Mix Temple Podcast #1 | Mixing Analogue, Digital Scrapyard, Stem Mastering

Mix Temple Podcast #1 | Mixing Analogue, Digital Scrapyard, Stem Mastering


mix temple podcast episode 1 if you haven’t met me before my name is marc Mozart and I’m Nick this is Nick I was going to introduce you but you did it yourself yeah this is our first English language podcast very exciting we’ve done a German podcast now for about two weeks and we’re calling it the studio breakfast it’s pretty much the meeting we are doing in the morning where we go through our day what’s on the schedule talk about the projects we are working on and we touch all kinds of topics and I’ve even worked in New York and I’ve worked with many international songwriters and producers over the years so it’s only natural to do this in English as well so this is the new format we call it the mix temple podcast we’re very excited to do this as we are having a really big audience on our Facebook page we’re growing fast recently almost 3,000 new likes on the English page it’s now at around 72 thousand likes which is good so yeah let’s talk about some of the stuff we are doing this show is supposed to be a podcast but of course it’s always exciting to have in life audience who Facebook and Instagram as well and you’re recording this show with I have a little level ear mic from Brody and Nick has a Sennheiser and this goes in a little focus right 8 channel let me check for the people what we have is a focus right Clarett 8 3 X a very flexible interface the mics go into the interface and we got two line cables audio running to the two iPhones that are doing the live show so the people watching us on the live show they get the treated audio from your logic session where de-essing some pull tags just subtle cueing some are bass we’re sounding really full nice thing is it has only a one point five milliseconds round-trip latency that’s pretty insane so it works really I never noticed it yeah and then in the next step you look through the audio again and we have a WAV file and we are downloading the video file from Facebook life once you post the Facebook live video you can go and add it and then you can download SD or HD and there I have an HD file it’s not completely high resolution it’s with 720p file it’s not like a DSLR but an 80 it’s nice enough to post it and then we do a little bit of editing because I think especially in English there will be some pauses there will be some weird ooh whatever and you can shorten this a little bit our goal is to give people who are interested in music production studio anything around it even social media will be talking about Facebook Ads influencer marketing running a business around audio talking about the mixing and mastering business how to manage your work how to do Total Recall with an SSL console yeah and this whole thing will also going to be uploaded as the podcast as I said we did this in a German format that’s already up on iTunes you know anybody’s interested in doing a podcast I’d recently done it for the first time it’s some interesting stuff the one thing I did not completely know iTunes or the podcast app you have on your phone they are not hosting the podcast they’re not hosting the audio file you have to find your own podcast holster and the iTunes podcast app on the phone is basically just a directory that links the RSS feed for the podcast it works really well but you need to find a hosting company for your podcast and it’s nice to have a company that knows the business and I was looking around and it seems that there’s a company called blueberry they have a nice YouTube channel where they take you through everything you need to know about hosting and uploading a podcast and I was pretty much running the YouTube video and setting up our account and at the end of the YouTube clip we were up and running so this was pretty easy and they introduced it into all of the little details they also have an app press plugin to integrate the podcast your side exactly and it’s interesting because all that press site is hosted with a different web holster but the audio files are on the blueberry side so very connected yeah works seamlessly and if you listen to this on your podcast or iTunes app very important go to the ratings and give us any rating any rating is helpful to list us in the directory and from 1 to 5 stars and you can write a nice little comment if you like so yeah what have you been working on lately so we have an mixing project we’re mixing an album from New York artist yeah I think it’s a European artist but the production company is based in New York so whole album which is always exciting because you get to be part of shaping the overall sound and how everything goes together and every new song is is exciting to find out what’s next and we’re working in this nice studio called to mix temple we love doing a lot of stuff with analogue of course we have da W in our case this is Logic Pro X and then we have you probably see it from the camera we have like some 68 channels of conversions of you can feed g-series this is our console and then we have an SLA X rack and a whole tower of nice compressors politics and effects we like working on the ssl console pretty much because we get to quicker results it’s funny because everybody says working a da W and you can switch between projects and stuff for me it’s I get much quicker results I like to faders and I like the Sonics of the analog it’s just much more hands-on so you if you want to change something you don’t have to go to the plugin folder select your plug-in and then adjust the parameters you can find out then find out you’re at the wrong floor I like how the access is really quick and you can tweak a little bit of travel with your left hand things at once try this with a plugin yeah I mean a lot of people will say you got your you know controllers your whatever Avett or whatever and I’m not doubting that it’s it’s a great way to work and great alternate I mean it’s always if you’re working with an analog console it’s always an hybrid setup nowadays I think to work efficient because you will work in the analog world and do you mix but you have to get it back into the box speaking of stems when we are done with our mix at the console we will bounce stems of each file back into the erw so we got the whole analog processing of each track right in the DI W do the final summing in the Box it’s a very interesting way of working I found out because these days people want they want to recall and there’s so many things that happen people call you after three months six months 12 months some song gets a different vocalist some song is used in a commercial and you need an edit you need this and that so it’s always necessary to have access to a stem session so once we know we got the mix in the right place and we got some agreement from the client and we know from now on it’s only about little tweaks then we work with stems in the box but with all the nice quality of analog treatment already in the files this is a very flexible way but what’s interesting because we were talking about a G serious SSL console versus you know digital controller the actual reason why I decided for this company to get this console is actually besides the fact that I loved it very much and it I was dreaming of having a console like that since I was 15 the actual reason is that it holds its value pretty much forever you know if you treat it well you know if you fix the faults and if if you keep it running and healthy you can sell it at one point I’m not planning to sell it but compare this to any digital controller any I don’t need I don’t even need to name any companies but any digital stuff loses a lot of value within five years and within ten years you can pretty much throw it away because technology’s always advancing yeah it’s a fun story um I bought an interface a few years ago I think it was six years ago it was my first interface was around a Mac os10 pause you should name shame them because I have the same thing it’s it’s the Tusk um FW 1848 I think yeah eight motor controlled faders faders via via audio interface yeah you can control your DW you can switch to an separate monitor mix lesson like priests as well right Mike please and one day they decided to discontinue the driver and you can’t run it on current Mac OS systems it’s crazy because whatever adapter you would need to get the firewire and I mean your 2015 MacBook Pro still has firewire so made of plug-and-play but any digital company decides to drop the support on analog it’s no problem and that’s even one reason I went for the 4000 console over the 9000 console that most of the parts are really generic electronic parts you can get in any electronic drops we regularly have a couple hundred euros orders of capacitors little trips resistors and stuff from Mauser comm in the u.s. they’re shipping fast and they carry pretty much all the parts and a lot of the stuff like large faders you can clean and loop and they are very serviceable Dever never actually break or die you know you cannot always refurbish them and get them back up to spec so this was one of the reason I mean we will be screwed when then through-hole components are discontinued and only SMD exists and that’ll be completely the case because there will always be the scene of I mean look at all the output most of the stuff we have in here Nick actually built in our own workshop which is upstairs maybe you can tell a little bit the 1176 it’s pretty easy compressor to build there are many kids out there and I decided to really rebuild them so I bought the chassis and the PCB from the from hell ball I think but I looked at original units and I sourced original components original transformers from the what that be vintage original part from back from the sixties or do they still manufacture them they do still manufacture them some parts like carbon composite resistors I got new old stock components and some capacitors for the power supply so I really dig in to recreate vintage 1176 is not some modern recreations and after a while I think I thought okay it would be cool to have both some one wintered unit and one modern with modern components and so I ordered another hairball kit and we compared them in sound and they sound a little bit different yeah it’s nice to have the option to the winter true one is a little bit fatter a little bit more driven and the modern one is cleaner and it depends on the material and we just we have two local channels which is the one we were using on the recent mixes let’s see the vintage recreations which I love that I would never say plugins are not doing a good job but if you compare it it’s almost like I need a bunch of plugins to recreate what one of these is doing it’s funny that you know you tweak around a lot with the plugins and you you try to get it to the right place and you can get it there you skip all these plugins and you just run it through the console you use a little bit of the SSL EQ and then run it into the blue stripe and it’s very interesting how quick you get to a nice place so it’s nice to have these options I think that’s the only thing matters if if someone get the same results in the same time with plugins then why use analog outboard I mean of course there’s so many things that digital plugins can do that you can never do with analog let me do a quick check because we haven’t looked at how many people are online this looks nice Facebook nice to meet you Graham good to see you all right so maybe we talk a bit I mean would be lovely in future episodes to have to have people call and you know we should we should give them a chance to send us the phone number or or skype or facetime and to have some of the people watching us talk to us ask us stuff and the goal of this show is pretty much to talk about how we’re trying to run a business here on music production audio business that actually works nothing is ever perfect kids the real life and we’re very open and honest about the struggles that we have here put into Verizon you need some talent you need to put in the work and some strategy is nice and it has a strategic reasons why we’re doing these podcasts and because I really think in this world if you’re not happening on an actual mobile phone and you’re not happening at all sure and since music production is now available to everybody it’s available to a 13 year old kid with a laptop it will go further you know maybe we’re not quite there yet in regards to producing a full track on your phone but this will come you know and we are already seeing a lot of changes one thing that we are doing here we do a services that’s called master feedback you could pretty much say it’s a mastering service but the approach it in a different way because and we think that a lot of things you can’t actually address in a traditional two-track mastering so we have people send us the mixes they’ve already done the mixes they lift with and we’re listening to them here on the different systems we have and we try to give them a detailed feedback on which aspects of the mix people can improve and because I think it’s much better if you go back into your mix and improve to things that you can improve in the mix rather than fixing stuff on the tool track always and then I mean we had two discussion the last couple days I think most of the mastering sessions we hear on our stem mastering sessions and there’s a specific reason for this the reason is that so many people take advantage of producing recording mixing the music at their homes and acoustic situation in these rooms are not as perfect as they and it’s not about the talent you know the people have talent some really good art is coming out of these places there are certain aspects that are very difficult to judge in a small room which is something we have a perfect situation here which we can talk another time when we get massive space trips here really nice even out low and a really expensive mastering speaker so we can listen to something here and give people some insights they will never have in their room and I’m saying it’s not connected to talent at all that’s the problem because if you don’t hear what you are doing wrong at your low end you can’t do anything about it if you don’t hear you can fix it that’s why the feedback is important maybe we have to tell them to look into this and maybe they will change the room they are working in I mean sometimes it’s due to the reason people have been working on their projects too long and you tell them look once you tell them it’s really obvious to them and they say okay I understand I fixed it and then the other aspect is things in VCM a lot in the low-end in the kicks in the in the bass drums things they simply cannot hear in their room because if you have a small bedroom studio you will have some resonances and notches in the room which basically means in your listening position there could be an important frequency like 50 Hertz 80 Hertz 120 Hertz where this frequency does not exist in your room it simply does not exist and if that’s the case it’s pretty much impossible to get an even out low end and this is why pretty much everything we do here is the stem mastering and if you’re not familiar with stem mastering stem mastering means rather than giving us one stereo file of your entire mix you give us the kicks now that are every single instrument separate but you leave the levels the same as they were in the mix so we can put all this together in our da W and when we play back all the track’s that you give us we pretty much have your mix here and then we can focus in on the low-end aspects because if you can’t hear your low-end in your room properly you know you can still make some nice vocals and do some nice pets in and stuff so it’s mostly a bass kick this is where ever you see the most problems so a lot of times we can focus in on these things fix them sometimes even replace the sound or something and the mix quality will be 20% up so it’s basically an advanced mastering or very basic mix sometimes the kick is a problem but the bass is in a good spot and you can’t fix that in an to track mastery so it’s great to have access to the basic stems of the mix and treat different instruments separately so we get to our goal in a shorter amount of time what we do here is a macro listening we’re listening to the whole finished thing but in the micro we can go and fix the actual problem that holds the mix back we’re not debating we have pretty much decided to drop two-track mastering I mean if you put together compilation and all you have is the two tracks from the producers still send us the two tracks will do your mastering for your compilation we’ll do it right drop and everything’s cool but we aim to be better at this compared to all current mastering studios simply because we’re approaching it in a completely different way it’s the mastering for today for the actual and with DW offline bouncing getting stems won’t cost much time you’re running down the tracks 20 seconds per track and you’ll finish your stem session in around five minutes how big are most of the sessions we’re getting here stem around like around five to twelve tracks in here and if funny thing is to us it doesn’t matter how many they are actually makes it easy because once we localize the actual issue we’re trying to solve it’s in one or two tracks and we can fix it right there and the rest of the tracks are pretty much untreated and yeah just go through our mastering chain which is most of the times what we are rebuilding here I mean a lot of times people are a little bit in love with the treu bus Jay and I have some nice pull takes and they think oh this is where the glue comes together I can’t remember one case where we actually needed to rebuild there to bust chain because we’re in a place here you know we can quickly compare between large speakers Moe speakers you know a lot of the things we listen on small kitchen portable stereo so we have a much better macro view how your music sounds on different systems and most of times you know we can even even improve on the to bus chain so if you send your stems bypass the two bus train and often I ask people to just give us a screenshot of the plugins they are using on the toolbar so just we have an idea it’s always two steps if you do a mastering with us and I’d want to repeat it in case you didn’t get it it’s called master feedback to service is called master feedback you can google master feedback and you find all the details about service you can also PM us or email us and I will send you a little PDF that it will give you all the details of how to do this with us so it’s always two steps first you send us your current mix with all your brick volume meeting mastering chain the way you heard you mix we have a listen here give you feedback and only then the second round of working with you involves you giving us access to your stems and then without the to bust chain and then we try to fix everything that we believe is still not in perfect spot and we are getting great results all right I think for a first podcast which pretty solid was some nice information we were giving out to you guys mix temple podcast episode one I hope you enjoyed it if you’re listening to this on your Apple podcast app give us a comment and some ratings this will help us to go up in the podcast charts the charts and will help us to improve give us your master feedback

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