What's easy to overlook is that high level mixers work with amazing engineers who have access to beautiful sounding rooms and mics. That does 90% of the work of sounding amazing.
Yup, it's all in the source material! Serban can kick ass ITB because everything he touches has been tracked through the best gear in the best rooms, by the best tracking engineers. It's that simple
@RealHomeRecording yes but get great sounding tracks require a lot of work and expertise too, maybe ots just the bad recordings are lacking a Big part of the engineering process
For me I miss the physical side of it, and the fun of throwing stuff into compressor, having to physically EQ stuff on the desk and whatnot. I haven't used a proper desk since I left university (the main desk I used was an SSL AWS900) and yeah, I just miss playing around with analogue gear and pre-amps. Nothing compares to nailing a mix on a desk, man.
The biggest difference is that it's more difficult to sell your studio work hours with a laptop and an interface than with a Vintage SLL and many preamps with famous names. The audio difference to my ears is that it's using parallel compression. Obviously, the most important part of the entire studio is not the desk, it is the person who manages it, their experience, who will know how to use parallel compression to its proper measure, will know how to calculate how much reverb is needed, etc.
Someone mentioned amps, and I think this is a great point. I have tons of beautiful amp sims that sound breathtaking, but I still prefer to play through my far less exotic and far less expensive amps, because I feel something special in the room with the sound roaring around me. I have no problem with the sound of digital amps at all, but I do much prefer to interact with my physical gear.
I feel this way about real Guitar/Bass amps. I can get a better sound faster, even if I'm using IRs/Cab Simulation. There are definitely some great sounding Amp Sims, but I always prefer a real amp.
1000% same here. To me something like "this amp will compress at these frequencies and it will sound good and I don't have to think about what else it needs" is a kind of analog thing a "real" amp brings that I would firmly put in terms of workflow/ergonomics. You track, you print, you can change the IR retroactively if you need but you just move on and keep producing.
Same, but it is easy to maintain a single guitar-amplifier. You probably have had some crackly pots etc. that needed maintenance. Now think how many pots, cables, switches etc. you have on a mixing-desk, then add all the outboard-units, and you can easily see why people switched over to digital unless they found some aesthetic value in the constant battle against their equipment. And thats not even factoring in what a giant pain in the butt it is to work with tape.
Totally. At the end of the day, source material is everything. My student mixes on all-analogue were garbage 20 years ago. I blow those out of the water with my current ITB mixes. People are way too wrapped up in this shit...
Haha funny when the fader started to malfunction at 10:00. Ofc most people with the ssl plugin would love to have a big real ssl. Its not like we wouldnt like to have one, its costs and practicality, maintenence, recall etc. depends on what music youre mixing also, every song is different and itb may work best also sometimes
If he is mixing tracks recorded in great rooms and nice preamps the comparison isnt fair...The difference from poor recorded drums wont be that big if you use analog or digital
Nothing like working on an SSL all night on a mix and the buss switches, insert switches and patch bay start crackling or crapping out. One studio I used to work in, it was a crap shoot whether any channel would be fully functional. I finally gave up. Recall is also the big issue. You will always have to do recall.
Long time ago I decided to invest in analoge gear and decided on a UA2192 A/D D/A, 2X Buzz Audio Arc 1.1 channel strips. The first time I clipped it on snare was the first time I was puzzled by what the wave form looked like and what I was hearing. Like how does a wave peak with the peak chopped off at -7db still have dynamic punch, with increased lowmid punch but now with no peak at - 7db. I have tried plugin clippers, they sound like they are doing the same, but fall apart in the mix. There just something more that analog is doing that just makes it sit on its own, has its own feature to the ears, I guess we call that separation, musical detail. Any stereo tracks I sum out and back in go out M/S and back in M/S that allows the removal of any slight differences having 2 mono arc 1.1s, even though they have been matched at purchase, I find better control over width detail and maintain the stereo image. The UA2192 just adds it's own flavour to the sound. Best investment ever. My work flow is always Plugins first, then finalise on stems through the analog gear.
True randomization/noise and real headroom and not rounding off to the best digital approximation with flawed phase and dynamic level error and not relying on an algorithm and more variability in saturation and the natural interaction of especially the low end of instruments fighting and pushing in continually variable ways that digital only approximates makes a huge difference. The hi end is much smoother in a mix with analog for obvious reasons being that digital suffers more and more the higher the frequency. That was only two sentences and already long. I'll stop there. I could go on for days.
"Everyone immediately hears the difference." I absolutely do not believe they would in a blind test. Humans are visual creatures and are fooled very easily by what they're seeing. If you presented a bunch of pro mixers with different mixes done in the box and on a console, I don't think any of them could reliably tell which song was mixed which way. They wouldn't score much higher than if they had picked at random. Just like David couldn't tell Pro Tools from tape. That's my hypothesis, at least. I'd love to see it tested. Anyways, having said that, there is definitely a difference in the workflow and just the peripheral aspect of it. I love my analog tube amps. I love turning the knobs, setting a tone and committing to that. I can definitely get similar or better tones with plugins. But that's not why I like playing my real amps. I'm sure there is a similar thing going on with mixers choosing analog consoles. It's just fun.
Agreed: dudes swear up and down that it's this "huge" difference (realistically, like .05%)... do a blind test and you'll lose track, very quickly, as to which version you're hearing. I fooled myself just using an analogue comp on access analog and in a few instances, I actually picked my ITB mix. Go figure!
If people have the money and the space to mix analog, whether it be compressors, EQ, effects, or anything else, go for it. Analog definitely sounds great and feels different compared to mixing with plugins. I am also the same as Rick, I like using plugins because of recall. If I'm at a pro studio and they have analog gear, the most I would use is their mic preamps and compressors because I would more than likely print it. At the end of the day, most people don't have the space or money to own analog gear, so that's why we resort to using plugins. Most consumers also won't really know the difference between the sound of analog and digital in a full mix unless there's an A/B. As long as the song sounds and feels great to their ears, that's all that matters.
I try to get a little bit of analog flavor on every mix with services like mix analog and access analog. Then when I master the mix down a little bit more analog flavor gets added. That tends to do enough for me without having major issues with recall / client dissatisfaction.
I would add that most people can`t afford the time to fix their constantly deteriorating equipment. Sure, a good 1176 sounds great, until the components start to drift and you have to figure out where the problem is.
I recognize it a bit but can't remember. Can you refresh my memory? I was more into death core and melodic death metal when I was younger so I've heard this stuff but never paid much attention lol.
Ever since I got an old cheap tape machine (months ago) Ive gotten easier better sounding mixes just running recorded audio through that; Now I'm getting into 500 series gear and noticing even more advantages over plugins...i.e. 1176 clone is more alive than a plugin...I stilll have a lot of playing around to do..
What's easy to overlook is that high level mixers work with amazing engineers who have access to beautiful sounding rooms and mics. That does 90% of the work of sounding amazing.
Yup, it's all in the source material! Serban can kick ass ITB because everything he touches has been tracked through the best gear in the best rooms, by the best tracking engineers. It's that simple
Yep. The irony is that poorly recorded tracks tend to require more work and expertise to get them sounding passible.
@RealHomeRecording yes but get great sounding tracks require a lot of work and expertise too, maybe ots just the bad recordings are lacking a Big part of the engineering process
My guy got me clearing my throat every second 😬
For me I miss the physical side of it, and the fun of throwing stuff into compressor, having to physically EQ stuff on the desk and whatnot. I haven't used a proper desk since I left university (the main desk I used was an SSL AWS900) and yeah, I just miss playing around with analogue gear and pre-amps. Nothing compares to nailing a mix on a desk, man.
The biggest difference is that it's more difficult to sell your studio work hours with a laptop and an interface than with a Vintage SLL and many preamps with famous names. The audio difference to my ears is that it's using parallel compression. Obviously, the most important part of the entire studio is not the desk, it is the person who manages it, their experience, who will know how to use parallel compression to its proper measure, will know how to calculate how much reverb is needed, etc.
Someone mentioned amps, and I think this is a great point. I have tons of beautiful amp sims that sound breathtaking, but I still prefer to play through my far less exotic and far less expensive amps, because I feel something special in the room with the sound roaring around me. I have no problem with the sound of digital amps at all, but I do much prefer to interact with my physical gear.
TLDR: coz it's fun innit
Thanks man
Thanks mate!
I feel this way about real Guitar/Bass amps. I can get a better sound faster, even if I'm using IRs/Cab Simulation. There are definitely some great sounding Amp Sims, but I always prefer a real amp.
1000% same here. To me something like "this amp will compress at these frequencies and it will sound good and I don't have to think about what else it needs" is a kind of analog thing a "real" amp brings that I would firmly put in terms of workflow/ergonomics. You track, you print, you can change the IR retroactively if you need but you just move on and keep producing.
Same, but it is easy to maintain a single guitar-amplifier. You probably have had some crackly pots etc. that needed maintenance. Now think how many pots, cables, switches etc. you have on a mixing-desk, then add all the outboard-units, and you can easily see why people switched over to digital unless they found some aesthetic value in the constant battle against their equipment. And thats not even factoring in what a giant pain in the butt it is to work with tape.
the difference? $100,000 to $30. not all of us have that kinda money but we have ears to mix with.
Totally. At the end of the day, source material is everything. My student mixes on all-analogue were garbage 20 years ago. I blow those out of the water with my current ITB mixes. People are way too wrapped up in this shit...
Haha funny when the fader started to malfunction at 10:00. Ofc most people with the ssl plugin would love to have a big real ssl. Its not like we wouldnt like to have one, its costs and practicality, maintenence, recall etc. depends on what music youre mixing also, every song is different and itb may work best also sometimes
If he is mixing tracks recorded in great rooms and nice preamps the comparison isnt fair...The difference from poor recorded drums wont be that big if you use analog or digital
the difference wont be that big for great recorded drums either
if youre rich but you dont know how to use the console and routing and bla bla bla what will happen?
Drums are life
Elite
Bendeth is THE MAN
🎉✨🎉Congratulation on 100.000 Subscribers 🎉✨🎉
Nothing like working on an SSL all night on a mix and the buss switches, insert switches and patch bay start crackling or crapping out. One studio I used to work in, it was a crap shoot whether any channel would be fully functional. I finally gave up. Recall is also the big issue. You will always have to do recall.
Long time ago I decided to invest in analoge gear and decided on a UA2192 A/D D/A, 2X Buzz Audio Arc 1.1 channel strips. The first time I clipped it on snare was the first time I was puzzled by what the wave form looked like and what I was hearing. Like how does a wave peak with the peak chopped off at -7db still have dynamic punch, with increased lowmid punch but now with no peak at - 7db. I have tried plugin clippers, they sound like they are doing the same, but fall apart in the mix. There just something more that analog is doing that just makes it sit on its own, has its own feature to the ears, I guess we call that separation, musical detail. Any stereo tracks I sum out and back in go out M/S and back in M/S that allows the removal of any slight differences having 2 mono arc 1.1s, even though they have been matched at purchase, I find better control over width detail and maintain the stereo image. The UA2192 just adds it's own flavour to the sound. Best investment ever. My work flow is always Plugins first, then finalise on stems through the analog gear.
SSL style plugin? yes, Analog Obsession BUSTER se.
I also use the Brainwrx BX Focusrite console for a channel strip.
Based Analogue Obsession Aficionado
My man has the craziest voice
Cookie Monster 👾
smoking as a fuck hahahahahahaha
True randomization/noise and real headroom and not rounding off to the best digital approximation with flawed phase and dynamic level error and not relying on an algorithm and more variability in saturation and the natural interaction of especially the low end of instruments fighting and pushing in continually variable ways that digital only approximates makes a huge difference. The hi end is much smoother in a mix with analog for obvious reasons being that digital suffers more and more the higher the frequency. That was only two sentences and already long. I'll stop there. I could go on for days.
I'm just hoping to finally get to mix my music on Cubase with my Presonus StudioLive series 3 mixer.
"Everyone immediately hears the difference." I absolutely do not believe they would in a blind test. Humans are visual creatures and are fooled very easily by what they're seeing. If you presented a bunch of pro mixers with different mixes done in the box and on a console, I don't think any of them could reliably tell which song was mixed which way. They wouldn't score much higher than if they had picked at random. Just like David couldn't tell Pro Tools from tape. That's my hypothesis, at least. I'd love to see it tested.
Anyways, having said that, there is definitely a difference in the workflow and just the peripheral aspect of it. I love my analog tube amps. I love turning the knobs, setting a tone and committing to that. I can definitely get similar or better tones with plugins. But that's not why I like playing my real amps. I'm sure there is a similar thing going on with mixers choosing analog consoles. It's just fun.
Agreed: dudes swear up and down that it's this "huge" difference (realistically, like .05%)... do a blind test and you'll lose track, very quickly, as to which version you're hearing. I fooled myself just using an analogue comp on access analog and in a few instances, I actually picked my ITB mix. Go figure!
If people have the money and the space to mix analog, whether it be compressors, EQ, effects, or anything else, go for it. Analog definitely sounds great and feels different compared to mixing with plugins. I am also the same as Rick, I like using plugins because of recall. If I'm at a pro studio and they have analog gear, the most I would use is their mic preamps and compressors because I would more than likely print it. At the end of the day, most people don't have the space or money to own analog gear, so that's why we resort to using plugins. Most consumers also won't really know the difference between the sound of analog and digital in a full mix unless there's an A/B. As long as the song sounds and feels great to their ears, that's all that matters.
I try to get a little bit of analog flavor on every mix with services like mix analog and access analog. Then when I master the mix down a little bit more analog flavor gets added. That tends to do enough for me without having major issues with recall / client dissatisfaction.
I would add that most people can`t afford the time to fix their constantly deteriorating equipment. Sure, a good 1176 sounds great, until the components start to drift and you have to figure out where the problem is.
Get the SSL UC1, you know you want one 😜
Amazing album it defined my youth
I recognize it a bit but can't remember. Can you refresh my memory? I was more into death core and melodic death metal when I was younger so I've heard this stuff but never paid much attention lol.
@@austinmohney3166underoath
@@austinmohney3166 the album is “Lost in the Sound of Separation” by Underoath. The song they’re dissecting is “Desperate Times, Desperate Measures”
Do we have access to past live streams with the subscription or it's just for multi-tracks?
What is ADR ?
ADR Compex compressors
COOOKIESSSSSSSSSSSSS!! 😅
the sound fireee🔥🔥🔥
Lots of copium😅
Ever since I got an old cheap tape machine (months ago) Ive gotten easier better sounding mixes just running recorded audio through that; Now I'm getting into 500 series gear and noticing even more advantages over plugins...i.e. 1176 clone is more alive than a plugin...I stilll have a lot of playing around to do..