed for all of that is audible.

The person doing the interview is not an engineer, go easy man

@@traditional85 Ok, but then there are tons of videos out there with people talking in massive control room setups and it is dead quiet.

I think he means literally the basement of capitol records

UAD Platform.

My favorite reverb is re-amping in the Grand Canyon

In your research, you've likely come across information about the historical use of compressors for gain riding and controlling the dynamic range of audio signals. Compressors have indeed been used to even out the levels of vocals and other instruments during recording and mixing, allowing for more consistent and controlled sound. Riding faders or potentiometers manually to achieve the desired level changes can be time-consuming and may not provide the same level of precision as using a compressor. Compressors offer automation and precise control over the dynamic range, allowing engineers to shape the sound more efficiently. Moreover, professional-grade compressors often provide additional features and flexibility that allow for more nuanced control over the audio. This includes adjustable attack and release times, ratio settings, sidechain options, and various compression modes. These features make it easier to tailor the compression to specific audio sources and achieve the desired sound. When it comes to investing in professional audio equipment, it's true that paying once for a high-quality compressor can save time and yield better results. Researching different compressor models, their features, and the reputation of the manufacturer can help you make an informed decision and choose the right tool for your needs. Remember, while compressors can be powerful tools, it's essential to use them judiciously and understand their impact on the sound. Each audio source may require different settings and considerations, so experimentation, experience, and attentive listening play vital roles in achieving professional results.

Avoiding reverb on low-frequency sustained instruments can prevent muddiness in the mix. High-pass filtering can be used to tailor the reverb effect on such instruments. The decay time of the reverb can be related to the tempo of the piece, but there are no strict rules. Faster tempos often call for shorter reverb decays to maintain clarity and prevent muddiness. Predelay can help add depth and definition to an instrument by simulating the perception of space and distance. Adjusting predelay based on desired spatial effects is a useful technique. Concert halls are often characterized by a softer, rolled-off reverb, so EQing the digital reverb to be a little softer can enhance the naturalness of the effect. In dense mixes, shorter reverb times can contribute to clarity and dimension, particularly with percussive instruments. Historical recording practices and the characteristics of different eras can be considered when selecting reverb types. Each era had its own distinctive reverb characteristics. Combining delay with reverb, particularly by adding the delay effect to the reverb rather than the source itself, can create atmospheric and immersive effects, especially on vocals and guitars. Using different reverb lengths, including a quick reverb for room tone and a longer reverb for effect, can help simulate different spatial environments. It's important to approach reverb application with a clear understanding of the desired artistic intent and the sonic atmosphere you want to create.

He compresses the shit out of sound but with a low ratio. 2:1 he uses a lot.

Yeah they compressed and autotuned the heck out of the vocals. Sounded really bad and my family kept trying to debate me hahaha

@@mrblobifier Exactly! Such a shame because Hugh Jackman has such great range and it all felt a little squashed.

I’ve always hated how low the vocal on the greatest show comes in after the big huge BAAA BAAA BABA BAAAAAA! (Tiny) ladies and gents this is the moment you waited for

A tape emulation might be on the mic too

But is it terrible?

@@kensmechanicalaffair I would honestly say, yes it is… as it takes away from it sounding natural. Essentially pushing his vocal fry and swallowing sounds to the forefront where it ends up competing with the amazing content he is providing.

Your opinion on the use of compression in controlling dynamics is subjective, and different audio engineers and producers may have varying perspectives on this matter. However, I can provide some insights and considerations to broaden the discussion. While it's true that a limiter or gain automation can be effective tools for controlling levels and dynamics, compression offers a unique set of capabilities that can be valuable in certain contexts. Here are a few points to consider: 1. Transparency vs. Character: Compressors can introduce a particular character or coloration to the sound, which can be desirable in some cases. The analog warmth and saturation generated by certain compressors can enhance the overall texture and vibe of an instrument or a mix. This can contribute to a more cohesive and polished sound, especially in genres like rock, pop, or hip-hop. 2. Shaping Attack and Sustain: Compressors allow for precise control over the attack and sustain characteristics of an instrument. By adjusting the attack time, you can emphasize or de-emphasize the initial transient of a sound, affecting its perceived impact. The release time can shape the sustain, creating a more even or controlled decay. These capabilities can help in achieving a desired tonal balance and shaping the musicality of the instrument. 3. Frequency Emphasis: Some compressors, particularly those with sidechain or multiband functionality, can selectively apply compression to specific frequency ranges. This enables you to address frequency imbalances or unevenness in the mix, effectively altering the EQ curve of an instrument by controlling different frequency bands independently. It can be useful in taming harshness, managing resonant frequencies, or addressing tonal imbalances. 4. Dynamic Control Beyond Volume: Compression can also be used creatively to manipulate the dynamics of a sound beyond just volume control. Techniques like parallel compression, New York compression, or "pumping" effects can add excitement, energy, or a unique character to a mix. These approaches are often employed in genres like EDM, electronic music, or certain styles of rock. Ultimately, the key is to use compression intentionally and with a clear understanding of its impact on the sound. It's important to consider the context, artistic intent, and the desired sonic outcome when deciding whether and how to apply compression. A thoughtful and purposeful approach can help avoid the misuse or overuse of compression that you rightly mentioned.

That usually is the case if the singer is really really bad. Personally if the singer for me is almost a half step out of the note, might as well to a better take. I think pitch correcting should only be minor and just a way to give it a little bit more blend with the rest of the instruments

@@pedrosilvamusician well said. Half step off is a new take. That is certainly a good rule.

Lol, most videos.

Not crazy about the delay on it . Wish you could change the time on it . That one dosen't seem to work on a lot of tunes. Like he says something sort of dreamy which I like the thought of that but the delay on his plug in dosen't strike me as dreamy. I've only had it maybe a month but haven't been able to use it on anything yet.

Not all music is nowadays... Thousands of musicians all over the world would rather track live/with beautiful gear and as little getting in the way of the performance as possible... Autotune/Melodyne is by no means on everything.

Then technically drawing midi on computer instead of playing yourself would be the same thing as autotune.man just enjoy the music,at the end, what matters is the song that you can enjoy,not the process

How is that ironic lol get lost

They pulled the recording thru tape, cranked it for the hiss too. Good stuff