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Michael James
United States
Registrace 23. 04. 2013
Music videos and DIY guerrilla-style edutainment videos to share recording studio techniques.
Michael James - Push On Through (Marchesano Remix), feat. Colin Keenan (Official Music Video)
“Push On Through (Marchesano Remix)” is track No. 9 from Michael James’ Shelter In Place LP. Convinced that the composition would fit perfectly into the album’s thematic undercurrents of love, isolation, loss, mortality and ultimately hope, James asked Colin Keenan, who wrote the song, not only for permission to record the tune, but also to sing it as a featured artist.
“Colin is one of my all-time favorite songwriters,” says James, “plus he has a great singing voice and is an absolute joy in the studio. The lyrics to Push will mean different things to different listeners, but the message that resonates with me is to live your own life while you can, regardless of whatever expectations of conformity other folks have in mind for you. Even if hope is just a lie, you still gotta push on through and choose to get the most out of life.”
The official music video, directed by Tim Roth, is released on Alternator Records as a precursor to the upcoming 2023 remaster of Shelter In Place as well as Colin Keenan’s debut release as a recording artist March 24 with the single “Bottomland.”
Push On Through (Marchesano Remix)
(©2021 Colin Keenan, Milking Mice Music (ASCAP))
©2021 Alternator Records LLC. All rights Reserved.
MUSIC CREDITS
Vocals, Keyboards, Acoustic & Rhythm Guitars: Colin Keenan
Lead & Rhythm Guitars, Bass, Keyboards, String Arrangement: Michael James
Piano: Shawn Pierce
Drums: Joe Travers
Synthesizer: Chris Jansen
Produced and Mixed by Michael James. Mastered by David Donnelly.
LYRICS
Is this the life you were born to - Nobody warned you
Instead they told you everything would be ok
And everyone reminds you - Of what’s behind you
But you’re not the same
And if you think that you could give it one more try
It doesn’t matter what the world will say
When you don’t give a damn
What’s the use in caring - when everyone is daring you to think and do
Just what they want you to - Don’t you
But make your mind up as you see fit - You gotta believe it - to make it true
And push on through
And all the dreams and all the demons - They lie there screamin’
And you couldn’t stand to watch them as they die
Pretend you didn’t notice - You found what hope is
It’s just another lie
And did you think that you were given just one chance
It doesn’t matter how the world can break you
When you don’t give a damn
What’s the use in caring - when everyone is daring you to think and do
Just what they want you to - Don’t you
But make your mind up as you see fit - You gotta believe it - to make it true
And push on through
michaeljamesproducer.com
colinkeenanmusic.com
alternatorrecords.com
Instagram @MichaelJamesProducer
Instagram @ColinKeenanMusic
Instagram @alternatorrecords6125
“Colin is one of my all-time favorite songwriters,” says James, “plus he has a great singing voice and is an absolute joy in the studio. The lyrics to Push will mean different things to different listeners, but the message that resonates with me is to live your own life while you can, regardless of whatever expectations of conformity other folks have in mind for you. Even if hope is just a lie, you still gotta push on through and choose to get the most out of life.”
The official music video, directed by Tim Roth, is released on Alternator Records as a precursor to the upcoming 2023 remaster of Shelter In Place as well as Colin Keenan’s debut release as a recording artist March 24 with the single “Bottomland.”
Push On Through (Marchesano Remix)
(©2021 Colin Keenan, Milking Mice Music (ASCAP))
©2021 Alternator Records LLC. All rights Reserved.
MUSIC CREDITS
Vocals, Keyboards, Acoustic & Rhythm Guitars: Colin Keenan
Lead & Rhythm Guitars, Bass, Keyboards, String Arrangement: Michael James
Piano: Shawn Pierce
Drums: Joe Travers
Synthesizer: Chris Jansen
Produced and Mixed by Michael James. Mastered by David Donnelly.
LYRICS
Is this the life you were born to - Nobody warned you
Instead they told you everything would be ok
And everyone reminds you - Of what’s behind you
But you’re not the same
And if you think that you could give it one more try
It doesn’t matter what the world will say
When you don’t give a damn
What’s the use in caring - when everyone is daring you to think and do
Just what they want you to - Don’t you
But make your mind up as you see fit - You gotta believe it - to make it true
And push on through
And all the dreams and all the demons - They lie there screamin’
And you couldn’t stand to watch them as they die
Pretend you didn’t notice - You found what hope is
It’s just another lie
And did you think that you were given just one chance
It doesn’t matter how the world can break you
When you don’t give a damn
What’s the use in caring - when everyone is daring you to think and do
Just what they want you to - Don’t you
But make your mind up as you see fit - You gotta believe it - to make it true
And push on through
michaeljamesproducer.com
colinkeenanmusic.com
alternatorrecords.com
Instagram @MichaelJamesProducer
Instagram @ColinKeenanMusic
Instagram @alternatorrecords6125
zhlédnutí: 560
Video
New Single Release: "I'd Give It All Up (To Get Down With You)" is out now!
zhlédnutí 194Před rokem
"I'd Give It All Up (To Get Down With You)" by Nate Hendrix, feat. Chloe Jean X Michael James, is out now! In this short clip I blather for a minute about the lyrics, and I mention Jimmy Choo shoes while showing Danish handmade Duckfeet shoes instead. This can happen when one is excited about a new record by fresh talent from the San Francisco Bay Area. Anyway... you can stream the single in st...
Fly On The Wall: Michael James Teaches Aaron Durr The Guitar Solo From "I'll Be Here"
zhlédnutí 165Před 2 lety
An impromptu stroll down Memory Lane leads to a breakdown of how to play the "I'll Be Here" guitar solo. (Audio volume is quiet, but the info is worthy for those folks who are interested.) Stream 'Shelter In Place' on all the major platforms. For bonus points, listen in immersive Dolby Atmos on Apple Music. To support the artist, buy the physical CD (with comprehensive album notes, credits and ...
Michael James - Stories Behind Shelter In Place
zhlédnutí 250Před 2 lety
Michael James walks us through his new album, ’Shelter in Place,’ a concept record about ‘love, loss, mortality, isolation and ultimately hope,’ track by track. Stream 'Shelter In Place' on all the major platforms. For bonus points, listen in immersive Dolby Atmos on Apple Music. To support the artist, buy the physical CD (with comprehensive album notes, credits and original artwork) at michael...
Michael James - Color Of My Skin (Official Video) feat. Morris LeGrande, Walter Heath, Jason Cropper
zhlédnutí 486Před 2 lety
Episode 6 of the Shelter In Place music video mini-series: "Color Of My Skin." Never make the mistake of judging others based on the color of their skin! Racism is a destructive force based on ignorance and fear. This song is intended to encourage people to have meaningful conversations with not only those who look different, but to self-reflect and evaluate themselves. The lyrics will hit a se...
Michael James, ft. Julia Albert - I Can't Take It (Official Music Video)
zhlédnutí 996Před 2 lety
Episode 5 Official music video of "I Can't Take It" from the 2021 "Shelter In Place" album by Producer/Mixer/Guitarist, Michael James. Sometimes we are too far apart, and others, far too close. Self destructive behaviors are like pouring gasoline on a fire, so never take our loved ones for granted. When we drift, we must actively find our way back together. Sometimes it's too easy to forget tha...
LIVE Behind the Scenes: Singing 12 Backing Vocal Tracks in Real Time (15 minutes) for Black Whiskey
zhlédnutí 129Před 2 lety
This is cinema verite real time Michael James at work, arranging, singing and recording backing vocals for an upcoming Black Whisky single. This is for recording geeks. If you want see one way to get results quickly, it may be worth a peek. Otherwise, it's 14:29 of your life that you will never get back. Enjoy! Or not... #RecordingSession #MusicProducer #BehindTheScenes #BlackWhiskeyAUS
Come Back Lover - Guitar Solo Lesson by Michael James
zhlédnutí 110Před 2 lety
Michael James explains in simple terms how to play the guitar solo from "Come Back Lover." He reveals how the individual notes are theoretically related to the chord progression. Watch the official music video of “Come Back Lover” here: czcams.com/video/mW61AIN8_RQ/video.html #MichaelJamesProducer #MesaArtist #guitarsololesson 
First Listen Reaction to Dolby Atmos version of Shelter In Place on Apple Music
zhlédnutí 182Před 2 lety
Michael James and RosieTheStudioCat check out the beginning of Shelter In Place moments after learning that Apple Music is now streaming the album in immersive Dolby Atmos / Spatial audio. A minute of spontaneous behind-the-scenes joy to make the sun shine just a tiny bit brighter today... Shelter In Place album streaming links: Amazon music.amazon.com/albums/B09H2KYCJR?ref=dm_sh_ZJvWhrHTHxGQ8F...
Double AA-Side Video Announcement
zhlédnutí 74Před 2 lety
Michael James talks about the mindset of releasing two music videos together, inspired by The Beatles' double A-side of "Strawberry Fields Forever" and "Penny Lane" over 50 years ago. James' bundle of "Save Me Tonight" and "I'll Be Here" explores the connection between depression and unconditional love. Watch the videos here: "Save Me Tonight" czcams.com/video/SDHy6i8q2xU/video.html followed by...
Michael James feat. Aaron Durr - I'll Be Here (Official Music Video)
zhlédnutí 767Před 2 lety
Singer/songwriter and international artist, Aaron Durr, collaborates with Michael James as Durr proclaims his will to make himself available to those in need. Durr offers a few examples in his walk through life, as doing the little things for others can make all the difference. James makes multiple appearances in the video, including yet another MJ signature guitar solo. Video directed by Tim R...
Michael James feat. Franc Aledia - Save Me Tonight (Official Music Video)
zhlédnutí 499Před 2 lety
Guest vocalist, Franc Aledia, stars in this video depicting a person who is strong as the Rock of Gibraltar for everyone else, but desperately needs somebody else to help him deal with his own troubled heart. Directed by Allen Farst for Niche Productions. From the album Shelter In Place. Want to support the artist? Buy here: michaeljames2.bandcamp.com/album/shelter-in-place Streaming links: Ama...
Knucklehead Guitar Solo Lesson - I Can't Make You Love Me If You Don't
zhlédnutí 151Před 2 lety
Michael James responds to Franc Aledia's social media request to learn how to play the guitar solo from MJ's first Shelter In Place single, "I Can't Make You Love Me If You Don't (I'm Drifting Alone)." ©2021 Alternator Records. michaeljamesproducer.com alternatorrecords.com #MichaelJamesProducer #MesaArtist #ShelterInPlaceAlbum #RecordingStudio
Campfire Chords to "Come Back Lover"
zhlédnutí 63Před 2 lety
Spontaneous ad hoc breakdown of the chords to the second single ("Come Back Lover") from Michael James' upcoming Shelter In Place album. Low res, low light, but if you want to learn the chords directly from the artist, here ya' go! #MichaelJamesProducer #MesaArtist #ComeBackLover #SessionMusician #GuitarChords #ShelterInPlace
Michael James, ft. Aaron Durr - Come Back Lover (Official Music Video)
zhlédnutí 1,2KPřed 2 lety
Episode 2 Official music video medley of "When The Penny Drops" and "Come Back Lover" from the 2021 "Shelter In Place" album by Producer/Mixer/Guitarist, Michael James. "Come Back Lover" tells the story of two lovers abruptly separated, determined to find their way back to each other. Michael James says that he and featured vocalist, Aaron Durr, were thinking about the sudden construction of th...
Michael James - I Can't Make You Love Me If You Don't (I'm Drifting Alone) - (Official Video)
zhlédnutí 1,3KPřed 3 lety
Michael James - I Can't Make You Love Me If You Don't (I'm Drifting Alone) - (Official Video)
Behind The Scenes Pro Tip: Automating Reverb Parameters To Add Depth And Movement To A Mix
zhlédnutí 567Před 3 lety
Behind The Scenes Pro Tip: Automating Reverb Parameters To Add Depth And Movement To A Mix
OTB Analog vs ITB Digital Summing with Michael James 2021 ***Use Headphones or Good Speakers***
zhlédnutí 28KPřed 3 lety
OTB Analog vs ITB Digital Summing with Michael James 2021 Use Headphones or Good Speakers
“MJ’s Tools Of The Trade” Episode 1: Intro
zhlédnutí 500Před 3 lety
“MJ’s Tools Of The Trade” Episode 1: Intro
Michael James Guitar Solo Live In Studio "Push (On Through)"
zhlédnutí 265Před 5 lety
Michael James Guitar Solo Live In Studio "Push (On Through)"
Mesa Boogie Fillmore Unboxing with Michael James & Barry Grzebik
zhlédnutí 377Před 5 lety
Mesa Boogie Fillmore Unboxing with Michael James & Barry Grzebik
Fly On The Wall: Michael James Guitar Solo & Harmony w Mesa Fillmore 25
zhlédnutí 581Před 5 lety
Fly On The Wall: Michael James Guitar Solo & Harmony w Mesa Fillmore 25
Michael James: Vintage Yamaha SBG2100 Guitar Solo with Mesa Fillmore 25
zhlédnutí 978Před 5 lety
Michael James: Vintage Yamaha SBG2100 Guitar Solo with Mesa Fillmore 25
Michael James Plays Strat Solos In Studio With Mesa Boogie Fillmore 25
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Michael James Plays Strat Solos In Studio With Mesa Boogie Fillmore 25
Michael James & Matt Gruber Clowning at Royaltone Studio Late '90s
zhlédnutí 154Před 5 lety
Michael James & Matt Gruber Clowning at Royaltone Studio Late '90s
Behind The Scenes with Michael James: PreEvent Mini Tour of Hyde Street Studios
zhlédnutí 895Před 6 lety
Behind The Scenes with Michael James: PreEvent Mini Tour of Hyde Street Studios
Behind the Scenes with Michael James: Dangerous Liaison Demo
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Behind the Scenes with Michael James: Dangerous Liaison Demo
Behind The Scenes With Michael James: Composing Bespoke Music For Filmmaker Allen Farst
zhlédnutí 250Před 6 lety
Behind The Scenes With Michael James: Composing Bespoke Music For Filmmaker Allen Farst
Michael James Producer Behind The Scenes Guitar Solo in Studio for #EWFNO
zhlédnutí 527Před 6 lety
Michael James Producer Behind The Scenes Guitar Solo in Studio for #EWFNO
Pro Tools Session Prep for Online Mix Sessions with Michael James
zhlédnutí 655Před 9 lety
Pro Tools Session Prep for Online Mix Sessions with Michael James
Awesome video!!
It sounds like the dangerous music is sucking out low mids from the music. It is more " 3d". Im debating between this one or the Rupert Neve orbit. The orbit has more girth for sure.
"analog summing", jeez guys, what magic do you think happens here. Digital summing doesn't add anything, that's all. If the analog.summing adds something, then that's extra stuff besides summing. That means if you add that processing to the digital mix, you get the same result. Too much misinformation about the "magic" of analog summing. Not the summing is the difference, but subtle frequency changes and whatnot. You think a digital EQ can't do that?
Interesting opinion... You and I are approaching the topic from opposite perspectives. I don't think that analog summing (in its purest form) "adds" any magic that's not already in the music, but rather that digital summing may be "losing" something, especially when creating a complex mix. In my experience, adding processing to an already digital mix does not achieve "the same result"; the result may be great, but it's not "the same" thing to my ears. Try adding your digital EQ to an analog-summed mix, and then let me know what you think. You may benefit from two processes instead of just one or the other. (BTW in case anyone is interested, I mix using a hybrid workflow with all kinds of analog and digital tools, without any ideology whatsoever. If it sounds and feels good, then it *is* good, regardless of how you get there. I really don't care whether you mix ITB or OTB.)
This video is the "epic" proof that it is really possible, in just 8 minutes of video, to demonstrate something relevant and clear about audio. When I think of all the no-sense videos out there, all the one hour videos of "yes lets put 5 minutes of talking between soloing Track 1 and 2 and ops...I forgot this hardwdare switch on in the test, doesn't matter the point is to talk about it..." I can definitely say this is a Masterclass! Thanks a lot Michael...you're saving us :)
Right on. Glad you found it informative. Hey, I like your YT cover photo. Quite the metaphor!
Clearly analog is the extra 10% we all need
You confuse the topic. ITB mixing has the same rules that outboard analog summing. On each track you put plugins that simulate distortions and saturation, crosstalk etc. All these single simulators focus just on one track. Same as you're saying.
huge difference!!!!
Thanks for this but I still don't understand why you need a summing mixer if you have hardware
You don't necessarily "need" an analog summing mixer if you are happy with summing digitally inside a DAW. Re: "hardware" can you be more specific? Outboard processing gear? Converters? FX? Saturation/coloration devices? A console? Regardless, analog summing adds "voltages" together, not "ones and zeros."
Dan Worrall foaming at the mouth after seeing this
I enjoyed watching Dan's "Summing Schmumming" video. Love his dry sense of humor! Can't argue with his *empirical* conclusions (based on his methodology)--but *aesthetically* there is a difference. At 6:25 he states, "...we need to isolate the summing as the only variable." That's what I did. For the ITB mix, both Dan and I routed an internally (digitally) summed mix through channels 1+2 of the summing mixer. In my case, the difference is that the OTB mix is not summed one stereo pair at a time (and then summed digitally for Dan's null test), but instead mine is spread across 32 DA converter outputs into 32 summing mixer inputs. Draw your own conclusions from listening. The investment is worthy for me, but could be worthless to you. Off topic, I like your "Grace" song and video. Nicely done.
Depends on the material. The singer sounds more commanding on the digital. Analog sounds amazing but a little distracting that it’s so wide and big
I even think it’s less width and more depth.
Not sure how to reply. I genuinely hear an improvement in the OTB mix. That said, the difference is not obvious enough for non-engineers to hear it--but they may feel it. Anecdotally I observed this multiple times: casual listeners could not describe the difference, but they consistently chose OTB mixes beyond any shadow of doubt.
I will say the analog db is louder than the digital on my meters like 2db so I bumped up the digital 2db and it's really hard to tell now that it is at the same peaking.
Interesting... Everybody's YT seems to produce a different loudness difference. (The original OTB pre-CZcams source wave file is 0.2 dB louder average than the ITB.) Anyway...if the sonic difference is insignificant to you, then it makes no sense for you to go OTB.
Funny! Couldn’t hear any difference. Me thinks thou spoofest. Sure glad I haven’t spent all that Dangerous money.
No spoofing--although I most certainly appreciate a good joke. If you don't hear a difference, then there's no reason for you to spend all that money. I hear it, but more importantly, I feel it. Plus my job is hyper competitive, like the Olympics (a game of inches), so in my case the money is well spent. YMMV.
Mind Blown. So even mixing in the box, listening via multiple channels summed in analog, one gets a better picture of there mix…. So each channel out from Convert-8 goes straight into the 2-Bus;? But How do you Sum (2) 2-Bus, for 32 Channels?
Good questions. 1) Yes, in the Analog/OTB version, 32 channels of Convert-8 get summed in the analog domain through an array of Dangerous 2-Bus summing mixers. 2) The "ITB" or "Digital" version routes everything inside Pro Tools to a shared stereo output from Convert-8 that passes through the exact same mix bus processing as the OTB version, before getting printed back into Pro Tools via Convert-AD+ AD converter. Make sense? In other words, the ONLY difference is 32 channels vs 2 channels out of DA converters into the same summing mixer and analog bus processing.
This Video Also reviled, I may be color blind in one eye. When the image turns Monochrome I can still see Green Aberrations.
I don't understand the comment. Do I need to repair a broken video?
@@MichaelJamesProducer When It Switches to Black and White for the Digital Mix, one Eye of mine sees it in Green and the other black and white. I think that means I’m color blind… my father was in both eyes.
@@zakaroonetwork777 oh wow! That must be unnerving. Is it problematic, or do you just go with the flow and not worry about it?
Cool video! Presonus Studio One has in-built analog channel modelling with crosstalk called the console shaper, when enabled on every channel definitely has that 3d effect, have you ever tried it out?
Thanks. I have not tried Studio One. Do you like it?
@@MichaelJamesProducer Yea I like it! Lighting fast to work in, Was just interesting to note it has that in built channel crosstalk - give the demo a go :)
Thanks for the info!@@musicman2047
@@MichaelJamesProducer Make more videos! you have a nice deck of hardware
@@musicman2047 okay! Any suggestions or requests? BTW thanks for subscribing!
thats what i found out too. digital mixdown sounds 2 dimensional and even if you have a analog 2 bus compressor on mixdown you instantly get that depth of field. its pretty mindblowing and took me some years to find out. i always chased that big rock sound and worked only in the box, i even started using subtle reverbs because i thought it was the solution but in reality it is a 3 dimensional feel from analog, crazy
Yeah, I feel you.There are many ways to emulate the feel of an analog mix in the digital realm, but no matter how far you get ITB, adding good old analog voltage to the equation can make the mix even cooler.
Great video!! Thank you! Have you tried PrismSound converters?
Thanks. I heard Prism years ago, but I do not remember anything about their sound.
Analog version seems louder.
It is louder by 0.3 dB. That's one of the differences. In theory, it should not be louder because everything was precisely calibrated and the signal path was the same for both versions--but it is. I did not do any post production to level-match because my goal was to show exactly what happens when I spread the DA conversion across 32 channels instead of two.
So I should pay thousands of dollars for all this pointless reasons ?
Certainly not. Don't ever buy anything that is "pointless" (to you)! It's the opposite for me, so it's worth every penny (to me).
Dig it.
Right on. Thanks for letting me know.
I don't hear it. I also don't understand your basic point. You don't make any case for why summing through multiple converters and then summing to two should be better than summing straight to two. I could make the case that summing straight to two should be better, since out a whole stage of conversion is cut out. But as long as it makes you happy!
No worries if you don't hear it. You're not alone. I personally hear the difference, but in all fairness I am a trained listener who is tuned into nuanced details every single day in the studio. To some people, it's worth the investment to sum tracks in the analog domain; to others, it's not. Re: "making a case for why summing through multiple converters and then summing to two should be better than summing straight to two," that's not what I demonstrated. The OTB mix is 32 DA converters summed to stereo in the analog domain; the ITB mix is two DA converters passing through the same analog signal path. In other words, the ITB is in fact (in your words) "summing straight to two." Make sense? Any questions?
@@MichaelJamesProducer Yeah, but where does that stereo sum go? You have to return it to the digital domain at some point, no? I just don't understand the science of it. I don't see how adding an analogue stage makes it better. I didn't hear it. Mind you, I'm an old man now, and I don't hear anything above 10kHz! So, there's that! AND we are discussing this after the CZcams audio strangulation has occurred. I mean, I spent my life trying to leave the analogue mess behind. Digital was the best thing that ever happened, as far as I'm concerned. I'd just like a more scientific approach rather than a wooly kind of subjective thing. You could do a phase/sum comparison to hear what the actual difference is. My prediction is what you are hearing that you like is analogue harmonic distortion? Maybe? I dunno. Like I said, I don't hear it. But it's all good!
@@periurban yes, BOTH versions returned to the digital domain post mix bus processing. Neither one benefits from an "added" analog stage because they both followed the same signal path with the same settings. Again, the only difference between the two mixes is that the OTB uses 32 DA converters (vs 2 for the ITB) that get funneled through a mastering grade summing mixer into the analog mix bus chain, which then gets converted back to digital to create the stereo master. ... Re: digital, I agree with you that it is the best thing to happen--I do not miss editing with a razor blade! Plus I use a hybrid workflow that gives me the best of both world. All the gear is part of my audio toolbox. Anyway... your prediction about analog harmonic distortion is interesting, although it would have been imparted to both versions of the mix.
@@MichaelJamesProducer But... at the risk of seeming to be really dumb (actually, I'm OK with that!) OTB = 1) streaming audio from hard disk 2) 32 DA converters into summing mixer 3) summed analogue mix converted back to digital stereo ITB = 1) rendering from hard disk to digital stereo BUT I think you are saying that you are using two analogue converters for the stereo mix too, which isn't exactly in the box as I understand it. If that's the case then it's obvious what's happening is that your stereo analogue converters are the parts that are not coping, and it has nothing to do with digital or ITB. I mean, that makes sense in the analogue domain, right? I've scientifically analysed my whole chain using pure and complex tones and what comes out of my ITB mixes is exactly what I instructed and expected the software to do. No harmonic distortion unless I added it or it came through an analogue source such a mixer channel, mic etc. I still don't hear the deficit you describe, but if you are hearing it then I'd suspect it's the analogue part of the chain that isn't coping with the 32 channels, not the digital part. Maybe that's what you meant all along! lol
@@periurban Now you *almost* understand the signal flow. The ITB mix (and OTB mix) entered the analog domain in order to use my analog mix bus processing, and then it was converted by the ADC to return to Pro Tools, thus becoming a digital master. Maybe an easier way for you to understand what is happening here is to think of it from a different angle than your usual assumptions about OTB vs ITB: 50-ish mono audio tracks were partially summed inside Pro Tools to a smaller number of channels before entering the analog domain and following the exact same, real world, mixing/mastering signal path. Pro Tools summed 50 tracks down to two (Left and Right) for my ITB mix, and it summed 50 down to 32 for my OTB mix. So... the ITB version simply passed through the summing mixer, while the OTB version was split apart into smaller audio parcels that were summed as voltages inside the mixer instead of in Pro Tools. Everything else its the same. Now do you follow what the video demonstrates? If not, here you go: "Listen to the difference of spreading your mix across two DA converters vs 32 DA converters." Let me know if it finally makes sense. (Even if it does, there's no intellectual reason for you to prefer one version over the other---whichever one FEELS better to you IS better...for you.)
Would be interesting if you compared it to a stereo OTB mix with a pair of the same AD converters
That is already happening here. Both my ITB and OTB mixes are printed back into Pro Tools using the same Dangerous Convert-AD+ converters. The only technical difference between the two mixes is that ITB uses only 2 channels of DA converters, while OTB uses 32. They both pass through the same analog mixing signal path before being captured by the stereo AD converter. Is this what you want to compare, or am I misinterpreting your comment?
What is really interesting is if you sum this video to mono. In my studio with acoustic treatment and calibrated studio monitors, your digital sum is 83 dB (measured on a Checkmate SPL meter). The analog summed version is 86 dB. Louder is perceived as better as they say. I think you need to go back and recalibrate for a fairer comparison. Also, add some additional saturation into the digital sum to match the analog sum. IMO a minor difference that can be replicated in digital summing and not worth the thousands of $$$ in analog gear.
Indeed that is interesting. Louder is often perceived as better. Having said that, my test would be disqualified if I were to change anything in post production. The test was simply “what happens when you use 32 DA converters instead of two.” The video shows what happened with EVERYTHING meticulously calibrated. The cost of analog summing may not be worth it to you, but it is to me.
Re: additional saturation, I forgot to mention in my previous reply that the ITB mix is passing through the same signal path as the OTB mix. Literally the only difference is 2 DA converters vs 32, passing through the same summing mixers.
Really doesn't sound that good... just sounds louder and more distorted
Bummer. Good thing the label didn't notice.
@@MichaelJamesProducer LOL, label?
@@YoungNino2017Sony
Your comparisons aren't gain matched.
@michaeljames3444 0 seconds ago Correct. That would void my demonstration. No manipulation in post production. Therefore ITB lost some info/loudness, or OTB became louder--which should not be the case because everything in the signal path is calibrated. This is what happened in real life using 32 DA vs 2 DA converters through the exact same signal path. The sound changes, but apparently so does the loudness. If this were a different experiment pertaining only to "which one should I deliver to the label" then I would level match and deliver the "better" feeling version. Make sense?
czcams.com/video/wVp4syrFkE0/video.html
What's your takeaway? Dan's video seems scientifically sound. In real life, however, there's an X factor or a feeling that makes it worth in for me to keep $$$ tied up in the analog summing equipment, even though I do occasionally mix ITB because some artists require 100% ITB mixing due to multiple layers of input from the label. I'm faster in the analog domain, it sounds less "fluorescent" to me, and LITERALLY every client who ever asked me to play the difference of one of their songs ITB vs OTB has chosen the analog mix. Anyway... what aspect of Dan's video do you want to share with me?
Long time ago I was recording drums in a studio, and after the recording session, the studio owner played a digital mix of some song followed by an analog mix of the same song. The difference was like night and day. The analog mix sounded significantly better. It was "alive" and dynamic, while the digital mix was lifeless and dull. I could hardly believe my ears. This video only confirms that.
Yeah, the difference has potential to be dramatic.
This is great! 💯 👏
Thanks. Glad you enjoyed it.
Glad you enjoyed it!
Interesting.
Mr. James, I am back sir. With all of your I/O, may I please ask how many computers which you may have in your main mix room... and their general specs? I'm working on setting up both my production & mixing areas. I want them separate, but want to be sure that I have a solid "Backbone" to build around as I expand. Thank you (as always) for any/all time which you graciously lend to respond to answer my fledgling questions.
Hi. I replaced three Mac Pro towers with a single Mac mini i7 (2018-2020) with 64G memory. I run Pro Tools Ultimate HDX and Dolby Atmos Renderer on the same machine. Works great! I also have a 2017 i7 15" MacBook Pro that I use as a second Pro Tools "capture" rig when I make CZcams videos or when I may need to capture the stereo mix at a different sample rate and/or bit depth resolution than the original source material.
@@MichaelJamesProducer Thank you.
not just skin color btw, it's also IQ, skull structure, behavior, even goes down to muscle fibers too
Nice vid - plastic\pinched vs full dynamic field !
Thanks. Glad you enjoyed it.
Great song 🎵 I needed to hear this!! Thanks 🙏🏾 your one of the Greatest ☝🏾
Thanks for the kind words. I feel you. The message of the song is powerful.
hi Michael, thanks for this great video. Can you explain your complete chain for your final mix?
Typical setup, not precisely the path in this video: Instead of having one stereo mix bus chain, I have four of them.Three of those four feed the fourth. The simplified explanation is that Pro Tools HDX has 64 analog outputs per card. Those outputs are directed to various inputs on four separate Dangerous 2-Bus summing mixers, each of which has a "mix bus chain" (pre-mastering chain of EQ and compression.) I tend to think in subgroups/submixes to help my workflow and my brainpower. the first three submixes are: 1) vocals; 2) bass + drums; and 3) "sides" (guitars, keys, horns, strings, etc.) I can process each one independently. Then those three submixes are summed into a fourth Dangerous 2-Bus+ that has a final "mastering" chain. Does this make sense?
@@MichaelJamesProducer Yes, thank you for taking the time to respond. Do you think the my Apogee AD-16X and Big Ben still compete in 2023?
@@twitterjesus I still use Apogee Big Ben to distribute word clock generated by Dangerous Convert-AD+. I can't comment on your AD-16X because I do not use it, so I don't know. But Apogee makes great stuff, so keep on using it if you like the way your mixes sound relative to hit records on the charts.
Thanks for taking the time.@@MichaelJamesProducer
Good food for thought, I respect your opinion. One problem with your comment implying that DACs are perhaps more overburdened with the full mix ("two converters to spread the entire load of the mix"): If you mix in the box, you generate a digital file (bounce to disk)-it's the consumer's stereo DAC that is relaying the entire mix. If you mix with analog summing and 32 DACs spreading the mix, then you, as you monitor are the only one that hears that. You must digitize that through an ADC to distribute it, then the consumer's DAC will again take the entire load. In other words, you are adding the 32 DACs, analog summing, and another digitization with an ADC before it gets to the consumer, and never actually removing the DAC that plays the entire mix for the consumer.
The 2-channel ADC is always in the path. It goes to the “mix print” track in Pro Tools, which is what I listen to. I’m hearing the same thing that the consumer will ultimately hear, not counting the quality of their DAC. In other words, every improvement I make that feeds the ADC will make a difference to what the consumer hears via their DAC.
@@MichaelJamesProducer I understand, and I appreciate your response. Still, my point remains that if a stereo DAC were somehow overburdened with a full mix, the bottom line is that the consumer will always be listening to the full mix via a stereo DAC. My point is that a DAC isn't bothered by producing a more complex signal, it behaves no better or worse that reproducing parts of the mix. But even if you were correct about that point and I'm wrong, you'd still not be saving the consumer from listening to the full mix on a stereo DAC. You would, of course, be saving yourself from that step while monitoring. Ultimately, your methodology doesn't remove the stereo DAC step, and it adds another DAC and ADC conversion not needed with fully in-the-box mix/bounce. I'm not implying that is sonic problem, and clearly it's worth it to you. I'm just disagreeing that DACs have any problem whatsoever with full mixes, and also that your methodology gets around it anyway. I think people should do whatever works for them in producing music, I'm not faulting your methodology or questioning why you prefer it. Cheers!
@@nigel_redmon I agree. Good DACs sound good-the tech has advanced to a very pleasing level. I also agree that one should make music in whatever manner works best for them. I’ll add, however, that my experiment reinforces that adding voltages sounds “better” (to me) than adding 1s and 0s. When I was at Warner Music, chief technology officer Jac Holzman stressed the importance of keeping EVERYTHING in the recording/mixing/mastering process at the highest possible quality even though the music would ultimately be butchered by an MP3 codec. It makes a difference. A simple experiment would be to record a song twice: one version with hi-res wave files before converting to MP3, and the other version with MP3s from the beginning at the multi track stage. The versions will sound different. I wonder if your thoughts about DAC might be similar to this? (Also: remember that I am ALWAYS listening to the sum of an entire mix being captured by a stereo ADC as the last stop before the DAC pipes audio to the speakers.
@@MichaelJamesProducer I completely agree that, and although digital summing is effectively perfect, subtle deviations in analog summing may be perceivable. We know they are perceivable on crappy analog, and may be more subtlety perceivable on "good sounding" analog. I'm not in the analog summing camp myself, but my musical co-conspirator is (he likes to stem out and run though his Toft mixer). However, I do like to mic my vocals through a great preamp, and add a little compression on the way in-I personally don't hear LA-2A-type plugins yielding the same magic as hardware. Maybe some do, or I'm just "wrong", but all that matters is having a way to get what you want, right? 😃
@@nigel_redmon I know what you mean about plugin vs analog compressors. Seems like compressor/limiters are the hardest thing to get to "feel right" in plugin form. (EQs have been good for a long time already.) Even though the plugins are greatly improving, the compressor emulations never feel as good as the real thing. That said, there are some terrific digital limiters that do things that would be impossible in the analog realm. I frequently deploy them without feeling at all like I compromised.
Nothing is proved. You don't even have a clue how a proper comparison is done. You are as stupid a stupid believer as someone can be stupid. :-)))) Laughable.
Thanks for your constructive contributions to this ongoing discussion. Very productive. Way to make some new friends! I shouldn't even waste my time responding to a jackass like you who is probably even more stupid than I am, and who has probably never made a hit record in your life. But... other people are reading, so this reply is for them--and perhaps you as well if you want to become less stupid. Here ya' go: 1) I'm not trying to prove anything. People ask how I work, and I showed them. Plus I even explicitly said to make your own conclusions, and save $$$ if you cannot hear a difference or you think it's bullshit. 2) My "stupid" comparison is LITERALLY the same signal path, with the only difference being 32 vs 2 DA converters into the same summing mixer. Every other variable is EXACTLY THE SAME. 3) There is no gain manipulation in post production--any difference you may or may not hear is what happened when I spread the audio across more DA converters. One version is a little louder because...it became louder or the other version became quieter. 4) Even if I am stupid, I'm not a "believer"--I'll mix a hit on a 4-track PortaStudio if that is all that's available. I only believe in whatever works for me, not the hype. .... Now it's your turn, genius: let us know what a "proper comparison" looks like in your world, and don't tell me to level match the results because that would disqualify this test.
whats your opinion on 500 series hardware?
Whatever sounds good, is good. Just make sure that your “lunchbox” rack has a robust power supply.
The difference sounds wonderful and night and day. I'm just confused by your explanation. When you are summing ITB (in the box) the conversion has already been done. The DAW at this point isn't using any converters, because the audio is already digital - it will use the DA converters to get the sound into real world audio however. Some summing examples on YT aren't very noticeable at all. Are we maybe not just hearing the transformers and the subtle differences in tolerance in analog hardware that give a bolder tone and the illusion of a wider stereo field?
Generally speaking, transformers and inconsistent tolerances can affect the sound. In this case, however, the only difference is the DAW outputting 2 vs 32 channels into the summing mixer array. Does this explanation help?
💃 Promo*SM
Might be the CZcams Compression, but the huge difference goes almost away once you record both and level match. (The analog is louder).. I'd love to hear these uncompressed. (I only tested the section starting at 4:11
Must be YT. The original wave files are approx 0.2 dB different, with OTB being the louder one. I did not level match because that would have voided my experiment to find out what happens when you split the DAW load across more channels while using the same signal path. Either something got lost ITB or something was gained OTB. FYI the entire signal path was carefully and precisely calibrated.
Thanks for the cool video. You've convinced me analog is a load of garbage. Anyone who can hear a $50-thousand dollar BETTER difference must have bionic ears (totally estimating the value of all your old gear).
Glad I was able to help you learn that analog “garbage” is not for you. I saved you $$$. You’re welcome.
Love the hybrid mixing ,totally awesome,I love to do both, in the box ,then bring up the analog mix behind the digital,all of sudden it Zounds in 3d❤
I'm imagining you making a digital mix, then printing an analog mix, and then mixing the two together for LOUD 3d massiveness!!
Really like that idea
Man, the organ sounds GREAT in the analog mix especially!! Can really feel it's place and separation. Great job!!
Right on. Thanks for the kind words.
Are you using any analogue emulation plugs within the ITB version? Cheers
I may have used SoundToys Decapitator somewhere in the mix. Same plugins and hardware for both versions. Only difference is 2 vs 32 DA converters.
Love the twist in this. Goes from somber to hopeful - really great ideas and it's a catchy tune!
Right on. Colin is a force of nature.
Question sir, would you be so kind as to demonstrate how we would approach "rear bus compression" in a layout which includes summing mixers like 2-bus+ & xt?
Are you asking because you want to mix in Quad/5.1 surround? If so, you would use one stereo summing mixer for Front L + R, and a second stereo summing mixer for the rear channels. You can place your compressors on the output (or insert) of the summing mixers. If you want to add C and LFE compression, you will need additional busses/mixers. Let me know if that answers your question.
@@MichaelJamesProducer I believe that it does, sir. I am asking as I am relatively new to analog. The 2-Bus tools are on my agenda, but I don't own them yet. So, I'm trying to wrap my head around implementation as opposed to plug-ins & with hybrids as plug-ins as I build. *Edit/after-thought* By the way... You sir, are a godsend. And @Dangerous Music tools have become far more clear to me under your online tutelage, descriptions, and explanations.
@@MichaelJamesProducer It more clearly maps out my understanding of the layout. However, I am more aware now that I will need far more context (fueled by personal experience) to understand a number of the matters which you have been kind & thoughtful enough to share.
Yeah!!!
That's how we roll, brother K!
awesome work....how about we use it in the video you helped set up?
Hi Joe. Thanks for the compliment. Not sure I understand your question. Is it meant for Colin Keenan?
@@MichaelJamesProducer oh sorry Michael. Yes 👍 thank you.