Putting Emotion in a MIX - HOW??
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- čas přidán 10. 04. 2023
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Getting better at my craft with these tips♥️
Wow you created a 2x2 matrix and gave us all 4 examples with names. pull vibe vs push vibe, open vs dense. Pull + Open is your sad, Pull + Dense is epic, Push + Open is happy, Push + Dense is aggressive.
This is literally perfect!!!! I will watch this every time in the studio
Thanks for sharing thoughts!
Just yesterday I was thinking about what if each instrument of a single song had it's own "subemotion" (at it's place in a mix, of course). The goal is to create a harmony of general, more deep emotion, where each "subemotion" compliments other instruments' ideas and adds something special to a whole picture of that song. Such mix should communicate with a listener in a good musicaly-emotinal way.
Help me if I get it wrong))
Colt..! This is great knowledge and invaluable information for arrangers, producers, and beatmakers!
Hope it helps! Thanks for watching!
SO cool to hear people talk about things that only a few do! Thanks for sharing this kind of topic with the community
Great and lucid Analisys. You always deliver great content. Thanks Colt
Excellent teaching, Colt!!! Thank you!!!
Haha its so cool to hear this kind of videos about something so subjective. For example, your first idea about “what sounds sad”, my idea is completely the opposite. For me it is a lot of reverb in a huge space, because it gives me the idea about alone in a big place… the reverb for me is “lonelynes”
Really valid point of view! That’s the best thing about art, how subjective it is!
I literally just got finished dealing with a stomach bug from food poisoning!! Really made my heart angry. Hope you're feeling better!!
Philosophical Way of thinking about a mix is not a lot a people talk about... Loved it and Weiss Advice is my other favourite guy to hear from . Great content 💯
Duden food poisoning is the worst! So sorry.
This video was wonderful😊
Well said, CC. Simple stuff yet so complex. I'm pulling up my "sad" session and dropping the 'verb.... (Glad you're on the mend.)
Thanks! Be sure to experiment and find exactly what’s going to give you the impression you are looking for.
@@ColtCapperrune gracias, mi amigo.
Colt, thank you for this one. Super helpful.
Also, great job with the audio!
Ver una notificación de mi profesor, es lo que mas amo ver cuando entro en CZcams 💞❤
Saludos desde Colombia. Estoy sumamente agradecido por todo lo que aporta a la comunidad de músicos del mundo.
Eres un ídolo a seguir para mi ❤
This is so deep ❤ thank you sir
Thank you!
The number one job is recording things accurately with flat monitoring then getting the correct balance of tracks. The emotion is already there, or in the case of Billie Eilish, absent. But it's also up to the musicians, songwriters and producers to determine just how much each track should be prevalent and their tone. I do everything myself, so I have no one to answer to. So it comes down to if the song is interesting enough and my vocals can perform it.
Thanks Colt - really good video!
Hey Colt, I wrote my master’s thesis on this exact topic! To me you hit on the number one way engineers evoke emotion, and that’s through how we stage the song and physically imagine the instruments and voices in different listening environments. You described 3 out of the 8 environments I’ve looked at, although I’ve tied them to more general emotions. For example, you mentioned an intimate sound for sadness. I thought of that mixing trope (intimacy) as being a little more flexible, able to enhance sadness in combination with arrangement/lyrical cues, but also able to exaggerate other emotions like love. I imagine all of these environments and emotions as being part of large spectrum we work in. I’ve looked at a few bands/engineers in particular that loved to move between environments even in the middle of songs (Radiohead/Nigel Godrich in particular, but Led Zeppelin has a lot of interesting movement too). This is the 1st time I’ve heard any engineer specifically use these descriptions in an organized and intentional way. I’d love to pick your brain at some point on how you learned these techniques and what other techniques you use for specific emotional effects like this. I was actually planning to do a CZcams series on this exact idea myself once I finish building my new studio!
I'm glad you're recovering. Food poisening is a nasty and debilitating business. Get some rest.
This is phenomenal information. I am far more interested in the conceptual approach to music and technology than I am the actual nuts and bolts of' "Just set the attack to this and the release to that and the delay time to x." This also relates to arrangement and production just as much. I like to see how others do this besides just me.
I am 65 and been heavily involved in musical pursuits my entire life. I have a pretty good handle on the technical and scientific part of it but it really helps when I can see how others configure their technical approaches and actually put them into words effectively. Good job Colt. I can't wait for the next one.
Thanks for watching!
Really nice concept of artistic workflow! I must try it. :)
I was really looking forward to what I saw in the thumbnail, but great content, regardless.
Get topic love the way you handled that .
Get to feeling better bro. You need some Caldo to help put you back on your feet.
Love and mercy JK
As a producer/engineer, I have my own concept: Production is 65% creativity - 35% technicality.
Mixing/Mastering is 35% creativity - 65% technicality.
And it's all about finding the right balance for each individual song.
In the case of Mixing/Mastering, 'technically great' tracks are always gonna sound super nice. But it's that tiny bit of creative tweaks that elevates the mix to a whole new level. A little longer decay on the adlibs' reverb, a tad bit of stereo widening on the harmonies, or a little bit of tape saturation on the master. We LOVE what we do. Don't we?
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I just hope the answer doesn’t involve more speakers. 😂😢
#ShotsFired 😂
@@ColtCapperrune friendly fire.. with love!
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