Відео

Pete Burns doing "I Feel Love" is a stroke of Genius.such a shame that it couldn't be

I am not a professional and am not in the industry .. but I can see Paul's angle here as someone opening a studio for tracking and likely hoping to provid a mix for those recordings. He may just be looking to be known for a particular style and sound, a form of niching down..

Oy (Oi? Oj?) Oyj?) No livestream today?

Another no show, you leave me no choice, I will have call the police on you.

Belinda's vocal take(s) is(are) great!!

I'm a festool lover. However, as I see it now the glue is going to be doing a LOT of the binding work and the domino's support alignment. A decent jig and normal dowels would do the job just as well, but with a lower price point if you are sub-contracting any works out when dealing with over seas markets.

Well, I never realised it was such a complex, creative process.

This shit sounds like yall are lying hehehehe

ATC SCM 25 or PSI A25? any tested them side by side if u have to pick one for mix and mastering

Sound City movie

Thank you mark I doint use plugins at all I mix analog and have a very small rack of hardware.

Hi I am visually impaired do you have any Multi tracks that I can I have to practice with please. Kind regards, Jack,

building same dummy head , mics , silicon ears , sand

great mate, but you didn't even show how to remove bottom of this head. I just bought the same devices and now I see that your tutorial starts in the middle

There's so much I resonate with in terms of doing atmos first. When I started learning it I was in the mindset that I'm basically starting to learn mixing from scratch, after a couple of experiments I realized, that you can just do one mix and export all the folddowns you need and it works great. I think if I started to learn atmos and think about things, like "how do I do 2bus processing" and stuff like that, it would be detrimental. Instead of trying to try to make atmos into something it is not, I adjusted my approach to the format and let it guide me. And I've arrived to pretty much same conclusions as you guys. :)

Where are you based ?

I believe the Reason we do the Atmos mix like the Stereo is so when apple streams it they play both at the same time... the system they use is made to play the stereo along with the atmos mix ... So if the atmos/Stream is not quick enough on your device you hear the stereo mix plays :) Now i mix my Atmos 1st then fold down the track to stereo so they are both pretty much identical. I have not idea if they allow two very different mixes to play together if they are not both the exact same time code.. ?

Haha genius!!

There was a lot of useful info in this, (though seeing the screens he was using would've been useful for the viewer AND the students), BUT his insistence of using "top Down" as his buzz term is either silly, given it's commonly understood as something else, or hubris in believing he can affect a change in that understanding. Why not Vocal Down or something that doesn't confuse/conflict?

Fantastic

Thank you very much. Now, i have a very cheap spring reverb!

NS 10 or Clav 10 vs A25-M?

This is awesome

So been into hardcore n house music scene in uk n security of many events always wanted a set up like to learn practise create mix n produce my music what would cos me to set up having no prior experience in setting up a bedroom studio n selection of cheap budget equipment to start this journey am creating tia cheers elsikka tv

Could not make it to the livestream, but it was an interesting watch! Keep up the great work, guys!

I've seen a plethora of masterclasses... some attended in person some bought the footage of on Internet. This is by far the most eclectic, disorganised, and chaotic class I've seen since 1998

To go against the obvious grain, I thought Paul's mix was great and head-and-shoulders above Ed's; that mix could easily have been from the 70's, a la Earth Wind & Fire, and the great brass mix/setting of levels reminded me a lot of the live sound from Vine St horns on Phil Collins' later live tours. The brass, particularly had great presence, without sounding shrill, and the attack was was very polished and, as I'm guessing, the compression of volume he used to get that affect didn't sound in the least bit obvious. I suspect some serious side-chaining went on here, and to very good effect too. edit - to use PDP's own comment, albeit in the reverse, I thought Paul's mix wasn't particularly technical and it didn't make un-necessary effort to make every instrument/track have it's own place all of the time. Like I said, I think he used side-chaining to good effect and that kept the overall vibrancy well and truly alive. edit 2 - I've just listened to PDP's mix, I didn't spot it first time I watched this pod. I think Paul's mix is closest to the PDP mix, but where they differ is the low-end instruments are more prominent, without being evasive, on the PDP mix and that gives it a more polished sound. The BV's are better placed too, most prominent that the other two mixes, but in an impactful way rather that over-bearing. I think the PDP mix is a good example of combining a technical understanding of what's going on, but without removing energy or drive. What's important about these mixes is the better mix makes you want to listen to the complete song, and probably multiple times, whilst the less appealing mix would probably see me turn it off after 30 seconds if that were on the radio.

I liked the PDP mix.

When it comes to dynamics I think both Ed and Paul failed. Both sounds really squashed. All of your three mixes respectively gives three different flavours, where the PDP mix reflects the original music style the best and to my ears would be the one you can listen to several times without severe fatigue.

Plug In Paralysis! I don't plug ins. Over time I assembled a huge pile of free ones but now I mainly use native Reaper plugins. My template has three plugins per track: EQ some sort of compressor - both turned off and ReaFir to deal with the interference from heavy power lines outside, (some weird peak just above 20Khz and other bits),. I turn them on or add if I need them. Going IN I don't use any plugs though will use an outboard compressor on my bass. I don't mix well but I don't have paralysis anymore.

A lot of the soothing and noise reducing software works better on poorly recorded tracks. Thats kinda where the market is with them. A lot of new artists are recording on garage band or other free/cheap software at home. So, these kind of plugins make sense in the editing stage, if needed before any mixing is done. A lot of the time with home recordings people skip the editing or even arranging (and sometime it feels its even the writing) stage and try to fix everything in the mix. I can't really comment as this is something that has only very recently been revelation to me. Start with a good song, arrange it well (with mixing in mind), record is well with feel and then edit all before mixing it. When the penny dropped its transformed the way I approach music production. I'm now confident the projects I'm working on now will blow my previous stuff out the water. Its all a learning process.

You guys keep saying things word by word what I believe in or have in my head 🙂 I’m spending less and less time on youtube for the same reason I stopped reading forums ages ago. It’s full of misleading information and bulls#it “you must do this and that on kick, vocals…etc tutorials”. Then you got this “vintage and expensive is good, but everything else is bad” mentality. Too many arguments about what is better than the other…Btw I’m pretty sure the above are people in their bedrooms who never saw a client. …meanwhile I just keep making music and create great memories with awesome artists. For me that’s what this is all about. I’m having fun 🙌 None of my artists care what mic I use or what I do during mixing. They have a sound / picture in their heads and we paint that canvas together. From the first second when we do a meeting to make plans for the project, throughout recording and producing until the last listening session it’s all about that. Or what kind of effect does each part of the song have on the target audience? The internet says it’s 99% about mixing and 1% about everything else. Might sound strange but I’d say the way I work, we spend 20%-30% mixing and the rest on everything else. Excited to finally meet you guys this year. 🙌

Ps- I actually loved the snare choice

well done boys

Is Ed's mix lighter on low end? Or is that my headphones? Felt like PDP mix was more bass/kick forward, and I missed that in Ed's.

I feel like I've come so far from where I was in february, looking back at what I did with this song then, and the difference between what I made then compared to now. So very glad I got an invite a few years back! PDP has been a foundational step in my progress! Side note: MARK unleashed is FUN to watch. Let him off his leash all the time, and you'll get MORE viewers / subbers :D I swear. I promise. meow.

Gentlemen, thanks for taking the time to analyse our mixes and give us your professional feedback! Sam, it was great to get your insights as an artist and producer, too.🤘🙏

I will use that piano tip myself. Great idea from a real master. Also, Belinda is forever one of our greatest singers ever. What a force of nature/music she is.

Just wondering why you have an old eMac under the desk?

Please note that this is NOT a personal attack on Paul Third! Paul and Ed took our multitracks with NO direction from us, and NO brief from us, and mixed the tune. A genre neither of them are familiar with. We heard Ed’s mix first and he took our negative, but hopefully constructive feedback, ran with it, and sent back an incredible mix! Paul chose to go his own way and do ‘his thing’ and that’s absolutely fine. The truth is that we prefer Ed’s (even over our mix!) but that is NO reflection of Paul’s skill and talent - a mixer and UA-camr we have nothing but love and respect for! They mixed it for their podcast, and to have two very similar mixes would have been somewhat boring. So this is NOT a criticism of Paul in any way! Love ya Paul! ❤

Great listening to your take/discussion on all the elements of this song, highlighting the large and sometimes small but critical things in a polished, professional recording. It's a great track 👍🤓

That would be great to have Ed on to describe his process and also a vid on the mastering would be very popular I'm sure.

Ed's mix is great! Perhaps the high mids feel a bit busy in places but it is providing energy and a very small thing to be concerned about. Nice work!

I prefer Ed's mix, by the way. It sounds more lively and open and dynamic than almost any "commercial" music I've heard in recent memory. But then I'm also in a period where I can't take the sound of compression. I've ended up mostly listening to late 80s early 90s recordings or to jazz and classical

Wow love Ed’s mix! Sounds super spacious

If saw people saw Mark's polite and measured criticism as rude or mean, then that must be down to british culture or maybe even culture in the English language sphere. It would perhaps also explain why youtubers see comments as rude that we here find good natured. The criticism you get in Germany or Austria or the Faroe Islands would have been several million times harsher and I personally don't have a problem receiving that kind of criticism. I mean, how the hell could you be more polite and measured than Mark was without it becoming smarmy or condescending?

Great tutorial,,book has been purchased.

The problem with this review is you don't suggest alternatives!! Near this range of price.

Do you think a new I/O format will be created with Atmos in mind and maybe will open up the analogue integration into Atmos. Oria did the obvious of making the D25 to be all AES outputs. But is not AES connection a stereo focus connection? When there can be odd number in Atmos setups and that speaker numbers can change, would it not best that I/O can come out in single channels? And then a single channel system could make things less complicated, currently it's too much of a third world problem until Atmos is the norm so not point, just adapt what we already have for the moment.

Fantastic video. Have had the pleasure of meeting Phil at Actual Radio a few years ago. My only gripe is way too many adverts, literally every couple of minutes or so which kind of spoils Phil's presentation.