I really enjoy these videos, as soon as a new one comes out I want to watch it straightaway. Your console has some great routing possibilities which mine lacks but I can find workarounds. I really like the band too, definitely in the style I love to work with. Great players and very well recorded. I mix analog too and enjoy watching other engineers to learn from their approach and workflow. I have a question, what do you think about the NG-leveler for automation on the desk? For me it’s too much money for the little gain riding I do on the desk and I don’t have to do so many recalls to make the investment worth it. But I’m curious how you think about it. Thanks for sharing your experience with us, I really appreciate your time and effort to put this together ❤
Thank you I appreciate your interest. What is the NG-Levlor? Also yes although my desk is primitive, it does have great routing features for the time. Keep in mind you can do lots of routing ITB and just pass it through the console. There’s sooo many ways we can process tracks. Having a console is worth having. Thank you
@@RiotHomeRecording The NG-Leveler is a 16 channel automation box that you can put post outboard gear and pre-fader so you can automate without messing up the gain staging of the outboard gear. It’s made by WesAudio. Doesn’t have any controls but works inside the daw or with a fader controller, cool stuff. Love your channel, keep it rolling 👌🏼
@@Studio22mix Ahh ok, yea so that’s exactly why I don’t think mixing on a summing mixer with outboard gear works too well. If you’re mixing all ITB using plug ins and spreading it through a summing mixer that’s not a problem. It’s when you starting adding outboard gear you run into that problem. I don’t have that problem on my console because the insert on my channel strips is pre fader, so when I raise or lower the fader it doesn’t affect the volume going to the compressor. Same on my Mixbuss compressor/eq adjusting the master fader doesn’t affect the Allen Smart level. If I do automation ITB that will affect how the compressor is being hit. I do take this into consideration. There’s work arounds but yea it’s a thing to keep in mind.
Awesome to see you work and how deliberate each step you take is. If i were to mix this song as a beginner i would be all over the place and not really commit. Very inspiring to see your process. Thanks for taking the time to show us!
Thank you, as you probably know you can mix a song for eternity, so making adjustments, committing, and moving on is the only way to get a mix done! I appreciate you! Steve
This bass track is a perfect example of how important it is to listen to the track in the context of the full mix. When the bass is soloed, I really found the pick scrape to be a bit distracting, but it context, it adds to the overall aggression and attack of the riff. Really useful demonstration!
This was a very cool video as I have been following the series. Please keep them coming. It is so refreshing to see someone working on a console hybrid and with real instruments.
80% of the time or more you got to just dial in what it need without doing much your awesome ! Best way to get great mix and that is the most difficult part at my current level.
Based off another channel I follow and a book I read they both mentioned some vintage Sound Crafts and Trident consoles that may be more pocket friendly. I hope this helps.
There’s many options out there for summing mixers, I’ve owned many before I decided to build my own. I think the mix 690 isa great summing mixer. It doesn’t sound as big or wide as a console, but it does sound good. If your tracks are recorded right and sound good, you should really be able to get a good mix on any decent system. There is no magic bullet. I use multiple pieces of gear to achieve “the sound”. It’s very easy to over do it as well. So the bottom line is the most important piece to get a great mix is you. All the gear just helps achieve it. Hope this helps Steve
Nice video! The sound is really good! 4:45 Is the Sony C38 circuit clipping under loud spl? The capsule maybe? There's some crackles on some of the bass transients. It disappears in the mix but I was wondering how hard you could hit those vintage mics. It's rated for 140dB which is huge but has no circuit PAD.
Hi and thank you! It’s definitely not the mic, it’s the speaker. We heard it and verified when we were tracking it is the speaker. We liked it because it sounds pushed to the point of break up. And feel it contributes to the sound we were going for. I’ve had the Sony c38 on kick drum, bass, loud guitar and trust me it handles extreme SPL. Steve
@@RiotHomeRecording thanks Steve for the details. That's crazy to see the microphone can handle such pressure. Thank you for all your high quality videos and explanations! Take care
I really enjoy these videos, as soon as a new one comes out I want to watch it straightaway.
Your console has some great routing possibilities which mine lacks but I can find workarounds.
I really like the band too, definitely in the style I love to work with. Great players and very well recorded. I mix analog too and enjoy watching other engineers to learn from their approach and workflow.
I have a question, what do you think about the NG-leveler for automation on the desk? For me it’s too much money for the little gain riding I do on the desk and I don’t have to do so many recalls to make the investment worth it. But I’m curious how you think about it.
Thanks for sharing your experience with us, I really appreciate your time and effort to put this together ❤
Thank you I appreciate your interest. What is the NG-Levlor?
Also yes although my desk is primitive, it does have great routing features for the time. Keep in mind you can do lots of routing ITB and just pass it through the console. There’s sooo many ways we can process tracks. Having a console is worth having.
Thank you
@@RiotHomeRecording The NG-Leveler is a 16 channel automation box that you can put post outboard gear and pre-fader so you can automate without messing up the gain staging of the outboard gear. It’s made by WesAudio. Doesn’t have any controls but works inside the daw or with a fader controller, cool stuff.
Love your channel, keep it rolling 👌🏼
@@Studio22mix
Ahh ok, yea so that’s exactly why I don’t think mixing on a summing mixer with outboard gear works too well.
If you’re mixing all ITB using plug ins and spreading it through a summing mixer that’s not a problem. It’s when you starting adding outboard gear you run into that problem.
I don’t have that problem on my console because the insert on my channel strips is pre fader, so when I raise or lower the fader it doesn’t affect the volume going to the compressor.
Same on my Mixbuss compressor/eq adjusting the master fader doesn’t affect the Allen Smart level.
If I do automation ITB that will affect how the compressor is being hit. I do take this into consideration. There’s work arounds but yea it’s a thing to keep in mind.
PLEASE keep them coming! We love them.
Thank you!
Awesome to see you work and how deliberate each step you take is. If i were to mix this song as a beginner i would be all over the place and not really commit. Very inspiring to see your process. Thanks for taking the time to show us!
Thank you, as you probably know you can mix a song for eternity, so making adjustments, committing, and moving on is the only way to get a mix done!
I appreciate you!
Steve
This bass track is a perfect example of how important it is to listen to the track in the context of the full mix. When the bass is soloed, I really found the pick scrape to be a bit distracting, but it context, it adds to the overall aggression and attack of the riff. Really useful demonstration!
Agreed! Thank you Kevin!
Sounds awesome bro!!!
I love the way the bass cuts through the mix.
Great ear! And thank you!
💯💯💯💯💯💯💯💯
This was a very cool video as I have been following the series. Please keep them coming. It is so refreshing to see someone working on a console hybrid and with real instruments.
Real instruments played by real humans is what I prefer.
Thanks for the kinds words!
As always, very cool techniques and processes. Looking forward to part 3.
Thank you Malcome!!
80% of the time or more you got to just dial in what it need without doing much your awesome ! Best way to get great mix and that is the most difficult part at my current level.
Like Leslie I see the same approach in both of you ! Quick, Simple, Efficient but great.
Great video bud, I like the bass trick, kind of reminds me of the Andy Wallace trick with the symphonic patch. Tracks sound awesome!!! 👍🏻👍🏻
I just used your trick with the Flanger on a doom metal bass track and it really fattened it up!!! 🤘🏻🤘🏻🔥🔥
That flanger definitely Adds so flavor
Thank you!
Sounds fantastic. Punchy as hell. love the bass
Thank you Kelly!
Sounding great!!!
Thank you Josh! I appreciate it!
Thanks for this. I’m gonna see how this sounds through my newly acquired NS10s.
Great! Let me know what you think!
some great ideas, but i prefer a bit more bottom end on the bass. lets see how part 3 pans out.
Thanks Andy, I’ll keep that in mind. I appreciate your feedback.
very cool !!!
i love uu
Learn so much ,ThankYou
You are welcome!
This is very cool
Thank you!
You got skillz . Keep up the great work and showing the youth how its done.
Thank you Gerry!!!
Sounds killer. Really nice work everyone! -chaz
Thank you.
is there a smaller console that might be more attainable and affordable you would recommend that can pull off half of this sound
Based off another channel I follow and a book I read they both mentioned some vintage Sound Crafts and Trident consoles that may be more pocket friendly. I hope this helps.
There’s many options out there for summing mixers, I’ve owned many before I decided to build my own. I think the mix 690 isa great summing mixer. It doesn’t sound as big or wide as a console, but it does sound good.
If your tracks are recorded right and sound good, you should really be able to get a good mix on any decent system.
There is no magic bullet. I use multiple pieces of gear to achieve “the sound”. It’s very easy to over do it as well. So the bottom line is the most important piece to get a great mix is you.
All the gear just helps achieve it.
Hope this helps
Steve
Nice video! The sound is really good!
4:45 Is the Sony C38 circuit clipping under loud spl? The capsule maybe? There's some crackles on some of the bass transients. It disappears in the mix but I was wondering how hard you could hit those vintage mics. It's rated for 140dB which is huge but has no circuit PAD.
Hi and thank you!
It’s definitely not the mic, it’s the speaker. We heard it and verified when we were tracking it is the speaker. We liked it because it sounds pushed to the point of break up. And feel it contributes to the sound we were going for. I’ve had the Sony c38 on kick drum, bass, loud guitar and trust me it handles extreme SPL.
Steve
@@RiotHomeRecording thanks Steve for the details. That's crazy to see the microphone can handle such pressure. Thank you for all your high quality videos and explanations! Take care