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Post by Martin John Butler on Nov 8, 2019 20:59:51 GMT -6
If you can, find a mixer/engineer whose style you like, not just someone qualified.
There's a Psychedelic Furs song titled "Until She Comes" that had two different mixes released. I'm not sure why. One was by Steven Street, and the other by Hugh Padgham. The Street mix seemed fine, maybe a little bit of a heavy emphasis on drums, but perfectly OK. The Padgham mix sounded magical. In seconds you were in the room with Richard Butler and feeling what he was singing about as if you were in his head. It breathed and somehow let your imagination fly. They were the exact same tracks.
I wish I could spend a week or two working with someone like that.
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Post by porkyman on Nov 8, 2019 21:01:40 GMT -6
I think David Glenn does/did something like this where you mix your song together via web conference. I’ve never tried it and don’t know if he still does it but I thought his YouTube videos were some of the best around. It’s not a tutorial. You would hire him to mix your song and you would mix it together. He would basically teach you how to mix your own songs. I was just saying going by his YouTube videos he seems really good at what he does.
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Post by johneppstein on Nov 8, 2019 21:04:59 GMT -6
Feeling like I need to learn to be better. I’d love to watch someone mix one of my tracks. I’ve never had the opportunity before. What would it cost to have someone mix a track while talking through their decisions and screen capturing that? The best advice I can give about learning to mix is to get a regular job as a sound engineer at a live venue. When you're mixing live, on the fly, 3-5 nights a week you will learn INFINITELY more about mixing than you ever will off the internet,wher at least 50% of the "advice" is garbage.
For studio, augment it by reading as much as possible frome the "old masters" like Al Schmitt - maybe a lot of it will seem really simplistic or "not applicable to so-called modern styles" - which is a total crock, the basics are the basics.
If you can manage to wangle a position at a major (or even pore but not so major) studio sweeping floors and fetching coffee, DO IT. It may not seem like much at first but you will learn more by keeping your mouth shut and your ears open in such a context than you could ever find anywhere else.
P.S. You are not likely to learn much about real mixing from YooToob Vidz or any other similar source. You MIGHT learn a lot about what to buy to enrich the makers of those vidz.
You learn to mix by mixing and by watching the real pros when they're mixing.
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Post by johneppstein on Nov 8, 2019 21:16:14 GMT -6
It might work better for you if you had the mixer make you do the movements. I never learn the route somewhere unless I'm doing the actual driving, even if I've gone someplace many times. I'm not sure how that would work in actual practice. Most of my moves are simple sweeps of things until I hear what I like, or trying different settings quickly. It would take 10x longer to try to explain why I do things to someone else and it would completely break concentration doing so. Which is why you need a job in a real studio. You will learn 1000 times more by sweeping floors and fetching coffee in a real studio than by having someone, even a "name" someone, walk you through mixing one or two tracks.
Mixing live in a club is almost as good because you learn to work fast, "in the moment".
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Post by johneppstein on Nov 8, 2019 21:17:58 GMT -6
I think David Glenn does/did something like this where you mix your song together via web conference. I’ve never tried it and don’t know if he still does it but I thought his YouTube videos were some of the best around. It’s not a tutorial. You would hire him to mix your song and you would mix it together. He would basically teach you how to mix your own songs. I was just saying going by his YouTube videos he seems really good at what he does. Almost useless. "How to mix" one song is not learning how to mix.
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Post by porkyman on Nov 8, 2019 21:57:12 GMT -6
I'm not sure how that would work in actual practice. Most of my moves are simple sweeps of things until I hear what I like, or trying different settings quickly. It would take 10x longer to try to explain why I do things to someone else and it would completely break concentration doing so. Which is why you need a job in a real studio. You will learn 1000 times more by sweeping floors and fetching coffee in a real studio than by having someone, even a "name" someone, walk you through mixing one or two tracks.
Mixing live in a club is almost as good because you learn to work fast, "in the moment".
Disagree. Sounds crazy but I think you’ll learn more from any engineer teaching you hands on than fetching his coffee and sweeping his floors. I think it’s the best possible way to learn. Do one song and have the template to finish the rest of the album by yourself and have the ultimate reference track to match. References are where you make the most gains. Hearing what the pros are hearing before and after they make their moves. Especially when the source material is your own and you know it so well. Even if I was the #1 engineer in the world I would find it infinitely informative to sit in on another engineers session. Jmho.
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Post by indiehouse on Nov 8, 2019 22:05:18 GMT -6
I think David Glenn does/did something like this where you mix your song together via web conference. I’ve never tried it and don’t know if he still does it but I thought his YouTube videos were some of the best around. It’s not a tutorial. You would hire him to mix your song and you would mix it together. He would basically teach you how to mix your own songs. I was just saying going by his YouTube videos he seems really good at what he does. Right on, man. I dig that. I was talking more about the Groove or CLA tutorial videos. I’ve seen enough of those kinds.
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Post by Blackdawg on Nov 8, 2019 23:49:04 GMT -6
The thing is, if I watch one more "mixing tutorial" video, I might go crazy. I know the moves I'm 'supposed' to make. I just need to take it to the next level, a personal level. In that reguard then, practice practice practice practice. Learn the tools inside and out. Also put limits on yourself. It so easy to have 439002389740923802493 plugins that do 3283023984720395208952 different things. Fuck that. Pick 4 tools, do a mix with only those. Then another. Then another. You'll learn if you like Tool A vs B quickly. Then add one more tool and take away another. Having restrictions and limits really pushes you to be creative to get something you want. I did something similar by forcing myself to mix 100% out of the box for about 5 months. Granted at the time...i had an SSL duality to play with, but I really learned how the console liked to work and how to push it in the right direction. Plus a multitude of other things from that. I don't know if any of this will work for you, but it helped me a lot. Then also just being around other engineers. Other mixes, being present in other sessions, observing. Which I realize is what you want to do but your going about it wrong. Find local people that do this too. Become friends. Just hang out. Watch. Then you'll learn more and more. Just immersing yourself in it will payoff way more than having a session with someone and watching them one time. Build a good relationship with some people and you'll get to sit in on tons of sessions, start helping with them, lending ideas, and soon helping drive the mix. It's way more fun that way too I think.. Not trying to sound preachy. Just laying it out there to think about.
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Post by Blackdawg on Nov 8, 2019 23:55:35 GMT -6
Which is why you need a job in a real studio. You will learn 1000 times more by sweeping floors and fetching coffee in a real studio than by having someone, even a "name" someone, walk you through mixing one or two tracks.
Mixing live in a club is almost as good because you learn to work fast, "in the moment".
Disagree. Sounds crazy but I think you’ll learn more from any engineer teaching you hands on than fetching his coffee and sweeping his floors. I think it’s the best possible way to learn. Do one song and have the template to finish the rest of the album by yourself and have the ultimate reference track to match. References are where you make the most gains. Hearing what the pros are hearing before and after they make their moves. Especially when the source material is your own and you know it so well. Even if I was the #1 engineer in the world I would find it infinitely informative to sit in on another engineers session. Jmho. mmm Idk man. i agree that live mixing is a lot different than studio mixing though. Plus I see plenty of people mixing in small venuse that have no idea wtf they are doing and sure as hell aren't riding faders... But being around pros, that does make a huge difference. People like to talk and like to share common interests. It does not take much to show you really care(just work hard, be on time/early, and quiet respectful) and you'll soon get to just be and watch and learn. Then talking about things, and soon they are just showing you stuff they are excited about because they know you'll be excited too. As for the reference track thing...well...everyone should have a handful of references. And if you do a mix. And play a ref, and it doesn't sound like it....you know you have work to do. Simple as that. I was amazed at work fellow students would hand in for projects and think, "you really listened to that and thought 'yeah that sounds just like the stuff I listen too everyday' and was ready to turn in to be paid?" It was nuts. doesn't take much to just reference anything.
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Post by indiehouse on Nov 9, 2019 5:08:16 GMT -6
The thing is, if I watch one more "mixing tutorial" video, I might go crazy. I know the moves I'm 'supposed' to make. I just need to take it to the next level, a personal level. In that reguard then, practice practice practice practice. Learn the tools inside and out. Also put limits on yourself. It so easy to have 439002389740923802493 plugins that do 3283023984720395208952 different things. Fuck that. Pick 4 tools, do a mix with only those. Then another. Then another. You'll learn if you like Tool A vs B quickly. Then add one more tool and take away another. Having restrictions and limits really pushes you to be creative to get something you want. I did something similar by forcing myself to mix 100% out of the box for about 5 months. Granted at the time...i had an SSL duality to play with, but I really learned how the console liked to work and how to push it in the right direction. Plus a multitude of other things from that. I don't know if any of this will work for you, but it helped me a lot. Then also just being around other engineers. Other mixes, being present in other sessions, observing. Which I realize is what you want to do but your going about it wrong. Find local people that do this too. Become friends. Just hang out. Watch. Then you'll learn more and more. Just immersing yourself in it will payoff way more than having a session with someone and watching them one time. Build a good relationship with some people and you'll get to sit in on tons of sessions, start helping with them, lending ideas, and soon helping drive the mix. It's way more fun that way too I think.. Not trying to sound preachy. Just laying it out there to think about. I get all that, for sure. It’s just not going to fit with my life right now. I’m a 40 year old dude with a wife, two little kids and a full time job that I can’t walk away from. I’m not trying to do this for a living, and I just don’t have the time to log hundreds of hours. I’ve been doing this for a while, and probably have logged that many already. I’m just looking for another way to get better. Sometimes I feel like I’m just fumbling around in the dark. I agree with you on the tool choices. I stopped buying new stuff a while back and am just concentrating on learning what I have, which feels like it will take a lifetime.
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Post by indiehouse on Nov 9, 2019 5:12:20 GMT -6
Feeling like I need to learn to be better. I’d love to watch someone mix one of my tracks. I’ve never had the opportunity before. What would it cost to have someone mix a track while talking through their decisions and screen capturing that? The best advice I can give about learning to mix is to get a regular job as a sound engineer at a live venue. When you're mixing live, on the fly, 3-5 nights a week you will learn INFINITELY more about mixing than you ever will off the internet,wher at least 50% of the "advice" is garbage.
For studio, augment it by reading as much as possible frome the "old masters" like Al Schmitt - maybe a lot of it will seem really simplistic or "not applicable to so-called modern styles" - which is a total crock, the basics are the basics.
If you can manage to wangle a position at a major (or even pore but not so major) studio sweeping floors and fetching coffee, DO IT. It may not seem like much at first but you will learn more by keeping your mouth shut and your ears open in such a context than you could ever find anywhere else.
P.S. You are not likely to learn much about real mixing from YooToob Vidz or any other similar source. You MIGHT learn a lot about what to buy to enrich the makers of those vidz.
You learn to mix by mixing and by watching the real pros when they're mixing.
Thanks for the response, but I have a regular job that pays far more than a sound guy at the bar or sweeping floors at a studio (which I actually did, by the way. The only things I learned was that the studio business is in trouble and this guy can’t afford to keep me on payroll sweeping floors when there isn’t anybody coming in to pay the bills. So I left and went to grad school). I think that road has passed me by. I’m not 20 anymore and I have to do what’s best to support my family. And that’s not it. So I have to be creative and find other ways to learn new things. I’m probably making a bigger deal out of it than it is. Just thought that “watching” someone who is better than me mix a song that I recorded and have a personal stake in might go a long way.
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Post by mrholmes on Nov 9, 2019 7:32:07 GMT -6
The thing is, if I watch one more "mixing tutorial" video, I might go crazy. I know the moves I'm 'supposed' to make. I just need to take it to the next level, a personal level.
I think its very inspiring when I see my mentor sitting in his studio, so I do when I see a mixing tutorial video.
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Post by EmRR on Nov 9, 2019 7:51:46 GMT -6
I'd suggest getting raw files from others and mixing their stuff, so you're dealing with unknown sources at face value. I've discovered two extremes there:
1) tracks that are done in every regard, do some panning and print a flat fader mix. The engineer was a genius. All I can do is F it up trying to make it be something else. Knowing when to do nothing is important.
2) tracks that need a lot. I'm less conservative in approach when I don't know why the hell it sounds like that. Crank everything at least once to see if it gets better.
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Post by jeremygillespie on Nov 9, 2019 9:23:18 GMT -6
How about this? The second option down might be something of interest to you. www.1on1mixing.comI swept floors and got food for people for 6 months before I was even allowed in a studio to observe and help out. Luckily for me I was 23 so I was able to kee a full time job and work at the studio at night and somehow survived on 3 hours sleep. Wouldn’t recommend.
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Post by christopher on Nov 9, 2019 10:00:50 GMT -6
I listened to your link from 2013 while driving. Sounds like you have some solid mixing skills. However something was preventing me from enjoying it fully and connecting to the songs. But it turned out to be a simple thing: there’s some low mid build-up in the 200-1k range. All your tracks are nice and full in that area, but it’s masking harmonics, and also has some slightly audible room nodes. Using the car EQ a quick cut at 200 about -5dB to -10dB depending on the song.. and @1k -3dB. It pushed the singer and guitar amps a little further back in the sound stage, room nodes vanished. Suddenly I really started enjoying it. Your sub area sounds great, and your mix balance is great, so maybe mastering needs revisiting? Just a thought. The low mid build up can be cut during mastering and sound like a million great records. The other way to deal with it is to choose which instruments will feature low mids, & which will be cut away. I felt like these vocals and guitars benefit from a cut, as it gives them more bite without boosting any highs. However drums and bass, maybe you’d want the low mids, or not. I think seeing how another person mixes your songs will be a great idea, defiantly do it! I’m interested to see how your new songs turn out.
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Post by theshea on Nov 9, 2019 11:22:10 GMT -6
I stopped buying new stuff a while back and am just concentrating on learning what I have, which feels like it will take a lifetime. stopping and concentrating on mixing is great. because - lets be honest - all you need for a good mix is eq, comp and a reverb. so basically stock plugins. i learned the most when i stopped hunting other advises. before making mixing moves for a track nowadays i ask myself "how do i want it to sound and what do i need to get there". and than i try to get there by doing WHATEVER IT TAKES to get there. no matter what eq or comp setting! +15 db on the eq? 20 db of gain reduction on the comp? who cares, its MY mix. let it all go and mix as you like but be as demanding to yourself, try to get YOUR sound to perfection. so listen very very closely what you're doing, concentrate. don't go for second best. concentrate, listen, decide. move on. its hard work but nobody said it would be easy. but than again: it aint rocket science! but yeah, it will take a lifetime! haha!
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Post by johneppstein on Nov 9, 2019 13:46:05 GMT -6
Which is why you need a job in a real studio. You will learn 1000 times more by sweeping floors and fetching coffee in a real studio than by having someone, even a "name" someone, walk you through mixing one or two tracks.
Mixing live in a club is almost as good because you learn to work fast, "in the moment".
Disagree. Sounds crazy but I think you’ll learn more from any engineer teaching you hands on than fetching his coffee and sweeping his floors. I think it’s the best possible way to learn. Do one song and have the template to finish the rest of the album by yourself and have the ultimate reference track to match. References are where you make the most gains. Hearing what the pros are hearing before and after they make their moves. Especially when the source material is your own and you know it so well. Even if I was the #1 engineer in the world I would find it infinitely informative to sit in on another engineers session. Jmho. You don't get to learn "hands on" without fetching coffee and sweeping floors. And you won't learn much in a one or two week paid course.
You don't learn to mix from "templates". You learn by listening and observing. And there is no substitute for time.
There are no shortcuts.
Working on your own material without real experience is a detriment. You already have fixed ideas that might and will stand in the way - you have no objectivity. You won't really be "hearing what the pros are hearing" because you can't - you ears aren't trained for it and training your ear takes time.
What you're saying is the same thing as saying that you'll learn more by jumping into a race car before you've taken driver's ed.
When you're fetching coffee and sweeping floors you ARE sitting in on the sessions of more experienced engineers. After you've done that for awhile then you get elevated to tape op (or protools op these days) Then after doing that you get elevated to second engineer. Then one day the first calls in sick or something and you're in the first chair or somebody asks for you by name.
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Post by stratboy on Nov 10, 2019 8:55:57 GMT -6
Some thoughts that might be helpful: Subscribe to the digital edition of Sound On Sound. The monthly Mix Rescue column, by Mike Senior, is really good. There’s years of archives, in a variety of styles, with refs. Senior’s site, Cambridge-MT.com is also a gold mine of material for mixing skill improvement. He has a well-reviewed book, too. Having a relationship with a good mastering engineer can be incredibly helpful. Get him or her to tell you what moves they made to master your mix, then apply that knowledge globally. As was pointed out earlier in the thread, and as is true, IMO, for many mixes, I learned that some of my problems lay in how I handled the low mids.
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Post by porkyman on Nov 10, 2019 10:35:05 GMT -6
Disagree. Sounds crazy but I think you’ll learn more from any engineer teaching you hands on than fetching his coffee and sweeping his floors. I think it’s the best possible way to learn. Do one song and have the template to finish the rest of the album by yourself and have the ultimate reference track to match. References are where you make the most gains. Hearing what the pros are hearing before and after they make their moves. Especially when the source material is your own and you know it so well. Even if I was the #1 engineer in the world I would find it infinitely informative to sit in on another engineers session. Jmho. You don't get to learn "hands on" without fetching coffee and sweeping floors. And you won't learn much in a one or two week paid course.
You don't learn to mix from "templates". You learn by listening and observing. And there is no substitute for time.
There are no shortcuts.
Working on your own material without real experience is a detriment. You already have fixed ideas that might and will stand in the way - you have no objectivity. You won't really be "hearing what the pros are hearing" because you can't - you ears aren't trained for it and training your ear takes time.
What you're saying is the same thing as saying that you'll learn more by jumping into a race car before you've taken driver's ed.
When you're fetching coffee and sweeping floors you ARE sitting in on the sessions of more experienced engineers. After you've done that for awhile then you get elevated to tape op (or protools op these days) Then after doing that you get elevated to second engineer. Then one day the first calls in sick or something and you're in the first chair or somebody asks for you by name.
Lol. I bet you walked up hills both ways in the snow to school every day. There is exactly 0 difference between paying to sit in on a session and sweeping floors to sit in on a session which in all actuality IS paying to sit in on a session. The “template” IS listening and observing. You know the exact moves the engineer made and when. So you set your faders and listen. You know the E went straight for the snare so you try to figure out what he was hearing. Then you set comp/eq/fx etc the way he set them and listen. It’s like you get to sit in on a session as many times as you want without sweeping any floors. Every advancement man makes is a “shortcut.” You don’t have to do things the old/hard way anymore. That’s why they call them “advancements.”
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Post by Bob Olhsson on Nov 10, 2019 11:09:45 GMT -6
The challenge is that no two sessions or, for that matter, songs are the same. The blessing of Pro Tools is that I can record a dozen drum mikes and use the three or four that sounds best for the song. Ten minutes later, the very same drummer recording a different song will sound better using a different combination. One of the biggest challenges is keeping a session moving. I'll never forget Steve Cropper stopping in the middle of an overdub take and telling me "Back to the top, I started thinking!"
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Post by EmRR on Nov 10, 2019 11:20:35 GMT -6
You don't get to learn "hands on" without fetching coffee and sweeping floors. And you won't learn much in a one or two week paid course.
You don't learn to mix from "templates". You learn by listening and observing. And there is no substitute for time. There are no shortcuts. Working on your own material without real experience is a detriment. You already have fixed ideas that might and will stand in the way - you have no objectivity. You won't really be "hearing what the pros are hearing" because you can't - you ears aren't trained for it and training your ear takes time.
What you're saying is the same thing as saying that you'll learn more by jumping into a race car before you've taken driver's ed. When you're fetching coffee and sweeping floors you ARE sitting in on the sessions of more experienced engineers. After you've done that for awhile then you get elevated to tape op (or protools op these days) Then after doing that you get elevated to second engineer. Then one day the first calls in sick or something and you're in the first chair or somebody asks for you by name.
There is exactly 0 difference between paying to sit in on a session and sweeping floors to sit in on a session which in all actuality IS paying to sit in on a session. The “template” IS listening and observing. You know the exact moves the engineer made and when. So you set your faders and listen. You know the E went straight for the snare so you try to figure out what he was hearing. Then you set comp/eq/fx etc the way he set them and listen. It’s like you get to sit in on a session as many times as you want without sweeping any floors. You miss his point 100%. How is sitting in on your own session versus working somewhere and watching 150 other peoples sessions the same? You don't learn much sitting in on your own session. You don't have any idea what you're gonna learn watching 150 other peoples ssessions until you've done it. I don't see many template's in action in serious creative recording sessions. I'd really start to fail my clients if I fell into using templates, unless I started doing production line manufacturing type work for advertising, or only one genre with a cookie cutter sound.
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Post by porkyman on Nov 10, 2019 11:52:49 GMT -6
There is exactly 0 difference between paying to sit in on a session and sweeping floors to sit in on a session which in all actuality IS paying to sit in on a session. The “template” IS listening and observing. You know the exact moves the engineer made and when. So you set your faders and listen. You know the E went straight for the snare so you try to figure out what he was hearing. Then you set comp/eq/fx etc the way he set them and listen. It’s like you get to sit in on a session as many times as you want without sweeping any floors. You miss his point 100%. How is sitting in on your own session versus working somewhere and watching 150 other peoples sessions the same? You don't learn much sitting in on your own session. You don't have any idea what you're gonna learn watching 150 other peoples ssessions until you've done it. I don't see many template's in action in serious creative recording sessions. Every single mixer has a template. Every single one. Even if they don’t realize it. That’s how they’re able to pump stuff out. They’re even starting to sell their templates now btw. Watch this video of rick beato analyzing Andy Wallace. Notice how every kick snare bass etc are identical. It wouldn’t matter what session you sat it on the moves/actions would be virtually the Same. It’s not a bad thing either. You hire CLA bc you want that CLA sound. That CLA “sound” is in fact a “template.” I don’t know the op but what I gathered from the original post was that he wanted to be able to mix is OWN stuff. He’s trying to get his own music to sound the way he wants it. And to me the best way is to sit it on one song and try to mix the rest of the album using the PRO track as the ultimate reference. I honestly don’t think there is a better way than that.
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Post by EmRR on Nov 10, 2019 11:54:54 GMT -6
You miss his point 100%. How is sitting in on your own session versus working somewhere and watching 150 other peoples sessions the same? You don't learn much sitting in on your own session. You don't have any idea what you're gonna learn watching 150 other peoples ssessions until you've done it. I don't see many template's in action in serious creative recording sessions. Every single mixer has a template. Every single one. That is factually incorrect. I know all sorts of mixers with no templates, who have successful careers. I know guys who zero out the console between mixes, pull all the faders down.
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Post by johneppstein on Nov 10, 2019 13:32:16 GMT -6
You don't get to learn "hands on" without fetching coffee and sweeping floors. And you won't learn much in a one or two week paid course.
You don't learn to mix from "templates". You learn by listening and observing. And there is no substitute for time.
There are no shortcuts.
Working on your own material without real experience is a detriment. You already have fixed ideas that might and will stand in the way - you have no objectivity. You won't really be "hearing what the pros are hearing" because you can't - you ears aren't trained for it and training your ear takes time.
What you're saying is the same thing as saying that you'll learn more by jumping into a race car before you've taken driver's ed.
When you're fetching coffee and sweeping floors you ARE sitting in on the sessions of more experienced engineers. After you've done that for awhile then you get elevated to tape op (or protools op these days) Then after doing that you get elevated to second engineer. Then one day the first calls in sick or something and you're in the first chair or somebody asks for you by name.
Lol. I bet you walked up hills both ways in the snow to school every day. There is exactly 0 difference between paying to sit in on a session and sweeping floors to sit in on a session which in all actuality IS paying to sit in on a session. The “template” IS listening and observing. You know the exact moves the engineer made and when. So you set your faders and listen. You know the E went straight for the snare so you try to figure out what he was hearing. Then you set comp/eq/fx etc the way he set them and listen. It’s like you get to sit in on a session as many times as you want without sweeping any floors. Every advancement man makes is a “shortcut.” You don’t have to do things the old/hard way anymore. That’s why they call them “advancements.” There are no hills in central Oklahoma.
The difference between paying to sit in on a session and working your way up in a studio is the same as paying for one meal in a good restaurant and working in the kitchen under a master chef for two years.
The "template" is observing what was done on one song. You know the exact moves ONE engineer did on ONE song. You don't understand why because you lack the background to understand. And you don't have the foggiest notion of how that might or might not apply to another song or how it relates to other circumstances. You know how he set the comp and FX for ONE SONG with ON particular snare drum but you don't know or uinderstand WHY he did what he did or what he might have done on a difference song or with another drum, let alone a different type of music. YOU DON'T UNDERSTAND WHAT YOU'RE DOING. You're just working from rote memorization of an isolated example.
And you haven't done squat to actually develop your ear, which requires working with a variety of material over a length of time, because it's an evoluitionary process.
That's stupid. You don't understand what you're doing.
Every advancement man makes is NOT a "shortcut". If you really believe that your educational experience is sorely lacking in evey popssible way. It's like using a cheat sheet to pass your exams. You don't actually know anything when you're done.
There are no shortcuts to learning or understanding. You MUST put in the work or you're still the same clueless person you were when you started, except that you now have the added handicap of THINKING you know something that yopu neither know nor understand.
Apologies for my bluntness.
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Post by jeremygillespie on Nov 10, 2019 13:35:26 GMT -6
None of the guys I assisted used templates, including Andy. He may get to the same place sonically because of how he hears the songs and where he wants to get with them, but it’s generally not in the same way.
Also, most of my time spent as an assistant, I was so consumed with working and making sure shit was right that I didn’t learn much as it was going down. Doing recalls and staying late after every session is where I really where I stole lots of info.
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