# Bad Mixing Advice ## Метаданные - **Канал:** recordingrevolution - **YouTube:** https://www.youtube.com/watch?v=gN6I7pSbJtk - **Дата:** 19.10.2023 - **Длительность:** 8:26 - **Просмотры:** 10,210 ## Описание ▶︎▶︎ Free 5-Step Mix Guide here: http://www.recordingrevolution.com/5stepmix ## Содержание ### [0:00](https://www.youtube.com/watch?v=gN6I7pSbJtk) Segment 1 (00:00 - 05:00) my first album was a dumpster fire at that point all I knew about recording was that you play or sing into a microphone and then you put it on a CD and sell it and I didn't know that there were other pieces of the process that I was missing things like mixing and mastering had no clue that those words even existed until much later now fast forward to today you're watching this video because you probably have a good understanding of at least what mixing is and what it does but perhaps you're having a hard time getting your mixes to sound like everybody else's the problem is a it can be pretty difficult B it's not terribly intuitive meaning you can't just kind of figure it out on your own you typically need some help along the way especially with things like compression and see there's a lot of bad advice out there so in this video I want to give you some bad advice as well no I'm just kidding in this video I want to talk about some of the bad advice out there so you can just go ahead and ignore it and get back to making great music the first piece of bad advice is you got to gain stage everything to minus 18 if you haven't heard this advice good for you just ignore it but there's a lot of people out there who think that it's a good idea to take all of your tracks and to do some processing to them so that they're all at the same volume they're all coming through at about minus 18 DB I understand the heart behind this part of it is to make sure nothing's too loud because a lot of people record their tracks way too loud and there's no way you could possibly mix them without clipping your master fader so you got to turn things down that's part of it is if you use really cool like analog plugins there's a certain level where those analog models sound best whatever that means so I understand those pieces of it however I think it's bad advice and a waste of time and it causes three problems problem number one it's more math and less art I'm not a fan of things there's some math involved in music production and especially in mastering so I'm okay with math being in the picture but when math becomes the focus and all you do is do things based on mathematics and formulas and meters and numbers and you're not relying on these fleshy things on the side of your head that's a problem number two it's a fake shortcut so I'm all for shortcuts and things that make my life easier and more efficient this isn't one of them it doesn't make your mix sound any better it doesn't put you in a better position to mix it's just some busy work that you can do to then finally start your mix and nothing's going to sound any better than it did before you did the whole gain staging thing problem number three it's all about sameness versus balance we want balance not sameness and you may think well Joe those words are the same aren't they no to me balance is everything in a proper proportion versus everything being the same if I bake you a cake and I use the same amount of salt as I do flour and sugar that sucker is going to taste bad same thing with a mix if you do this process where you normalize everything to minus 18 DB it just makes everything the same volume that's not balanced that's same that means that little whisper vocal that you recorded is going to be the same volume as your lead guitar or your shaker track is going to be the same volume as your snare drum none of that makes sense so why would we bother here's another piece of bad advice if you hear someone say you need blank to get great mixes I would be very cautious about how they fill in that blank if they say you need this plug-in bundle to get great mixes run away if they say you need a certain set of speakers or headphones or any other piece of equipment in order to get great mixes get up out of there they're not telling you the truth and the reason I know this is because you can easily find people who have broken these rules and gotten great results there are people who have mixed Grammy award-winning Productions on a cheap set of headphones there are people who have recorded great sounding music in a room that didn't have proper acoustic treatment that means the variable is the person not the equipment or how about this you need 10,000 hours of experience to become good at mixing there's some truth there but if you spend 10,000 hours on the wrong stuff you're not going to have much better results you have to know where to focus and how to practice well and also if someone can teach you how to avoid a lot of the common mistakes then maybe it won't take you 10,000 hours it'll only take you a th000 hours or 500 hours or 100 hours to start seeing really great sounding results without all of the problems that people like myself had to kind of Wade through because we didn't have things like YouTube to teach us how to mix so that's why I created my five-step Mix guide I'm ### [5:00](https://www.youtube.com/watch?v=gN6I7pSbJtk&t=300s) Segment 2 (05:00 - 08:00) not saying it's the only way to mix but it's the way that I've discovered that helps me get consistently great results quickly and if you want to learn my process it's a quick read just go to recordingrevolution. com fstep mix it's completely free my gift to you go enjoy and the final piece of bad advice just use your ears if it sounds good it is good guess what if you're early in this process no offense but you don't know what sounds good when I started writing songs around age 15 or so my first song I thought at the time that it was amazing this thing should be winning Awards I thought to myself with a couple of Decades of hindsight I can say okay yeah that was terrible and no I would never play it for you it was good for what 15-year-old me could do and it was a stepping stone to get to where I am today but it was decidedly not good even though I genuinely thought it was good and even had people around me who said oh that's really good they didn't really know what they were talking about either I'm not saying this to sound elitist obviously you probably can tell a good mix from a bad mix but you probably don't know especially if you're early on in the process what goes in to making a good mix for example a common mistake people make when they want to learn how to mix they pull up some tracks and then they instead of thinking about the whole mix or sections of the mix like drums guitars things like that they Zoom all the way in to just the snare drum and then they might spend an hour or two tweaking that snare drum just having the time of their lives with the snare drum in Solo then they press the solo button and listen to Just the drum mix so zoomed out a little bit or they zoom out all the way to the entire mix and they realize oh boy that snare drum doesn't sound anything like it did in Solo that's the point the way things interact together versus by themselves is the game and that's not something you can just intuitively know right out of the gate so when someone tells you just use your ears or just do what sounds good that sounds like great advice but it only really applies if you've already had some experience of knowing if the guitar sounds like this in Solo it'll sound amazing in the mix when you have that experience when you can very quickly determine that guitar is too muddy it's going to make my mix muddy even though I like the way it sounds by itself I know I've got to roll off a lot of that low end in order for it to fit in the mix the way it needs to when you get to that point then I can say something to you like if it sounds good it is good but until then that's pretty much useless advice better advice would be when it comes to using the solo button in your software just don't or use it very sparingly whenever you're in Solo you should feel like there's a clock ticking to get back to listening things in context like if you're working on drums maybe you have all of the drums soloed but you don't have the snare drum soloed much at all that way you're working on things in the context of how they sound in the mix versus in this isolated space that doesn't really have any bearing on reality all right that's it for this video thanks for watching until the end if you're not subscribed what do you waiting for please do I'll see you in the next one --- *Источник: https://ekstraktznaniy.ru/video/52508*