Mixed Signature Block Routing Made Easy

Mixed signature block routing

hey friends let me make sure everything's working looks like there's audio hey hey hey is that is that you oh come on i'm back how's everybody been i'm curious how everybody's been how you're all holding up i thought i was gonna do something there but i'm not gonna um welcome back to the channel it's good to be back i took september off from live streams chris is here what's up chris how you been bud uh i saw your thing you got the vsx from slate how is it i think it's been a little bit longer than a minute so yeah you need to check in um how's everybody been i haven't seen you in a while i haven't talked to you in a while i want to know what everybody's been up to um i want to know who's here so go ahead and throw it into the chat say hey yeah you're good man you're give it a shot awesome to hear i do want to i'm curious i i'm definitely curious i mean you know there's been headphone correction stuff for a while whether it be sonar works whether it be the nx from waves et cetera et cetera et cetera whatever you know there's lots of different options out there but that's the latest and greatest is the the slate vsx so i don't know i don't know if you saw uh matthew weiss uh put a pretty uh pretty extensive review on on facebook where he actually gave his honest thoughts about um a bunch of the things that were in there um you know being familiar with some rooms having worked in a couple you know knowing what his client listens back on really important stuff let's pat chat pick your brain what do you mean man spill it you're the one who has it how is it what does it sound like get the information out there just tell us um it's been a bit i you know i don't expect i don't expect a lot because i haven't done a stream in a while this was really kind of last minute i'm kind of figuring out what the schedule is going to be um it looks like it's going to be like kind of late evenings like this oh there's chris geez pal burning the midnight oil he's over on twitch um you know keeping myself sane i think is pretty much all i need to say to you there um really midnight oil it's 10 30. oh i forgot to do something i want to try doing this i'm also going to record this stream as well as a local record which i haven't done before but i figure if i'm going to do like clips and stuff that it's it's important to do all right so there's some people watching say hey throw some some uh some love into the chat talk to each other see what's going on so it's been a little bit and i was actually inspired by i need to make adjustments um i was actually inspired by i don't know if anybody saw marcus huskins latest video where he talks about what he does when he gets a song to mix from a client now in his situation he actually got a song to mix from a client who is already using studio one i'm gonna i have a song excuse me i have a song from a client um and he uses what does he use uh ableton i believe it is ableton and pro tools so i'm just working with raw audio but it's important to do the prep work um and that's like kind of the idea of today's show it's like mix prep because that's a very important thing it's like the unsung hero of mixing and mindset now there's a reason that i'm kind of doing this at you know 10 30 my time i don't know what time it is for you guys well i know for whoever's in the chat and has been saying stuff um you know it's late in the evening my ears are tired my head's tired i'm tired but it doesn't mean i still can't be productive i can get ready for a fresh day and get right back to mixing so that's where the mindsets thing come in is you can actually make this a relative uh or a recurring habit um problem um you can make this recurring habit if you are mixing all day or you're editing all day or you're tracking all day or whatever you're doing um you can you can spend a little bit of time at the end of your day to get ready for the next day or the next week or whatever it is if you depending on how far out your schedules and things like that so you know you can take a little bit of time and even as as marcus said in his video is be your own assistant and that's what i'm gonna do today is i'm gonna prep this song with you guys and show you like what i would do to get it ready to mix and we'll take a quick listen it's actually got a really fun little thing the demo sent to me and actually i'm going to click this real quick and i just want to copy this because i need to have it ready but let's dive into the diw here we go back in studio one where i'm studio one four um and i'm just going to show you some of the stuff that i would do when i have this track and i'm getting it ready to mix so obviously you need to name your track like i'm just starting fresh because that's i just have raw audio so i'm starting fresh uh you know here's your song name catch you crying they actually already went in and put the beats per minute in so i just transferred that down they also told me that it was in f locrian or c major so i'm just going to go with f here and change it to locrian inside if i even really need to which i probably don't probably don't maybe we should make this c so because again a lot of the editing work was already done so i don't need to worry about much of that um we can change the time signature i'm not worried about that 118 that's fine four minutes that we can change all this and i do know that it's already 44.1 and that it's 32 bit i already have it located to the folder in my system where everything's going to go and you'll see that in a second so we'll just go ahead and open up a brand new track now easiest things to do um or like some of the first things you should do is you got to get your audio in there and as long as you have a very good file structure as i've been given here it makes things really easy um so he even went in and like broke things out this is this is my folder so i'm actually just gonna make this orange so that i don't i know not to take from there real quick um but like the base is already split out the drums are already split out the guitars the synth stuff and all the other various little bits and bobs so it's actually going to make organization very easy for all this so i'm going to start with all the drums and just slap everything in now the reason i'm starting with all the drums is because i can go in nope i can't do that no that was something i was going to try but it doesn't matter uh shift-click all of my tracks because i know they're all drums i can make them the color that i want so that as i'm navigating through um when i'm getting ready to like actually mix this thing which we're not gonna get into today um i already know that this is my regular color uh so i know that these are all going to be some kind of drums um we can go through here like a hand clap and let's see what is this noise clap rim shot i'm gonna leave is just like a drum rim i might leave as a drum shaker i want i'm gonna listen to sticks in a second and i'm gonna figure out what top is but i really want to take all these things and these are percussion and i like my percussion to be yellow this way it stands out let's find what top is i'm just going to solo it and check my speakers um you guys probably aren't going to hear this because i don't have like my mixbus set up but i want to hear what this stuff is um actually you know what let's go ahead and just let me make a mix bus real quick this way you guys can hear it because that's unfair to you for me to hear it and you not too okay so now all my stuff is going to go to the this mix bus which i'm just going to make white real quick and now let's let's listen to whatever this thing is i don't know what the volume is going to be at so we'll figure it out okay so it's definitely a percussion loop it's an interesting name but we'll get back to that let's see what is this this happens over here okay i would say that that's more of a percussion kind of thing and let's just kind of go one by one let's see where are you you're a clap uh-huh that's definitely gonna be over there oh silly me i didn't solo okay clap goes over there symbol can stay here that's fine this is over here that's hats that can stay there got some things over here more hats more hats there's our kick and rim shots let's find this guy that's fine some things over here oh that's percussion kind of stuff let's see we got this one oops uh-huh that's our snarish guy and last but not least it's this thing or just oh that was our loop so he can stay like that so i want to take these guys i want to make them all yellow as well and then i'm just going to pack all these things into a folder call it percussion and just double it up and i want to send it to a bus i'm going to do the same thing for these shift click to do that right click to pack it into a bus and this is going to be drums and then i'm just using this little drop down add bus channel uh let's see what else all right so that seems to be all of that so now let's grab our base stuff make some new channels for the base put them over here and i already know that they're going to go together so we'll just go ahead and pack them anyway create a bus and if anybody's wondering you can use this link uh this is the artist i'm actually working with aging young rebel um i don't have the name up here uh but check him out as my buddy and he's very cool this is actually gonna be like an electro funk style thing let's open this up let's take a listen [Music] not bad okay so what do we got next did i close the thing uh of course i did that's right i know where it is just navigating back uh here here we did that we did that guitars yep definitely want the guitars i wonder if that mix is his rough mix i'll have to double check that so he sent me stereo guitars this might be so let's do this real quick send it to you guys [Music] that's the rough mix so he just dropped it in guitars and that's fine [Music] just making some arrangement stuff guitars guitars so both of these that and that pack that folder color guitars name and just make this go to the mix that all goes to there and i'm not really worried about too much else from that here's our rough mix which is great to have this way we know what to beat [Music] there's a bunch of synths in here so let's get all the synths in did that really just say yes the greatest track name ever acid fart just for now i'm gonna make all these guys pink so we know what we did and we'll do the same thing and we'll kind of take a listen to some of them let's just increase our data so we know what's going on okay this one is over here okay that one's already real loud that's this big one okay so what i can actually do is go here and let's go minus yeah because otherwise it'd be 10 db hotter and i just wanted to drop it down um i'm kind of like pre-gain staging and you can even see like you know this synth here which is this track it's real quiet um but this one pulled in is is way hotter so i can just trim it here and leave my fader at zero so i have better resolution then we have this thing which again will zoom way up that's this guy we may have to bump that up i'm not going to worry about stuff like that right now [Music] oh lead dry and lead he's got some like reverb baked into that one so that's good to know see that's why you check these things pad one it's all up here yup those are pads p.m excuse me so that's that's what we got here i got some sweet cords this looks like it's going to be screaming so i'm just going to go ahead and arbitrarily do that and i think i was a good guess but oops and then the last guy okay so i do declare all these to be synths i'm gonna go ahead and pack that folder since to the next bus not the mix bus i needed to create a bus for that oh i really messed that one up here we go a couple undo's that's all you gotta do to the mix bus okay that's all that so there's all of our synths christopher how many christmases am i gonna get in here tonight welcome christopher bernhard what's the shortcut for increasing the size of the waveforms oh um natively in studio one you can use the plus key is it natively let's take a quick look let's go to our keyboard shortcuts and we'll go this one is called and i set up that keyboard shortcut to show you that the the keyboard shortcut window um and this is called data zoom so data zoom in natively is the equals key you can think of it like the plus key but you don't have to hit shift so when you want to zoom in and you want to get the waveforms bigger you can hit the plus now this is globally so it's all waveforms are going to do this it's not like increasing the gain it's just showing you that the waveforms are bigger and then actually i have a macro set of data zoom out full and it really is just data zoom out like 40 times in a macro so i just have to hit it once and bam it slams me right back to all the way out maybe i hit it twice you know whatever so data zoom in natively is the equal button so that's your your standard shortcut for that so when i want to zoom in on let's just increase this real quick you know so i'm making the waveform look bigger and then with two hits on my macro i dumped all the way back out to the normal height so there's that let's put this back to normal um let's see we have some more stuff we need to drop in which is the various just i think these are like vocal stabs and things like that so we're going to drop them in and what i am going to do first is actually go ahead and pack them into a folder and a bus and then send it to you guys so while i'm doing it uh we'll just call this effects and actually i like that color so let's stick with that and then you go to the mixbus so now we can actually go in see what some of these things are but you can see like they're some of them are just real low all right that did all of them not that actually i kind of want to bump that one up a bit okay that's a thing fills is this stuff over here which looks like it's going to be a little bit hotter so i'm just going to drop it down okay so it's like percussiony stuff that can do that uh it's gonna be some kind of vocal thing so we can put that in there there's an actual track called effects which is just all kinds of stuff yeah like your sweeps okay i'm just gonna give myself a little more volume in in my room uh let's see what do we got vocal samples this is gonna be a big part of the the song so i'm gonna grab this and box and i want to make these red because that's what i like kelly winters is here what's up man okay so there's uh all of our vocal stuff i think this is another one let's see get out of here these are already printed as stereo i'll ah that's why vocal sample this is so this is actually the that's the dry vocal that's what that is and then what a zap let's hear what this is okay so that's what that is so things within this folder i created um actually let's take our vocals out oh that's not what i wanted to do i just want the vocal stuff and then pack these into their own folder vocal and then this needs to go to the mix bus and if i call correctly um special effects i'm going to rename that fills effects zaps that's all those things spelled out so i think that that's pretty much it [Music] oh so you know some of the other things that we'll have to do is go in and do some gain staging well we can pass forward a bit so let's just kind of figure this out i can i know i can do a little bit of this and what i'm doing here is with the input controls when you have your the wrench in your mixer open you can display your input controls that's down here um so then now what i can do is all the input controls up here this is on a track base level so all of the tracks here what i'm doing is i'm basically adjusting the gain before it even hits the fader before it would hit any plug-ins or anything like that and i kind of want all my faders to hover around zero this way um here let me uh just move my fader port over to these vocals which is this one here shift click click so these guys um the reason i want my faders at zero when you're working with a physical fader but even when you're working with a virtual fader and i can just make this bigger for you guys to see is what's called fader resolution fader resolution is when your fader is at zero and that's this zero here not like don't don't get confused by this meter over here on your main outs uh i have to make a video about that that this is not this zero here isn't zero this one for your main outs represents zero it's just because of a different kind of um meter on the main outs but fader resolution is the reason i dropped the the input gain or just like the the event gain before anything else is now my fader is at zero and when we play this back it almost is already blended into the other stuff with my fader at zero now if i go and do like moves and i'm gonna use my fader port to do it um i can make like really small moves all around zero and i'm getting you know even as randomly minus one db minus half a db things like that where if i didn't do this and i'll just command click these back to zero and i'll put everything back to zero then what i'm going to do when i hit play clearly it's already not blended in so i have to drop my faders a lot so doing that my faders are now at almost you know minus nine and minus eight and when i make to make the same 1db movement i only have so much i have so much smaller area especially when you get down on a physical fader to like minus 20 which you can't see on the meters here but when you have like a physical controller if i'm at -20 and i need to go to minus 19 maybe i want a 1db bump that is so minuscule watch this meter right here right now it's at minus 21 i'm just going to barely touch it to like really get this in if i just want a 1db bump i moved it maybe a millimeter or two where if i have it at unity or i have it at zero and i'm just going to command click it back to there i actually have to push it a little bit more so i have better resolution the the amount of space that i have to move to get from zero to minus five is a lot but to get from minus 20 to minus 30 a 10 db difference is about the same when you're further down on a fader so this is a 5 db bump here or this is a 10 db bump and it's about the same amount on a physical controller so that's why i want my faders all to kind of hover around zero now they'll change a lot later but and this is all this is all prep stuff this is all just getting things ready another thing i can do because it's prep things is on my main out um i need my room correction stuff so because i'm not really working on anything tonight i can just throw this in i'm gonna take all these and just turn them off because i don't need any boosts thought i grabbed you you guys all you guys off all your boosts yeah i just want my cuts i need to adjust that thing again a nice 43 what's going on that's what i'm going to go with e-nice it might be ennis just guessing who knows thanks for coming in and hanging out so these two synths right here and actually watch this let's get rid of the mixer i don't know if you guys noticed but i'm really zoomed in on stuff so a lot of these things just have not a lot going on now i could like normalize them and clip them up but i want to try and do it on get out of here i want to try and do it on the input gains first so these two with these two i think i'm going to try for a 6 db bump [Music] i had to put these back down from what we did before [Music] there's a guitar thing going on here where was that you two are gonna have to come up kind of a lot [Music] okay so i'm just making minor adjustments here what was this this one can come up a little bit more [Music] [Music] um this is the one that was screaming before so i have it at minus 10 maybe i'll adjust that to oops that's plus eight that's bad minus eight let's come over here so i know this artist printed a bunch of effects but they also sent me the di so i'm just gonna drop the di for now if i want to do some ream stuff to maybe get uh maybe a little bit more grit or something like that i can use the dis and and do it from there um but for now i'll use his committed sounds [Music] [Music] okay that's a kick drum if i ever heard one i think that that clicking is in here the um what is it the wood block so it is in here and you it's i don't know if you guys are hearing this it's that wood block that's going it's just on the right hand side and it's already annoying me not that it's annoying me but i have a feeling that that's that's going to be one of the things that's going to probably bug me so i'll probably find that some other time but let's listen to what's going on in their mix with that wood block which this is going to you guys so cool [Music] so that would block isn't nearly as like prominent or prevalent or up front as i feel like it is in in mine so let's just scroll back real quick so maybe we'll just do a little regaining of that track i think it's pretty good definitely getting there uh let's listen to everything that we have and if anybody's wondering this master out clipping i'm not worried about that right now um i don't have any processing going on i'm just kind of getting rough ideas okay so there was definitely something that happened i'm gonna find it way down here um are you sort of remixing a mix no um this is the rough mix um the the one that was sent to me this one this is an original song i'll put that out there um what i'm also gonna put out there is his link oh god uh what i'm also gonna put up there is his link again which is right here i'm gonna put it into the chat for everybody in case you're curious this is the artist i'm working with this is aging young rebel it's a buddy of mine and he actually worked on this song he's in um turkey right now working with his cousin and that's what this song is um so it's it's not a remix this is an original work um it's and they've asked me um they've asked me to mix it so he came up with this mix [Music] and he said that he wanted me to kind of like take it and and and do some more with it um and he sent me some good reference tracks as well um that were really punchy they had nice top ends so that's that's going to be my concentration with this is is making sure that like the the funk feel to it comes through and it's got a little extra vibe to it um but it doesn't take away from all the electronic elements that are going on and we're not talking like i mean if we really want um uh we can let me i wonder if i could duplicate this real quick actually just as an idea oh let's do this is my thing yeah cool um what i can do real quick and that that was just a macro that i have set up on my fader port um i'm just gonna take all of my faders real quick and do like a minus five um because i wanna give you guys a um i want to give you guys an idea of i don't want mine to already seem better because it's louder because that's just a trick on your ears i want them to be relatively close because what i want to do with my rough mix or with their rough mix is beat it i want to make sure that you know it's not just louder that it is better it's punchier it's brighter it has that feeling more that's that's the important thing matthew jones so you're running studio one on a mac machine yes as best as i can tell all smushed in i guess there um do your recorded tracks save as wave or aiff i i always do wave wave is it's easy across any system if i have a wave that i've made on a mac and i need to send it to somebody that's on a pc there is zero issues with like compatibility wave is unanimous it is a lossless um audio format or audio file format um so for high compatibility and working with a bunch of different artists you know wave is definitely the way to go there are people out there who will use like aiff they'll use you know they used to use like flack or og vorbis which i just love saying um but waves definitely waves there's nothing wrong with a good wave file um so here's the rough mix [Music] do so there actually is a slight volume discrepancy um so instead of doing -5 i can do minus 3.5 and actually these are already really close to being what uh where um being very close in volume to one another uh matthew awesome thank you sending off a rough mix to a session guitar player and he gave me some spiel about using aiff instead the uh as best as supply onwards yes um i mean aiff is also a lossless audio uh file format but you're not really gaining anything by using aiff um i mean when it if you really think about everything when it comes down to it is um everything is everything is ones and zeros in a computer's rise everything is ones and zeros it's how you or how many ones and zeros are in that picture that's where things like can be interesting now in aiff and a wave they don't really have any more ones and zeros um but when we're talking like from wave or aiff to mp3 that's when ones and zeros can start getting lost kelly's uh said i wasn't looking how are you able to bring down everything down to minus five oh okay um kelly i actually just did it again but just to show you i have everything going in through buses um so what i've done is i know that my spfx so my special effects are audio files not like reverbs and stuff like that um i click this one i'm holding shift on my keyboard and i'm clicking my other bus and then for all of these you can just go into here or any one of them because they were all set at zero and then i made it minus five so they put them all to minus five um if these were different it would be proportional um so you're basically making like a little subgroup when you do this it's a temporary it's a temporary grouping when you highlight like this so you can go into any one of these and if i wanted these all to be minus 12 i can just punch that in and go to minus 12. so i can go here minus 3.5 and now they're all there and now let's see if our volumes are kind of the same then matthew also goes thank you so much for taking time don't let me distract you from the scope of your stream now my streams uh one it's never distraction because that's these that's what these streams are for they're for you guys and at the same time it's for me because i'm doing work but i can talk to you guys about it and maybe show you a thing or two so and i do enjoy it um it's good to be back uh matthew i don't i don't remember you from august we'll say because i took september off um but i mean you may have been there i can't honestly i can't remember and i'm sorry i'm sorry if you were and don't be offended but please hang out ask questions that's what this is for this is for you guys to ask be able to ask questions and learn new things um but let's listen to see if these are pretty close now now i've like you guys have saw earlier i did some gain staging uh but now i just want to compare so here's the rough mix first [Music] minus some high hats in there which is making a little brighter which i'm going to keep because i want to um we're now basically level matched with our reference so that since we took everything else and put it to minus 3.5 what i can do is just take my reference to minus 3.5 and then everybody else it's going to be actually the other way around put u to zero or put u2 plus 3.5 so now if i solo [Music] it's that same volume discrepancy but instead of the the rough being at zero and everything down my mix is starting at zero uh oh what is this guy doing over here hang on i'm gonna move him wee there he is uh looks like there's a new follower so thank you for the follow although i can't see the name uh christina thank you for the follow uh let's see kelly goes tim this is a regular thing uh is this a regular thing this live stream it is um it's coming it it's coming back i had been doing live streams in um like what i was doing was tuesday and thursday mid afternoon um and as good as it was then it's not gonna work for me now so what actually works for me now is probably something like this like a relative late night for me well it's not that late i mean it's 11 15 my time you can you might be able to see it up above my head it's 11 15 for me so it's later um but so but i am getting off track now um live streams are going to be a pretty regular thing um because i enjoy doing it and i enjoy being able to talk to you guys and you can have you know direct link to me so you can ask questions like how do i group all those things and make them all minus five at the same time or anything like that or you know what's the difference between a wave and an aiff and things like that um so let's see what have i done we've put everything into folders we've pretty much renamed everything i'm i guess what i can do now is i can start adding some buses and i can't remember my shortcuts i don't know why i don't remember my shortcut but i'm going to start adding buses for my effects 9 10. let's just go with that uh and i'm going to do the same thing like before pack all these guys into a folder which is hiding over here and the reason that it's hiding over there is because it's it has no bus associated with it yet so there they all are they all exist um this is my effects and i want this to be uh i don't know what color do i want my effects to be this time where was that green like i like this color but i guess my effects can be this for now kelly says i discovered alt click on a solo button instead of clicking solo and moving over and muting the previously soloed track yeah this way you can kind of single solo yeah that's a handy little trick thanks for that one instead of putting things on i think there is a setting uh for your solos maybe it's not in here maybe it's actually like in your settings settings um when it comes to how your solos work but that's great using alt to just kind of turn one off um and turn the other one on um that that's real handy um oh i need this because what i can do is collapse all those um now on my fader port i can do the same thing with actual physical buttons and i can turn stuff on and off um but where were we we were doing effects i want a bus for this guy because these are my effects these are going to go to my mix bus and i'm going to put them there and then let's see some things that i'm gonna need for this kind of track um let me we're gonna need like a non-linear reverb so i'm just gonna use a verb suite for that none lin let's go into here and that is this guy non-linears let's go uh let's just go with the medium and we'll dial something in later um let's listen some more [Music] uh there was that that was um that was almost like a chamber reverb not necessarily a chamber but that it was there was some some kind of longer reverb in there no offense taken this is my first time in one of your streams and i'm new to observing streams altogether matthew welcome to the stream i'm thrilled to have you here i'm thrilled to answer your questions uh and i'm uh i'm i'm i'm having a good time how are you i got lost there for a second like i said it's getting late and that's empty it's time for something else in a bit um there was there was like a plate going on in here hang on listen to that that one's pretty big um let's let's start off with a plate and i think there's a 250 in here there is so let's go with i want something long uh oh maybe a dark maybe one of those we're just going to load that in i'm going to do plate [Music] i know i'm going to need some delays um and i am just going to go with uh should i do mono stereo i'm just going to go with h delay most of the things are already stereo so i'm just gonna make a stereo delay um and what i'm gonna do is you let's see one two three four copy that over yeah so but this guy will be maybe we'll just make him an eighths oh my my fingers uh let's make this guy a quarter make this guy half and you know let's do a slap but i don't think i'm gonna need one quarter half and then slap is going to be kind of like that ish i have them available um let's just jump a little so let's do a little gonna need some saturation and i don't know exactly which one i'm gonna want so i'm gonna add a couple options the cap door um i'm just going to turn all these off and make this saturation uh let's also do um virtual a virtual mix rack has a bunch of saturation things in it so i'm just gonna throw one of these on oh okay for a second i thought it was gonna crash so we're gonna save we're gonna save we got some saturation on in there i think just the connection to my fader port turned off for some reason so just quick reboot of that i think it was when i was loading up the the slate yeah it's right back to normal um so there was that and that's that's nothing that's nothing to worry about um let's see what else do i think i need in here let's go back to the top [Music] [Music] lots of movement in the beginning of this song it's nice catch it yes yes matthew i i prefer to use buses now here's why is because if i wanted um i could create a send from my return uh for like my delay and then send this to something else and with effects tracks you can't do that with the fax tracks i believe you could let me just make an effects track you can change the routing so like if i had a delay on here then i could put it into a reverb and like that would be a thing uh oh my goodness where did that track even go oh it's back over here that's weird um so you could change like your routing um but i like being able to have sends um mojodin what's up dude um so i i prefer for i prefer to use um buses for my returns um effects tracks are great now here's the but here's the reason that people do use effects tracks is with buses they don't um they're not solo safe from the start with where with an effects track and we'll just make another one real quick um immediately it has the solo safe but this is just an extra click and and i'd rather just take a minute to do the extra click on all of these different buses or effects returns to make them solo safe so that i have the send option being able to send this thing to multiple places um where with an effects track yeah it automatically comes up as solo safe but then i can only route it one place either like to a main mix or to a sub bus somewhere so that's why i prefer not to use effects tracks because then i could just hold shift and i can come in here and now all of these guys very quickly and easily are solo safe [Music] so i can do that for the bus too thankfully studio one is very smart so i'm not gonna worry about doing the bus because if i had something soloed all of these guys are safe but there's nothing going to it um so if i if i had a sense so like maybe let's go into here and we'll just put this into like the non-lin i guess i do have to put it on but it i made a mistake that's all right i made a mistake let me take that off because i don't even know if i'm going to want to do that get out of here um i think i'm doing pretty good with effects i definitely want some saturation going on with some stuff uh i dig it you're making a better person every day to matthew you're making me a better person uh what exactly is solo safe besides green so solo safe is um it's a solo safe is the same thing as solo isolate when you isolate a track that let's in this case let's say so a vocal has a reverb let me find the drive vocal and i'll just do it let's do this real quick and we'll throw it to a quarter note and let me find some real quick so if my return for the quarter note was not solo safe and i have this vocal track soloed even though it's sending to my quarter note delay and that's what this is here it's sending there but i'm not hearing the return because it's not safe i've soloed the one track and this is connected but i can't hear it but if i solo safe then it basically says if something is soloed elsewhere and it has something coming to this return i still want to be able to hear that return so this is my delay i can hear it with my vocal that's over here so that's that's what solo safe is it's saying if i have something soloed somewhere i still want to be able to hear these things now this is also really good i'm going to take this off because i don't know if i'm going to want it later this is also really good for like your snares you do the same thing i'm just going to find the snare real quick and we're going to find a section where the snare is playing which is right here and i'm going to send it to my non-linear reverb if that was off and we listen to just the snare there's some reverb kicked into this snare already and it's not bad you know this is the snare i was given so i'm going to work with it but i can't hear my reverb because it's not solo safe so if i turn it on it's definitely going there it's actually it's probably the same reverb that he used so if i make this uh if i make it much longer let's just go with long there it goes why is that was so weird i don't know why that didn't solo safe right there maybe i'm just messing with things a little too much ah there it goes oh very odd why did it work okay that was that this is something quirky that i'm not expecting so there's that non-linear reverb but if i take it out of solo safe [Applause] yes mojaden that's me take that out i don't know why that i didn't have to do that but that's okay take this off because i don't know if i'm gonna want it um uh matthew was asking about using buses another thing that you could do with buses if you have it available is using the mix effects stuff so i can throw on like console shaper or ctc1 onto any bus and that goes for all of my buses which i'm just going to collapse them all down there goes on any one of these bucks but boxes on any one of these buses i can go in and put like a ctc one on and be able to do some you know a classic console emulation or custom emulation anything like this um you can do that on your buses so that's an option um so kelly said okay so is it safe from being soloed out of a uh definite track that is using yeah i think i get it and thank you tim for explaining that you're welcome kelly it basically says you know solo safe is like if i have something soloed i still want to hear this thing too um and you could you don't have to do this just on on like reverbs um if i come to like this vocal track and i solo safe this one but then i come over and i really want to just like listen to the bass bus [Music] now it's not doing it because my uh my vocal bus isn't ready which you can turn all of your buses on but if this track i'm just gonna clear all my solos then you can watch i'm just just gonna solo my bass bus [Music] because the vocal is solo safe i can still hear it i'm saying i have something else soloed but i always want to be able to hear this thing um so that's that's what it is i hope that that's kind of a better demonstration of it um i do have some extra returns over here in case i need to add some other um plug-ins later for effects and things what who's giving me a hard time over here it's the verb suites then they're non-linear that's okay maybe i'll use different reverbs maybe maybe not who knows [Music] i think correct matthew that that's essentially what it is it's safe from being muted [Music] cash [Music] house [Music] okay so for my kick and my snare i duplic i did the duplicate complete because i want the audio event as well um and there's not a lot going on so when i when you duplicate the track or you duplicate completes it does the same thing but complete just also copies all of the audio files over and i'm doing that for this reason is because in case i want to drop some samples in to beef up the kick drum add some extra things in for the snare drum i just duplicate the track and i do it this way and i throw slate's trigger on and then i can go in here and not that one browser i can go into my drums and i can search all of my samples for the right kind of sample to beef something up i'll have to find my dance stuff i think i have a bunch of dance yeah i have a bunch of dance kind of hits in here or maybe i could just throw an 808 into that kick drum [Music] but i have those things and where is that that filter sweep that's a thing trying to think if there's anything else i really need to do but you guys can see how you know i'm taking my time and talking to you guys and answering questions um you can see how this isn't essentially the creative process of mixing it's i'm gonna go with this one real quick hang on there also follow me on instagram um you can see how mix prep isn't the it's not the creative process thing it's not the glitz and the glamour of mixing but it is essential things to do and now that i'm doing it now when i come in to with fresh ears and fresh mind um i don't have to do all of this i'm ready to go i can just come in and start listening and making moves and eq'ing and compressing and things like that the actual things that mixing the fun parts of mixing you know so this is still essential and i'd rather do it now when i'm not really concentrating on how it sounds um other than the fact that i'm just trying to like figure out what effects i want to use uh emoji ask an honest question yes you may oh he goes on scale from 1 to ten ten of the best mix engineers in the world like shep's uh cla brower um what will your be your own opinion about yourself i mean i would put myself i'll say like a five six if we're just gonna go like whole numbers like either five or six there's still plenty for me to learn and i love learning about this stuff and using my ears and finding new things um i have a fair amount of experience i have a fair amount of clients that i have worked with um mika's here um so i would say like six um you know a better way to ask that question is to ask um people who have worked with me ask my clients of people who have listened to the concerts i've mixed people who have listened um some of the records i've put out in the past and see what theirs see what their opinion is or you know you can go to my website and check out some of my stuff and give me your opinion on my things now those are some older things and i probably need to update it um but i'm always i'm always striving to to continue to grow and get better and um i don't think i'm ever going to stop doing that i want to continue just practicing and getting better and learning more and doing it more and having more people come back to me because i keep pushing myself to be better so i hope that's a good enough answer so mika's just stopping by to say hello hope you and everyone are well i am mika thanks for stopping in and saying hello i hope you're doing well margin and thank you for the answer i appreciate it most things i learned from you are regarding workflows well thank you i'm glad that some of my workflow tips have um worked for you uh sorry i'm just noticing now like all the silly waves analog things like all these little noise floor bits i want to turn all that off because i don't need any of that matthew jones you're a live engineer as well yes times are hard right now times are extraordinarily hard for live engineers um thankfully i am pretty multi-faceted um yes i'm a live engineer yes i'm a studio engineer yes i'm a studio mix engineer um and i do these videos and i do the all the other stuff for you guys here um but i'm also um uh like a video tech so uh well really i'm kind of like a a technical director uh for my day job so i can do i do a lot of audio over there um i do video broadcast streams um video records live events things like that um so in like a technical av kind of world something you know and that's that's my other world um i'm i wear a lot of hats over there make a hand the tools continue to improve and change of course we all have to learn uh to even record music as well as experienced recordists yeah you know somebody will always have some new or at least they'll think that it's new way of playing this thing or i've created the so my own instrument that does this and or you know i get hired to go work at this studio and then next week i have to go work at a different studio and maybe doing drums again and drums is just the first example that came to mind um but i have to listen to the room the room's going to sound different the drummer is going to sound different the drums themselves are going to sound different the sticks are going to sound different the symbols are going to be different the heads are going to be different so you have to be able to adapt and learn and hear what's going on and be able to um to adapt and adjust to do that so continuously um learning and pushing your own boundaries to continuously better be better um is one of the greatest things that you can do for yourself in my opinion modrin if you don't learn new things over time you'll become outdated and irrelevant yes absolutely you know you need to you need to find out the latest and greatest and newest in the uh some different methods and you know maybe there is a new way of doing this thing but you know it's good to know the new way it's good to know where the new way originated from we're working in a digital world uh here um but i was trained in the analog world um you know and even though i'm using all these plugins and everything like i i can go into a studio that has a large format ssl console and i i can mix on those things not everybody can but then i can do the same thing here in and be able to translate that in in the box meehan outdated equals retro and it's hip man i'm going for that retro sound it's a huge cycle retro is hot like the mysterious tube sound mysterious tube sound you say huh i'm with you full-time living was in live realm until mid-march i feel your pain matthew i'm glad you didn't have all of your eggs in one basket i've got matthew i'm not going to really go into but you don't know how lucky i got at the end of 2019 um which actually kept me very happy and stable through 2020 and everything that is still going on um i got extraordinarily lucky and i'm thankful for it i hope everything is okay for you because uh it seems like you and i are in the same kind of realm um and that's you know you i just hope that everything turns out well for everybody in our industry uh like the live industry because i have a lot of friends who they're hurting they're hurting bad um and even myself i'm trying to help them out like if i can get some things where i can get a buddy into here hold this camera for a little while or you know whatever it is whatever so i i hope you're doing all right too man today instead of using mixer transformers to tweak our tones now we use plugins to emulate them correct um although you could always you know there are those people who do hybrid stuff and you could throw transformers or tubes into the uh into the fray we'll see funny stuff i learned by mistake after mixing a project uh i now test my project in front of my speakers listening position and then i lay down on my couch like you have and listen um yeah uh you know so that goes into mixed translation um you know yes you could do something like this and you can and you basically you you move yourself from your sweet spot uh mojo also try this if it's available to you i don't know what your setup is like um at your studio is play your mix turn it up like don't kill yourself with the volume but turn it up a little louder and you probably would um and then walk out of the door and close the door behind you and and listen to your low end um a lot can translate through your doors um unless like you're in like a very properly treated place like if i'm if i'm doing stuff here that thing's made of paper like sound is traveling through that with not a problem at all um but if i need a break i hit play i go get a glass of water speaking of um i go get a glass of water i go get a little snack or something i take a little break and i just listen in the other room um and a lot can translate to do that but yes being in different areas of even of your room doing the car thing um my buddy chris was on earlier in the stream and he just got the slate vsx the the new headphone and room emulation um thing from from slate digital um and like that's supposed to help you translate your mixes there's other ones out there like um sonarworks reference four for your headphones or for your room but that's really more of like room calibration stuff but then also the waves nx and especially the waves nx abbey road studio three those are supposed to be um they're supposed to help you translate your mixes because like you're listening in a different environment um so that's why it's also good to have like multiple sets of speakers if you're able to do that or multiple headphones being able to listen on multiple things and listen to what the consumer is going to listen to the your mix on really opens up uh opens up a lot was gonna ask about vsx i don't have it i would love to get one in front of me and listen to some stuff um if you guys want to reach out to slate and be like hey you should have you should check out this guy tim he does some cool stuff here's a link to his thing maybe you guys can be best friends send not saying you have to do that i'm saying if you wanted to i wouldn't be opposed to it um i think it's this button or you can tell them come check out my instagram uh but yeah i mean i'm i'm i'm doing some stuff trying to trying to make friends out there in the uh in the pro audio world yeah i mean i mean i have what do i have i have waves nx because for a little while i was doing a bunch of work um for a little while i was doing a bunch of work uh in headphones um so i bought the waves nx like you know a while ago i think it was waves version 9 or version 10 or something like that i think it just will thank you kelly roger i have been using embryo techniques like listen to it at 85 db normal listening and barely listening and it works well um i have my room calibrated uh i have my speakers calibrated that even if i have this all the way up which i'm not going to do now because my kids are asleep but if i have this all the way up it is it's really not that loud um i mean i've i've done mixes with this with my volume all the way up and my wife is just on the other side of this wall which is glowing green for you guys she's just on the other side as well watching movies and she might have to turn the tv up a little like but my room's calibrated you can see i have some treatment around like you can see this one so i have treatment around to help my room sound better so it's a combination of a bunch of different things my room is treated to to sound better um my speakers are calibrated so that they're the same volume and i don't have like any discrepancies between my left my left and right because that's a thing um and also i have my my custom correction to excuse me counteract um any of my things like room modes and stuff that's going on all right friends and everyone it's almost midnight i'm gonna be honest i'm tired um but i am thrilled to be back and i'm thrilled to have you all here with me um i'm curious though and i'll give you a few more minutes so that you can throw this stuff into the chat and i can catch up with you a little um how does friday night work for you guys how does saturday night work for you guys what works um it is gonna be late nights you know an early stream for me might be like 10 at night um because i got to get the kids in bed um and i'm probably most likely going to just do one night a week i'm just really just honing in on what um and what day works best so that's why i did one now it's october we're in it we're in spoopy month i wanted to i wanted to get back in in the saddle and start doing streams uh let's catch up a bit mojodin speaking about headphones what do you prefer for mixing open close open back definitely um i don't i'll be honest i don't prefer using headphones but if i was going to i would go for open backs um but i prefer openness seems to have more natural sound yeah that's the whole thing about open backs which that that's the design of open backs is they're um they're supposed to let audio pass through these ports these are the 270s from akg um they're supposed to let sound and low ends pass through those ports um to give it that more natural sound and not tight in like a pair of closed backs like this thing but closed backs are better for tracking that's why you have to have multiple sets of headphones and some for you that are good for you know listening while tracking and some that are good for the artist which are good for isolating while tracking lots of stuff going on modern says good night kelly says dig it uh matthew says good man for trying to put folks uh to work where you can i've got a pretty strong hustle about me good for you glad to hear it no worries rest well and thanks for the help kelly goes you the man thanks for sharing you're welcome friday thursday anytime is fine true true all right i yeah you know what but for now i think it's gonna be fridays um you know that might change i mean i'm not set on anything most important thing is i'm saving over here um and i am gonna say good night to all you guys thanks for coming and hanging out um i will see you again next week um probably friday i think i think friday's probably going to be my day i don't know um if you guys ever want by all means feel free to reach out to me you can go to my website which is going into the chat right now as i type it so you guys can reach out to me from my website i have a contact form on there if you guys are interested in one-on-one lessons oh i might i am so unprepared for all this stuff right now if you guys are interested in one-on-one lessons you can now use this link that's in the chat and you can book your free 15-minute consultation lesson with me and every single lesson is based on your schedule so you just click on the link you'll see a calendar and then you can go you know what it's going to work for me thursday at this time and then you and i will hop on a free 15-minute consultation i'll talk to you one-on-one tell you how everything rolls and every single lesson is tailored to you guys and what you want to learn every single lesson i have a um a bass player student who um every single one you know it's something new and every once in a while we go back a little and that's what works for him and if that's what you guys want to do because that's what works for you then by all means every single lesson is tailored to that student um i'd be happy to talk to you all and maybe offer some insights and and lessons for you guys and until um until next week have a healthy weekend and stay safe take care of each other and i will see you soon good night everybody you