"Mix Matching" and "Master Mimicking" (The best ways to get better, fast)
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- čas přidán 6. 01. 2022
- Have you ever tried "Mix Matching" or "Master Mimicking"? Justin Colletti says they are among the best ways to quickly and radically improve your audio chops. But there are good and bad ways to do it. Find out more.
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One mistake I made with Mix Matching when first starting was not paying enough attention to the musician's approach to playing on the track. Especially the drummer.
Quick example. I love old country western from the 50/60s and attempted to mix match them. I thought you could mix the drummer to fit within that sound. I learned the drummer had to take that approach when recording. Those old recordings often, not always, featured drums played with a soft touch and very little cymbal work.
If your drummer hits hard and plays busy your recording won't sound like the reference material. You can make the drums brighter or darker but they won't fit in the mix the same way as the softer hit, cleaner drums.
I spun my wheels a lot on that.
Absolutely! Often some of the most important lessons from this process are not even about the mix itself.
Thanks for the comment,
Justin
This is naked justice to the whole engineering community, Justin... So glad you stressed the Do's & the Dont's & Cant's of the Mastering Arena...
I'm so glad I could understand such an insightful content by you... Thanks millions & God Bless !!
rly insightful, definitely going to try matching specific elements like reverbs/delays on vocals or panning on certain instruments etc... The best music seems to take certain specific qualities from other similar music in terms of instrumentation or song structure or the mix so it follows logically that we should try matching particular areas of the mix on every song
I def like to do this. It helped me get my sea legs def in the sense of learning my monitors, room, and what I'm shooting for as an end goal. Important to use alot of different material so you don't get to twilight zoned out on one specific end goal!
Never heard the term sea legs before. I like it!
@@ergophonic nice! Also the phrase "cut my teeth" would work also
I spoke to Jason, the NBA engineer, and he said he would love to be invited to do a breakdown of the mix.
Thank you again!
Since quite a long time I try to match a song with a certain reference, actually with some reasonable result, but I am still not happy with it because the initial vibe of the song is totally gone, even when other people say that it already sounds ok. I think I need to start again at the beginning, listening carefully to the rough mix to decide what's important to keep and what impact it naturally has in the overall sound. And then I choose another reference that works better for this specific situation.
I use SPAN a lot, especially for the low end. . I pick only a small portion, very narrow banded, and listen which instrument is audible, and how much energy it has. In this manner I sweep step by step through the bands, observing the points where the hi/lo pass filters are set. This can be very revealing for beginners like me to find out what's going on.
Cheers, looking forward to the next episode.
great video actually. reminds me to do some smart choices again. thank you...
just realized some of the famous Dr. Dre 2001 beats (I try to achieve sometimes) barely got dominant kicks on it
That's more or less how I use my reference tracks... I'll stick two reference tracks plus an old release of the band when possible and check my mix next to them (remembering to kill any master processing I may have on). If the references are wiping the floor with my mix in any way, such as having way more low end I'll take steps to bring mine closer to the reference, provided it's good for the song
This is how, in 1994, I learned to scoop 350-400 Hz from a Kick Drum. The drummer wanted his kick to sound like Brad's from Today is the Day. That guy ended up playing with Today is the Day on one of their tours.
As an electronic producer, mixing is generally part of the process with maybe some time dedicated to polish to the best of your ability at the end. Referencing is a massive part of this too, how my favourite current or not so current tracks are mixed, kick relationship to bass, lead, snare etc. Even when constantly referencing at the creative stage it’s still hard to define and recreate similar relationships between elements.
Like your salient point towards the end though, each track I make and reference to others, another little piece of the knowledge puzzle clicks.
Great video as always!
I may agree that mixing is part of the process for electronic music, allthougth I found out that once production is finish, going back to the raw and starting a new mix it gives me a totally new perspective on the tune.
@@fernandoferrero699 so you literally set all the faders at zero and start again?
@@keithforrester82 I will keep some fx that matters for soundesing , but yes.
@@fernandoferrero699 well I’m always willing to try some new methods! Cheers dude
The most dangerous thig , is to mimick a good sounding mix with ur bad mixed sound. The magic is actually in the MIXING.
You should use time signature, that will help a lot
Hey Justin, I’ve heard you mention Beck’s “Paper tiger” as a reference. I know a lot of people listen to Steely Dan’s “Aja.” Are there any others that you listen to get a feel of a good master or a good mix?
I've heard some friends mention Def Leppard as a source for ref mixes.
This is SO personal. It’s going to be different for everybody. David Weiss has a great article with licks from top engineers on the site:
sonicscoop.com/2017/04/24/reference-tracks-next-generation/
Sone tracks tracks I use to test low end on systems I don’t know are “Elephant Woman” by Blonde Redhead, “La Femme D’argent” by Air and “Uptown Funk”.
But this is because each one tells me a different thing about low end that I have memorized as I have heard each in sine many spaces.
As a mastering engineer, my favorite references are my *clients’* favorite sounding records.
Of course I also have my own favorites in just about every genre, and when appropriate, I consult those too.
For my full thoughts on how to use references try here:
czcams.com/video/U7x1IEIxxtk/video.html
Hope that helps!
-Justin
Great one as always Justin..
But I notice matching mix never works...because the elements and their roles are never the same.....
May be it may help u get an idea before mixing about where you would wanna take it but it never works to mimick another mix...even tho you mixed it yourself....
May work in mastering to get a similar sense of tone and dynamics but in practice this can never work in mixing....
Either before or after and not during the actual mix...
Yes. This is absolutely true much of the time. And that’s exactly where you can learn so much about what it WOULD take to match an element. It’s often not about just an EQ or compressor setting.
It’s often about the instrument, the performance, the arrangement, the tempo, the sample selection and so on.
Thanks for the comment!
-Justin
New camera, or did you break the old one..?
Constant focus issues.
I think I was just too ugly for the camera that day and it didn’t want to look at me. Same one as usual!
-Justin
Nic3 1n3