Why did you turn the gain back down on the kick then?

@@kingkyoga9263 😂😂😂

no man!

Hello... I have a question: so did you put the VU meter on both channels? The Kick & the Bass channel? Or just on the mix buss or do you route the two together? Please Help!! Because every time I mix a track the way I like it & the then I go & put it in my car or another Audio source & there no low end of not enough low end so it's sounds really thin & I would have to turn up the Bass on the device or on my radio in my car & that drives me crazy

@@darrylcooper9214 It looks like he has it on the mix bus only, then solo's the bass guitar so it hits -3, then bring in the bass guitar and aim for it to hit "0"... Is your room treated or untreated?... You might also try iZotope Tonal Balance Control along with this trick, it would work well also and give you an idea of low end targets (I tried that on my untreated room and got better results also).

I'm not sure I see what you see. Yours is the only pompous comment I've read.

There aren’t any that I’m aware of…there’s that old pink noise trick but to be honest, I’ve never tried that. This isn’t meant to be a hard and fast, “set it and forget it” type trick. It’s just a small, early step in getting your low end right. It might also help younger/less experienced engineers to hear what a well level-matched kick/bass sounds like.

good tip

Bass as in 808?

Yeeees :)

this what i do, if its an 808 i might go 6db down as i like to keep stuff in multiples of three

thank you for the clarification, I was wandering where to pin 6db here.

No: Coherent sources = same frequency; Incoherent sources = different frequency; Adding incoherent sources of same level = +3dB Adding coherent sources of same level= depends on the phase shift between the two Adding coherent sources of same level, same phase= +6dB

wait ,can you elaborate the first post a bit more . i know there are few different dB methods , first one is based on what we hear , the other one is digital , based on numbers not ear ...so which one are you talking about and can you elaborate more on the subject matter . im interested . Or did i get it wrong , i dont think dB is a sound unit , its a difference unit , can be used anywhere , but since modern DAWS came along , they introduced another standard , there is also RMS and Peak , a lot of stuff there

Well, I'm not a pro at sound theory/acoustics, but here's what I got from my teacher couples years back. First, few of the dB scales are based on ear. In every scale the 0dB have a reference level. Decibels are just logarithmic scales, so you have to use the one that suits the situation. - dBFS : As you said, digital audio is measured with dBFS where 0dB is the maximum (since you're "using" all bits at 0dBFS). Knowing that, it's easy to understand why there's more dynamic in a 24bit recording than a 16bit one. - dBVU : In the analog world 0dBVU correspond to 1,228V RMS at 600 Ohm using a 1kHz sinus signal. In the digital realm the common equivalence is 0dBVU = -18dBFS (although there is no actual norm about this). To put it simple, this equivalence helps to "simulate" the headroom of an analog console, so you will clip at +18dbVU (0dBFS). VU-meters are used to calculate the average volume of a program. On the other hand, a Peak meter will give you the actual peaks of the program. RMS and Peak are ways to measure an electric signal, and didn't came with DAWs. - LKFS/LUFS : two names for the exact same measure (Loudness Units refered to Full Scale). This a pretty recent scale based on the EBU R128 norm (European Broadcasting Union). It's also often used at mastering, since it's more representative of the loudness perceived by human ear that dBVU. You can find all the info about EBU R128 here : tech.ebu.ch/docs/r/r128-2014.pdf Also some stuff about the loudness war and the use of LUFS: www.soundonsound.com/techniques/end-loudness-war. Actually two dB scales based on human ear exist. It is based on the Fletcher-Munson curves, which show that human ear have a more flat frequency response at high volumes. I think this is also used for LUFS. dB(A) : using the ear frequency response at low acoustic levels (from 0dBSPL to 55dBSPL) dB(B) : using the ear frequency response at medium levels (from 55dBSPL to 85dBSPL) dB(C): using the ear frequency response at high levels (from 85dBSPL to 130dBSPL). By the way, dB SPL (for Sound Pressure Level), is the dB scale used to measure sound in the acoustic realm (well, the name of this scale make it pretty obvious). :P More info here : en.wikipedia.org/wiki/Equal-loudness_contour Also, to end it, no the electrical side of things : - dBu (or dBm) : 0dBu corresponds to 0,775V at 600 Ohm. A common measure in the analog world. - dBV : 0dBV corresponds to 1V at 600 Ohm. Here's a little chart I found for equivalences : 0,775V = 0 dBu = 0 dBm 1V = 0 dBV = = +2,2 dBu 0 dBVU = +4 dBu = 1,228 V = +1,78 dBV Analog to digital (not real norm, but the commonly used values) : Europe : -18 dB fs = +4 dBu = 0dBVU USA : -20 dB fs = +4 dBu = 0dBVU Thanks for asking, I had to go through some internet pages to remember all that stuff. I gave a heads up to myself too :) Sorry if all this is uneasy to read, my English grammar might not be the best since I'm French.

yes now see that is it , i know it all , just not in numbers , so back to the bost , +3 +6 dB , that is -DBFS scale ,where minimum is -64 i think , max +12, you were referring to that scale right ? in other words DAW scale

But he turned the VU meter back to default. Doesn't that unlevel the kick and bass?

@@dj_instruments937 ​ it brings both their gains back to their original levels BUT the faders are now adjusted to keep the ratio of bass to kick equal which is what’s important. So just don’t touch the faders from here on out and when you need to adjust the volume, add or subtract gain equally and you’re good

You think expecting the video to actually start before four and a half minutes in is impatient? xD

100%

+Ralph Verdult once the kick and bass are summed you can move them on one fader to fiddle with your mix. balancing them is the key to getting a foundation but not the final level of the kick and bass. this is about locking in a balance between the two. it works.

+Kreap Mcgee great tip!👍👍👍

If its a starting point , would you not start with that as your level in the mixing stage. and then do the rest by ear . ok this needs to be louder then the bass, and this needs to sit under etc etc ??? im actually asking to, not being a Keyboard warrior

Wouldn't work because he's playing with the gain in the meter so it's not an accurate reading.

Create a group with all your faders. Once you made a good balance around your kick and bass, loop the loudest part of your song and turn all the faders up at the same time till your hitting that -6 db

So, are you saying that after doing this trick, this is your final bass level? I'm thinking this wouldn't work due to having to adjust the VU input level.

+Psalmist96 the VU meter is on your master bus, which applies to all signals. All that's doing is adding gain. When you take it off, you're back at the level you were mixing at in the first place, only now with a better gain and level balance with your bass and kick.

Mattafact Unless you use a SIP, (solo in place) which good analogue desks have, but not many DAWs do.

Would this be valid for having a sub-bass and bass Guitar?

I just tried it for 3 different songs. it was really helpful for one, didn't accomplish much with another, and resulted in the third having no kick drum. and I listened to all of them in different situations, not just at my desk. I think it's one of those things that's song dependant.

U know, u don't have to say old school disco bc disco for itself is old school 🤭

no

Yes you are no fibbing plees c:

2020

@@brunofelixmusic 2021 !

That's the smartest question in the whole comment section, and we need answers! I've noticed if i high-pass the kick after the VU trick, i get a spike in RMS but it sounds cleaner and that seems to work, my pro friend that works for a label for 15y+ in the same room with the same speaker set never mixes anything together until he's satisfied with how everything sounds SOLO, and just like magic it sounds cleaner than my mixes without the VU meter thing.

@@SuperSonicSauce IMO Volume matching is usually the last thing you do, what you want to do first is to create space in the mix, eq without changing the character of the sounds and add panning(it will sound a lot cleaner)... if you do that right you will have a good pre-mix, after that, you might want to make your sounds hyper-realistic (sounding bigger than what they are in reality with a compression bus, more eq, a reverb bus, overdrive, anything you want really... depending on the genre, you will know what needs to sound further or closer, louder or quieter, don't overthink volume matching it is an easy task to do after you've done everything else right. Also, beware of your sound output hardware, headphones are good for insight details of sound, speakers are in general better for mixing, but you have to have good fidelity ones and a well-treated room to not mistake your ears, remember, your speakers are your ears. Good luck.

@@marlongouveiar Thanks man, that was really helpful, cheers!

1. I balance the bass and kick to get a provisional low end balance. 2. Then add other instruments relative to the provisional balance. Add effects as I wish, even in the bass and kick channels (I know it will change the initial balance) 3. When I'm done mixing the whole song, I then go back and do a final low end balance, also group the bass and kick. Now I adjust the volume of the group till the volume/level of low end matches the entire mix. Hope it helps. Stay blessed, stay safe and enjoying mixing 😃✌🏿

its pretty handy to have a reference point

Ach wenn haben wir denn hier :)

🦄

that's a great question

+Dominick Fenwick word. I mean after hearing how loud the mixes are today, I discovered how to use sidechain compression as a means to get what I'm looking for but I'm not always mixing in a space where I'm certain of the low end. I just know my kick won't get drowned out.

+Mantiz I have the same situation I know how to side chain I do it all the time with my 808's and kicks bass and kicks vocals and instruments bit I'm never certain of how my low end is sittin u heard... I got good monitors but sometimes I over do the bass bcuz I don't rock with a sub

+Mantiz I over compensate

+Dominick Fenwick EXACTLY!!! My nigga.

yeah i like my dubplate needles scratching and stopping and starting in the club :P Needs all the hertz

Yes it will. Keep your B.S. to yourself

Even if the low end is prominent, the kick and the bass still need to be balanced with each other, stupid

Jadon Adoko Generally before, especially if the audio is going into an analogue emulated eq or compression plugin as they are generally suited for audio to hit them around -18dbfs. However, you could also do it post eq/compression - as part of the gain staging process to ensure the signal is still at the optimal level. Remember, if you use samples, many have already been eq’d and compressed so unless you are after a certain sound then there is mostly no need to do more. The easiest way to check is to look at the waveform. Google is your friend! I hope this helps.

No.

Ummm that's what he said in the video! Wtf!?

Tried it on pop, it works for me. "leading music today" is so relative, what mainstream gatekeepers promote don't necessarily lead. sorry for ranting BTW I am an hiphop guy but I listen and mix other genres

Or you can stop being cocky :)

All this is just BS anyway, I subscribe to the Dave Pensado school of thought, if someone tells you that this is the way to do it and is the right way to do it, don't listen to them as if it were gospel, just take it as advice and try your own way of doping things, that way you learn much more about how things work and how to do things. The key word is EXPERIMENT,.

@@kensley94 Your 'trying to be clever' like ratio needs more work.

Hi,very good way of balance the low friendly frequencies

If you have a well treated room and have mastered your hearing ability why the fuck are you here.... This video is for struggling ones who needs something to beat the odds

+Colin Anthony I agree. But this still looks like a good way to start a mix. I would probably just pick -4dB or -5dB for the kick as a starting point, instead of -3dB, and keep 0dB as my target for the "kick+bass" level.

+Colin Anthony perhaps too much sub frequency on the bass..

+Eber Nakamura Gomes and not enough distortion or harmonics to hear it too as well @colin

If you introduced some compression on the bass channel and *then* matched it with the kick like he did in the video, that would make it sound punchier (in my opinion) and take account of the variation in playing volume during the track. If in doubt, just do it like Motorhead used to - Everything Louder Than Everyone Else :)

I guess you could probably bring down the kick a bit, leaving more room for the bass and turn it up a bit, and kinda balance the two so that the bass would add more lows to the overall levels... so the kick would probably not be at -3 but around -4 maybe smth like that.

+snapascrew When it comes to volume you need to mix with your eyes otherwise you might clip the master. When you eq you should do it without your eyes though.

+snapascrew well yeah, but as he says at the begining of the video, it`s meant to be used in situations where you can`t depend on your ears to accurately measure the low end balance (like if you are in an unfamiliar environment)

I think it looks like a logical and simple starting block. I'm definitely going to be trying this out, and take it from there.

It even says in my DAW manual, "Mix with your ears not your eyes" xD

even if you clip the master. it doesnt mean that is "wrong". u have to concentrate on your ears not eyes. if you see clipping, but the sound is still good, than go with it.

He has a point, some rooms are really bad for mixing low frenquencies. also a lot of homestudios only have small 5" or 6" monitors. its basically a trick to doublecheck your ears in those environments.

ok. you are right, that is a point! cheers!

Yup. Definitely use your ears - but even in my work in a good studio with high end monitoring... and good start point is worthwhile. Mixes change depending upon mood - if you set up a standardised point of reference then you can "have a good reason" to move away from it.

As a poor home recording hobbyist with only a couple pairs of headphones, the only thing I got is tricks. I can play guitar and bass but this whole mixing thing has my head spinning.

***** Yeah you lost me there