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Post by deckerator on Jul 4, 2017 18:24:46 GMT -6
You are a very generous, humble, talented, and successful man. Don't see that combo very often. Well done sir! I am really attracted to your ability to drop everything into a template. I find that all of my sessions are so different that if I setup a template I end up changing so many things anyways that it doesn't seem to have saved me much time. Could you shed some light on your thought process while you were establishing your template? Thanks for coming on the forum! And if you have already explained this in another video or interview, point us to it so you don't have to rehash everything over and over.
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Post by deckerator on Jul 4, 2017 18:26:19 GMT -6
You are a very generous, humble, talented, and successful man. Don't see that combo very often. Well done sir! I am really attracted to your ability to drop everything into a template. I find that all of my sessions are so different that if I setup a template I end up changing so many things anyways that it doesn't seem to have saved me much time. Could you shed some light on your thought process while you were establishing your template? Thanks for coming on the forum! And if you have already explained this in another video or interview, point us to it so you don't have to rehash everything over and over. What i do is just use the last song i mixed that i liked, so my template is co stantly evolving......im a creatire of habit, so my template just allows me to get set up really fast and then spend more time tweaking
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Post by jeromemason on Jul 4, 2017 19:09:24 GMT -6
hey dudes, john kennedy is a good bud of mine an graciously invited me over to his site! If there is anything i can help anyone with please ask....it would be my pleasure๐๐ค๐
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Post by sll on Jul 5, 2017 8:44:02 GMT -6
Hi Billy,
Welcome to the forum. It's nice to see another Cornhusker transplant in the audio field. I grew up in Minden Nebraska. I now live in Minnesota. Sorry if this has already been answered. Do you use any external hardware to run the 2 mix through to print? Also, do you use an external capture device for printing, or go back into the DAW?
Thanks,
Scott
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Post by Ward on Jul 5, 2017 8:52:35 GMT -6
Thanks jeromemason for the comic relief!!! And deckerator thank you for sharing some of your insight. I suspected you high-passed your two buss fairly high based on the amount of midrange energy in your mixes. Nice approach. Works well for what you mix.
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Post by schmalzy on Jul 5, 2017 10:07:46 GMT -6
...one of those songs was a song by a crazy metal band called Cognizance. Here's the song: That's not Billy's mix, but that Cognizance track slid right into Billy's template and sounded a little like Billy but mostly like the band. His template system really is something to behold. Buying the month on Nail The Mix is completely worth it but I suspect if you get that one month you'll probably end up in there longer term like I've been. I've been on for about a year now and my mixing has improved significantly.
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Post by svart on Jul 5, 2017 11:16:16 GMT -6
Man I feel so vindicated on how I've ended up in my workflow. I also just use the last songs as templates to move into new mixes. I just import the audio tracks onto specific track numbers, and go from there. I also just push faders up until stuff sounds good without even caring where they sit on the meter. Most are peaking above red and as long as I don't hear crackling, I just keep on working. I also just push vocals into multiple compressors, each doing a little something for the track, and rarely automate vocals unless it's absolutely necessary.
It's great to see pros do this stuff without all the fuss about tiny details that don't end up mattering. Seems like there is a lot of similarities between the pros. They work fast, and get the mojo into the song quickly and without nitpicking tiny details.
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Post by svart on Jul 5, 2017 22:06:30 GMT -6
So a real question.. Do you edit your own tracks, or do you have interns who do that stuff? Seems like a lot of pros have interns or assistants who do that stuff these days. Are there any special tricks you do while editing? Any tricks in general? I'm thinking that a lot of the pro sound these days is a culmination of a lot of little tricks rather than the obvious stuff. Personally I can get a mix within 10-20% of a pro sounding mix but that's where I kind of run out of steam and fall short of the "mojo" of a pro mix.
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ericn
Temp
Balance Engineer
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Post by ericn on Jul 6, 2017 6:05:13 GMT -6
Hi Billy. Ditto on the Producer's Room video, great! You give hope to guys who are primarily ITB. Like ChaseUTB, I notice your channel faders are lighting red quite a bit, where do you wind up level-wise on the 2mix? I suspect your sub groups are about as loud as you want them before the 2mix. Do you do any 2mix processing? yes, i hit red all the time...they are peak meters i believe..they dont stay red and are not distorting so i dont worry about it....i usually have my master fader down to about -10 ...weird i know but its just how it always comes out....if it sounds good, i dont care if the master fader is at 0, or -10....... Hey Billy I think this goes to one of those very simple but oh so often forgotten, you have to know the ballistics and what the meters are saying! From my live days I remember guys walking by the board and complaining how I didn't know what I was doing because the clip lights were blinking away ! They were set for 3db below clipping , so a short blink meant we still head headroom!
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Post by Martin John Butler on Jul 6, 2017 8:20:45 GMT -6
I was doing the same thing as Billy with my tracks, except I then went ahead and let my 2 bus overload. It honestly took me two years to get it into my head that Red in digital is death, (on the 2 bus at least)
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Post by swurveman on Jul 6, 2017 8:36:58 GMT -6
yes, i hit red all the time...they are peak meters i believe..they dont stay red and are not distorting so i dont worry about it....i usually have my master fader down to about -10 ...weird i know but its just how it always comes out....if it sounds good, i dont care if the master fader is at 0, or -10....... Hey Billy I think this goes to one of those very simple but oh so often forgotten, you have to know the ballistics and what the meters are saying! From my live days I remember guys walking by the board and complaining how I didn't know what I was doing because the clip lights were blinking away ! They were set for 3db below clipping , so a short blink meant we still head headroom! i think this is important to clarify this, because I just took a quick peak at his tutorial and 5 of his 17 tracks in the frame are hitting red. Does Billy change the clip light to be below 0dbfs? It doesn't appear so. He also clips plugins in the tutorial. He said "they dont stay red and are not distorting so i dont worry about it". So, I'm thinking he doesn't change the clipping meter.
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ericn
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Post by ericn on Jul 6, 2017 10:00:19 GMT -6
Hey Billy I think this goes to one of those very simple but oh so often forgotten, you have to know the ballistics and what the meters are saying! From my live days I remember guys walking by the board and complaining how I didn't know what I was doing because the clip lights were blinking away ! They were set for 3db below clipping , so a short blink meant we still head headroom! i think this is important to clarify this, because I just took a quick peak at his tutorial and 5 of his 17 tracks in the frame are hitting red. Does Billy change the clip light to be below 0dbfs? It doesn't appear so. He also clips plugins in the tutorial. He said "they dont stay red and are not distorting so i dont worry about it". So, I'm thinking he doesn't change the clipping meter.ย Wasn't saying he changed, it's all about knowing what it means. If it means it's clipping it's one thing if it means it's before clipping it means something else. I see so many noobies treat clip lights like they are radiation warnings, and as you are saying sometimes they say they are the line of death but in reality they are warning your close! It comes back to knowing what they mean in reality! This also goes to what I still feel is the most important thing we all need to spend time doing, just fing around in the studio! We all can learn something in the time where nothing matters, no client no band just us and the gear telling us what we can and can't get away with!
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Post by swurveman on Jul 6, 2017 10:13:29 GMT -6
i think this is important to clarify this, because I just took a quick peak at his tutorial and 5 of his 17 tracks in the frame are hitting red. Does Billy change the clip light to be below 0dbfs? It doesn't appear so. He also clips plugins in the tutorial. He said "they dont stay red and are not distorting so i dont worry about it". So, I'm thinking he doesn't change the clipping meter. Wasn't saying he changed, it's all about knowing what it means. If it means it's clipping it's one thing if it means it's before clipping it means something else. I see so many noobies treat clip lights like they are radiation warnings, and as you are saying sometimes they say they are the line of death but in reality they are warning your close! It comes back to knowing what they mean in reality! This also goes to what I still feel is the most important thing we all need to spend time doing, just fing around in the studio! We all can learn something in the time where nothing matters, no client no band just us and the gear telling us what we can and can't get away with! I think that the "clip is the line of death" thinking comes from that old purple place thread. Billy says in one of his videos that it used to be a problem with Pro Tools but Pro Tools fixed it. I asked about it in a Cubase thread a few years ago and they scoffed about it being an old Pro Tools problem. The biggest attention today needs to be paid to tracking levels and the mix bus not clipping. Otherwise, you can push the red in modern DAW softwrare in individual channels and hear no distortion.
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Post by Johnkenn on Jul 6, 2017 15:28:34 GMT -6
Hi Billy, Welcome to the forum. It's nice to see another Cornhusker transplant in the audio field. I grew up in Minden Nebraska. I now live in Minnesota. Sorry if this has already been answered. Do you use any external hardware to run the 2 mix through to print? Also, do you use an external capture device for printing, or go back into the DAW? Thanks, Scott Have we talked about this, sll? My wife is from York...
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Post by sll on Jul 6, 2017 16:11:32 GMT -6
Hi Billy, Welcome to the forum. It's nice to see another Cornhusker transplant in the audio field. I grew up in Minden Nebraska. I now live in Minnesota. Sorry if this has already been answered. Do you use any external hardware to run the 2 mix through to print? Also, do you use an external capture device for printing, or go back into the DAW? Thanks, Scott Have we talked about this, sll ? My wife is from York... I don't think we have? York is not far from where I grew up. It's a small world.
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Post by mrholmes on Jul 6, 2017 16:22:21 GMT -6
Welcome Aboard the RGO train ๐๐ค I Saw your interview with The producers Room on YouTube and it was very informative and a good watch. Most vids that style get kinda boring. Cool that you enjoy ITB mixing, I do as well. When you say you mix hot are you talking about clipping and pulling faders down? Or do you like your mixes close to -0dbfs? Are you Still using L2 on individual channels and stems or only 2bus? You also said it takes you around 2 hours to do a mix, and you work fast. Is this two hour mix a completed full mix that the client approves, that is reference checked and then sent off? yes, i mix very hot levelwise...all the way up to zero... yes i use the l2 on individual instruments..ive gone on to using the l3 on the 2buss usually it takes me about an hr to do a mix...i will then send to clients and they can tweak for as long as they like...i always go til they are happy:) wait you use limiters in mix time that is interesting to me. can you explain the why deeper... and we talk mixing all ITB?
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Post by deckerator on Jul 6, 2017 18:47:41 GMT -6
hey dudes, john kennedy is a good bud of mine an graciously invited me over to his site! If there is anything i can help anyone with please ask....it would be my pleasure๐๐ค๐ JEROME IS ABSOLUTELY RIGHT!!!!!!
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Post by deckerator on Jul 6, 2017 18:52:31 GMT -6
Hi Billy, Welcome to the forum. It's nice to see another Cornhusker transplant in the audio field. I grew up in Minden Nebraska. I now live in Minnesota. Sorry if this has already been answered. Do you use any external hardware to run the 2 mix through to print? Also, do you use an external capture device for printing, or go back into the DAW? Thanks, Scott hey scott, nope i am 100% in the box, always have been always will:)...i've tried using outboard summing, and 2 buss compressors...never could get it to sound decent...and it slows down my workflow for recalls etc...i like the security of knowing when i snap up a mix 2 weeks later, it is exactly the same....i actually own the title of being the first guy to mix a no#1 billboard country song 100% in pro tools using the bounce to disk function.....in all honesty i dont think i even was using dly compensation...hahahahahah....oh well:)
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Post by deckerator on Jul 6, 2017 18:53:55 GMT -6
Thanks jeromemason for the comic relief!!! And deckerator thank you for sharing some of your insight. I suspected you high-passed your two buss fairly high based on the amount of midrange energy in your mixes. Nice approach. Works well for what you mix. my hi-pass i the sony oxford eq...18db slope at 35hz
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Post by deckerator on Jul 6, 2017 18:57:46 GMT -6
Man I feel so vindicated on how I've ended up in my workflow. I also just use the last songs as templates to move into new mixes. I just import the audio tracks onto specific track numbers, and go from there. I also just push faders up until stuff sounds good without even caring where they sit on the meter. Most are peaking above red and as long as I don't hear crackling, I just keep on working. I also just push vocals into multiple compressors, each doing a little something for the track, and rarely automate vocals unless it's absolutely necessary. It's great to see pros do this stuff without all the fuss about tiny details that don't end up mattering. Seems like there is a lot of similarities between the pros. They work fast, and get the mojo into the song quickly and without nitpicking tiny details. yeah, i see guys labor over mixes and ride every little vox multiple times over and over....i just bump up the chorus' and the bridge..with the compression and limiting i use in multiple stages...the vox almost rides itself......send me an email...i'll take a pic of some of my vox automation...the volume curves......deckerator@comcast.net..........i'll send ya my plugin chain as well and you can try it for yourself.
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Post by deckerator on Jul 6, 2017 18:58:37 GMT -6
...one of those songs was a song by a crazy metal band called Cognizance. Here's the song: That's not Billy's mix, but that Cognizance track slid right into Billy's template and sounded a little like Billy but mostly like the band. His template system really is something to behold. Buying the month on Nail The Mix is completely worth it but I suspect if you get that one month you'll probably end up in there longer term like I've been. I've been on for about a year now and my mixing has improved significantly. ahhh yes...joey joel and of course eyal...ntm rules.....game changing audio program....
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Post by deckerator on Jul 6, 2017 19:01:04 GMT -6
So a real question.. Do you edit your own tracks, or do you have interns who do that stuff? Seems like a lot of pros have interns or assistants who do that stuff these days. Are there any special tricks you do while editing? Any tricks in general? I'm thinking that a lot of the pro sound these days is a culmination of a lot of little tricks rather than the obvious stuff. Personally I can get a mix within 10-20% of a pro sounding mix but that's where I kind of run out of steam and fall short of the "mojo" of a pro mix. yes sir, i edit my own tracks....that old saying if ya want it done right? ? alot of records i mix come to me already pocketed and tuned....i always still like to clean up my own tracks....i've never had an assistant per say, just have always run solo.....if i did have an assit, i think we would end of talking and messing around half the day..... wouldnt get anything done:)
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Post by deckerator on Jul 6, 2017 19:04:38 GMT -6
Hi Billy, Welcome to the forum. It's nice to see another Cornhusker transplant in the audio field. I grew up in Minden Nebraska. I now live in Minnesota. Sorry if this has already been answered. Do you use any external hardware to run the 2 mix through to print? Also, do you use an external capture device for printing, or go back into the DAW? Thanks, Scott Have we talked about this, sll ? My wife is from York... GO BIG RED!!!!!
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Post by deckerator on Jul 6, 2017 19:05:37 GMT -6
yes, i hit red all the time...they are peak meters i believe..they dont stay red and are not distorting so i dont worry about it....i usually have my master fader down to about -10 ...weird i know but its just how it always comes out....if it sounds good, i dont care if the master fader is at 0, or -10....... Hey Billy I think this goes to one of those very simple but oh so often forgotten, you have to know the ballistics and what the meters are saying! From my live days I remember guys walking by the board and complaining how I didn't know what I was doing because the clip lights were blinking away ! They were set for 3db below clipping , so a short blink meant we still head headroom! MAKE SENSE.....sounds good to me:)
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Post by deckerator on Jul 6, 2017 19:07:25 GMT -6
I was doing the same thing as Billy with my tracks, except I then went ahead and let my 2 bus overload. It honestly took me two years to get it into my head that Red in digital is death, (on the 2 bus at least) i actually use an l3 as the last plugin on the 2buss....i have the output set at -.2 i think......
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