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Post by svart on Dec 28, 2016 13:37:15 GMT -6
Yeah, I can't find the "free" vids anywhere either. None of them mention free, and none of them do anything but pop up a window asking for login.
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Post by pope on Dec 28, 2016 13:46:41 GMT -6
Yeah, I can't find the "free" vids anywhere either. None of them mention free, and none of them do anything but pop up a window asking for login. Go to the top of the website (https://mixwiththemasters.com) and try again. You should be able to watch the current free video.
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Post by bowie on Dec 28, 2016 14:46:39 GMT -6
The free link is on the home page (EDIT; actually, go to the "Register" page if you don't see it), in the form of a pop-up window (not a separate tab, but a small window overlaying the page). You may want to disable ad and pop-up blockers if you have them. Also, FWIW, I've had to load the home page a couple times before it showed.
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Post by wiz on Dec 28, 2016 15:22:41 GMT -6
The previews are just one episode in each series. They're offered to whet your appetite for the site subscription. It's still informative, especially for free. I'm trying to catch all of them. The Andy Wallace ambient snare sample is the digital equivalent of the old 'snare trick' where you bussed the gated snare track back out into the studio where an Auratone sat on a snare drum mic'ed from the bottom to pick up more clean snare sound without leakage to blend back in with the original snare. I must try this cheers Wiz
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Post by donr on Dec 28, 2016 20:47:05 GMT -6
Man, check out the Alan Meyerson episode before midnight. This guy is deep, and gives some creative inspiration. And he's using plugins we use.
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Post by swurveman on Dec 29, 2016 10:13:32 GMT -6
Just watched Andrew Scheps. Very little, except what he does on his Mix Bus.
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Post by Deleted on Dec 29, 2016 19:15:45 GMT -6
Just watched Andrew Scheps. Very little, except what he does on his Mix Bus. It must be a style / learning thing, but I got more from that than the others. Was disappointed when it ended - damn, nearly hooked ....
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Post by ChaseUTB on Dec 29, 2016 20:09:37 GMT -6
Is it Andy Wallace who came up with the lexicon trick on guitars? I thought the Wallace excerpt was good but the context of the mix was not as front and center as I would have preferred. Blending triggered samples with live ones, using the sample to key a gated verb to add gel and ambience between the real and sample. I liked the vid the cla was better to me and I do not see the massy one. All in all, I don't have even time to make that $300 worthwhile, when the 20 + min vids could be condensed and edited to 3-5 min... love me some free vids however so I do appreciate the vids I have seen, so thank MWTM and the op for linking the vids đŸ˜¬
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Post by mokobigbro on Dec 30, 2016 1:12:27 GMT -6
Well worth it. I signed up on the first week they launched this program. I have attended MWTM this year with Andrew Scheps as well. Looking to save up some more money so I could attend another one. There's a free video every day starting tomorrow and lasting a week. MEMBERSHIP : $289 / YEAR Has anybody been a member? If so, was it worth the price to you?
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Post by jcoutu1 on Dec 30, 2016 5:43:34 GMT -6
Just watched Andrew Scheps. Very little, except what he does on his Mix Bus. I thought this was the most interesting one yet, even though I didn't really care for his mix.
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Post by javamad on Dec 30, 2016 8:29:14 GMT -6
I signed up last April (so 4 months to go). I spent a couple of months doing 5 videos a week then I started doing it more casually, looking only at sessions where I felt I could learn a lot.
Very good help to me as I am getting back into music after 10 years away and I am now looking to mix/produce others (studio build starting in January ... yay!)
If this is your day job and you mix every day .. you will still learn a few things and perhaps more importantly get some new perspective. I am sure everyone falls into their own habits and after a while you just do the same two tricks on bass/drums etc.
For the price of a plugin you get a year to look over the shoulders of some people who are doing a lot of commercial work and at least you will see what some of your artists might be expecting.
My $0.02
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Post by jcoutu1 on Dec 30, 2016 14:17:35 GMT -6
The Tchad Blake one today was pretty cool. Didn't really provide much insight, dude seems totally off the chain, but it was still pretty cool. Pretty killer mix on this tune. Ton going on. Really artistic. Great use of what the computer can do.
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Post by bowie on Dec 30, 2016 17:31:24 GMT -6
Mixed feeling about today's sample. Not taking away from Tchad's abilities, what he was doing was highly layered and and he got it all work co-exist without sounding like mud. In fact, it managed to sound somewhat sparse and lean in the end product. Tremendous skill. I just didn't like the mix. Feels like it killed what should have been a more organic/raw sounding song. Anyhow, just an artistic criticism. As a piece for Mixing With the Masters, it works. He seemed to be a little too lost in the work to explain (or remember) what he was doing in parts but by rewinding here and there I picked up on a lot of interesting choices. Would love to see one where he was a little more focused and able to explain in greater detail what/why he was doing on each track. If the vids were that involved, I might subscribe.
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Post by Martin John Butler on Dec 30, 2016 18:05:41 GMT -6
Yikes, maybe I'm just having a day, but when I could barely sit through the Tchad Blake video. First of all, he can't even bother to pretend he's teaching, just kind of mumbling like "oh, I did some of this, and a little of that". I looked at his credits, and they're honestly awesome, but man, this sounds like he just grabbed a bunch of saturation plugs and just dirtied up a few things and called it a mix.
I hope they have an episode with Hugh Padgham, now that guys the deal in my book.
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Post by ragan on Dec 30, 2016 18:44:25 GMT -6
Tchad Blake is one of my mixing heroes. I can assure you he's doing more than just throwing saturation around willy nilly. That guy is a monster mix engineer.
Total space cadet, yes. But he's a wizard with sonics. Definitely has a sonic style, which of course any given person might love/hate/anything in between.
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Post by M57 on Dec 30, 2016 18:58:59 GMT -6
No doubt all of these people are fabulous engineers, but as Martin says, that doesn't make them good teachers. Mr. Blake was probably asked to deconstruct one of his mixes. He certainly was not explaining how to do things and he wasn't even able to explain how he approached what he did. As far as I'm concerned, at least half the blame rests on the production team that filmed the thing. It was poorly organized, and if it was well-edited I shutter to think of what was tossed. I mean really, I couldn't be bothered to watch hours of something like that for a few crumbs of useful info, much less pay for the privilege. This is clearly a case where it's better to leave teaching to the professionals ..professional teachers that is.
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Post by jcoutu1 on Dec 30, 2016 19:20:37 GMT -6
Rather than deconstructing a mix, I'd prefer to see the building of a mix. I'd like to see Tchad sit down for 4 hours, eat lunch, do another 4 hours, then print and mail the mix off (or however long it takes).
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Post by ragan on Dec 30, 2016 19:37:58 GMT -6
Rather than deconstructing a mix, I'd prefer to see the building of a mix. I'd like to see Tchad sit down for 4 hours, eat lunch, do another 4 hours, then print and mail the mix off (or however long it takes). + a million I'd never pay for just watching someone solo around and kinda half-assedly comment on things.
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Post by wiz on Dec 30, 2016 20:01:58 GMT -6
Can I be a grumpy old man for a sec?
I wanna see.... Tracking with the masters .... And arranging with the masters
8)
Cheers
Wiz
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Post by Ward on Aug 2, 2017 15:08:54 GMT -6
Can I be a grumpy old man for a sec? I wanna see.... Tracking with the masters .... And arranging with the masters 8) Cheers Wiz I wanna see "Psychology with the masters" "Negotiating with the masters" "Budgeting with the masters" "Scheduling with the masters" "Replacing broken gear with the masters" And "Vocal Coaching with the masters" You know, the things us ordinary non-master folks do every day. And if we have time, "Lounging on the couch like the bearded one with the masters" (some of you know who the Def I'm talking about)
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Post by rowmat on Aug 2, 2017 19:31:58 GMT -6
I wanna see... "Pay your f*cking bill or I'll break your f*cking kneecaps with the masters"
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Post by c0rtland on Aug 3, 2017 8:53:54 GMT -6
Lol. Those last few posts....
Puig's up next. Should be interesting.
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Post by aamicrophones on Aug 4, 2017 15:12:06 GMT -6
Hi Guys, I have had the privilege of working with a couple of Masters. One being the late Bill Porter. What I learned from Bill can be paraphrased as follows, " There is not a microphone, FX device or piece of gear that makes the difference between a song being a hit or not".
Here is a quote from Tom Dowd,
"The most important thing is that you must have a good song. You must have a good song. You have got to have a song that is so good that if the kid delivering coffee walked through the door, he could sing the song and you would have a hit. That’s how strong the song has to be. It’s as simple as that. Now if you have a song that is that strong you are half way home. That comes from the monetary, from the recording point of view that if you have a hit song that is all you need. A hit song and get out of my way, I am home free. You have to have your hand on the pulse of the audience. You must know what they like, what they are sensitive to, and what they are ready for. Unfortunately in the last ten years we have gone through such wacky permutations in the industry. This is a time where TV is selling records based on what people see rather than what they hear."
The Tom Dowd documentary, "The Language of Love" is a much watch for any recording engineer. You can watch him mix parts of Layla and how much of a musician he really is. He sits down at the piano and plays the bridge of Layla which was played originally by Jim Gordon the drummer.
One of my favourite mixers is Elliot Scheiner and he mixed Walter Beckers Circus Money which is one of the reference CD's I used for judging monitors. It is a sonlcally honest, transparent and ulta HiFi mix. Elliot is also one of the masters.
I had the privilege of speaking briefly with Al Schmitt when the MIX WITH THE MASTER booth was across from ours at an LA AES show. We talked about him working with my late friend and Midi developer Ralph Dyck who programmed all the sequencing on Toto's Africa plus his work with Diana Krall who I got to record for a radio show in the early 80's. The Mix Master folks pulled him away once they discovered I was probably not interested in spending $20K to go to France and participate in Mix with the Masters.
Rather than pay to participate in Mix with the Masters I would be more likely to hire Elliot, Al or Jaquire to mix a song that I cut tracks for. It would be interesting to take your best song and hire one of these guys to mix it and hang out watching the process.
I think that would be a better learning experience than paying $20K plus flights to the south of France.
i was talking with our good friend Joe Carrell at the NAMM show and just remembered this conversation. Joe has an original U47 at his facility in Nashville and he is often surprised how underwhelmed folks are when they hear their vocals through the microphone.
They somehow expect it to produce a finished HIT vocal sound. Its job is basically to capture a musical performance as musically as possible. I think working on the songwriting, arranging and getting a great sound in tracking is much more important than buying the latest plug-in or trying to fix in the mix.
Cheers, Dave
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Post by c0rtland on Aug 5, 2017 0:25:27 GMT -6
Hi Guys, I have had the privilege of working with a couple of Masters. One being the late Bill Porter. What I learned from Bill can be paraphrased as follows, " There is not a microphone, FX device or piece of gear that makes the difference between a song being a hit or not". Here is a quote from Tom Dowd, "The most important thing is that you must have a good song. You must have a good song. You have got to have a song that is so good that if the kid delivering coffee walked through the door, he could sing the song and you would have a hit. That’s how strong the song has to be. It’s as simple as that. Now if you have a song that is that strong you are half way home. That comes from the monetary, from the recording point of view that if you have a hit song that is all you need. A hit song and get out of my way, I am home free. You have to have your hand on the pulse of the audience. You must know what they like, what they are sensitive to, and what they are ready for. Unfortunately in the last ten years we have gone through such wacky permutations in the industry. This is a time where TV is selling records based on what people see rather than what they hear." The Tom Dowd documentary, "The Language of Love" is a much watch for any recording engineer. You can watch him mix parts of Layla and how much of a musician he really is. He sits down at the piano and plays the bridge of Layla which was played originally by Jim Gordon the drummer. One of my favourite mixers is Elliot Scheiner and he mixed Walter Beckers Circus Money which is one of the reference CD's I used for judging monitors. It is a sonlcally honest, transparent and ulta HiFi mix. Elliot is also one of the masters. I had the privilege of speaking briefly with Al Schmitt when the MIX WITH THE MASTER booth was across from ours at an LA AES show. We talked about him working with my late friend and Midi developer Ralph Dyck who programmed all the sequencing on Toto's Africa plus his work with Diana Krall who I got to record for a radio show in the early 80's. The Mix Master folks pulled him away once they discovered I was probably not interested in spending $20K to go to France and participate in Mix with the Masters. Rather than pay to participate in Mix with the Masters I would be more likely to hire Elliot, Al or Jaquire to mix a song that I cut tracks for. It would be interesting to take your best song and hire one of these guys to mix it and hang out watching the process. I think that would be a better learning experience than paying $20K plus flights to the south of France. i was talking with our good friend Joe Carrell at the NAMM show and just remembered this conversation. Joe has an original U47 at his facility in Nashville and he is often surprised how underwhelmed folks are when they hear their vocals through the microphone. They somehow expect it to produce a finished HIT vocal sound. Its job is basically to capture a musical performance as musically as possible. I think working on the songwriting, arranging and getting a great sound in tracking is much more important than buying the latest plug-in or trying to fix in the mix. Cheers, Dave Gold. Once again.
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Post by Deleted on Aug 5, 2017 5:04:35 GMT -6
I think working on the songwriting, arranging and getting a great sound in tracking is much more important than buying the latest plug-in or trying to fix in the mix. Cheers, Dave carve that in stone .....
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