I just finished watching David Isaac going through this amazing tutorial. It is really a wonderful opportunity to learn with the pros how to get te most from the box. Thank you all, thank you Mr. Isaac!
I just got this tutorial and I can't wait to get in study the whole thing!!!! I have been waiting for something like this, so thank you to everyone that was involved.
Yes the mixing R&B video is excellent. In it David uses some very expensive plugins. Is it possible to get the same results with the native Logic plugins or cheeper equivalents?
In Olav Basoski's tutorial on Mixing Electronica, I asked Olav to use only Logic's plugins. In retrospect, I realized that this restriction placed serious constrictions on Olav (which he overcame with amazing results).
In the end, I also came to realize that we were missing a big part of the Mixing picture. One reason top producers are getting the sound they are, is the 3rd party plugins they use. With David Isaac, we decided to show the plugins he uses so you can get a feel for their sound and determine if they might be of use to you ...
...so, would it be the case to make a tutorial or a TNT's episode just about 3rd party plugins? I think it is very good to know pros' tricks but also alternatives within Logic. BTW Martin, if certain plugins are unaffordable, Macprovideo tutorials closes the gap between Grammy awarded producers and people like me, wishing to make a good sound at home.
Greetings,
This tutorial was fantastic. I especially like how he explains the concepts of height width and depth. I'm definitely going to be thinking more on these terms when i do a mix even though i don't really ever do RnB, i think this method can be used in a mix of any style.
Also i agree with the whole idea about a tutorial based on 3rd party plugins. I actually bought the sonalksis plugins based on the fact that Olav Basoski gave the EQ a wrap on the mixing electronica tutorial (and it's brilliant btw). I notice also that David Isaac tends to use Waves, and Olav Basoski is a big fan of the universal audio stuff. Everyone knows that these two companies are pretty much the best you can get, but i'd like to hear from some producers about non Waves/UA plugins that they use on a day to day basis (if they exist).
I've found this tutorial interesting and Chris is at the same time very quiet and good to listen.
But 2 things i've noticed :
First it's a bit a pity the track don't have a real lead vocal.
It would have been very interesting to see and learn how Chris is dealing with this master element in the mix.
Second thing : Nothing about Compression ? ...
He didn't use any compressor on any single tracks ... except limiters on the buses ...
I've found this tutorial interesting and David Isaac is at the same time very quiet and good to listen.
But 2 things i've noticed :
First it's a bit a pity the track don't have a real lead vocal.
It would have been very interesting to see and learn how David is dealing with this master element in the mix.
Second thing : Nothing about Compression ? ...
He didn't use any compressor on any single tracks ... except limiters on the busses ...
I know i know i did an awful mistake and am extremely sorry ! I promise it will never happen again on this forum and everywhere :)
Nonetheless my remarks about this tutorial worth to be read ...
The non-use of compression could feed an interresting discussion.
I've read also an interview of Bruce Sweeden (Michael Jackson's sound ingeenier) on gearsslutz forum where he's talking about compression.
Here's what he says :
Originally Posted by lawrence_o
Hey Bruce,
So if you're not using compression, or not a lot, I can imagine you'll be having a lot of dynamic range in your mixes. How do you deal with that on the mix-bus?
I mean, do you put a limiter on it, a bus-compressor (if so which one?)?
Or do you just record it a few dB from the max and let the mastering engineer do whatever he wants tih it? If so, do you tell the M.E. then "No maximizing! No heavy limiting on my tracks!"?
Thanks.
Cheers
Lawrence
Lawrence.....
When my mixes go to the mastering room, they don't need much. They are ready!!! Of course that sounds a bit egotistical, but I always strive for that...
If you can, ask Bernie Grundman...
I'm sorry, but it sounds to me like you are listening to what your pals tell you to do! All that compression and limiting is ABSOLUTELY UNNECESSARY!!! It only minimizes the drama of the music!!! At least that's what I think....
If you don't allow those transients to live, you are destroying the most dramatic element in "Pop" music!!! Here's what I am talking about....
I am frequently asked to define transient response, as it applies to music recording. Here are some of my toughts on this very important subject.
First letâs try to define the basic issue.
A- Transient response in electronic recording equipment, is the ability of a device or electronic component, to handle and faithfully reproduce sudden waveforms called transients. A transient is a short duration, high level sonic energy peak, such as a hand-clap ot snare drum hit. Any sound source in the percussion family requires excellent transient response in the recording equipment to sound real.
B- To me, a sound transient is the steep wave-front of the sound. In other words, the transient of the sound is the first impact of the sound before the sound falls and begins to decay, or die.
Good transient response is especially important when recording acoustic instruments. This is one case where itâs extremely important for one to have equipment that is able to capture as much of the initial transient as possible, and all itâs accompanying delicate details.
In the music that I am normally involved in, I have always felt that good transient response is one of the very most important components of the recorded image. I would even go so far as to say that transient response has at itâs core a direct relationship to the emotional impact of a recording. Particularily in the main genreâs of music that I record.... namely R & B and âPopâ recordings.
Faithful recording and reproduction of sound source transients make the strong rhythmic elements of music much more dramatic. These are the elements that are so important to R & B and âPopâ recordings, such as the âKickâ drun, the âSnareâ drum, hand-claps, percussion...etc.
I think that well recorded transients give R & B and âPopâ recordings a feeling of tremendous energy.
To me, compression and limiting diminish the drama of sound source transients in recorded music. Along that same line of thinking, I should also point out that I am not a big fan of over-compression and over-limiting anywhere during the recording process.
To me, when R & B and âPopâ recordings are over-compressed and over-limited they lack the extemely fundamental qualities of both primitive energy and smooth high-frequencies.
The reason that over-compressed and over-limited recordings lose high end energy, is that much of the sound energy in a recording is concentrated in the lower frequencies. These low-end signals will negatively influence a wide-band compressorâs operation, causing higher frequencies to be attenuated during peaks in level, making the music sound dull and lifeless.
Personally, I love transients and what they do to dramatize music. let them live! If a recording is over-compressed, it will always be over-compressed. In other words, it will sound dull and lifeless forever!
I like the use of 'outside' plugins, but it would be nice to maybe have had some examples of his prefered plug vs. something he came up with using Logic's plugs to hear the difference.
Also, I was surprised that there wasn't lead vocals in the tutorial!! If he couldn't use the Lead vocals because of the artists' wishes, then he should have picked a different example... I enjoyed the mixing electronica tutorial and was exited about this tutorial because most R&B has lead vocals.
I love MacProVideo tutorials! But this was a little weaker for me because of these two issues.
I understand what R. Temple suggests but it's difficult to tell someone very well established on the market, what to do. For me this tutorial is like a workshop, where you can see how a pro deals with sound. I would support any other tutorial in the same direction. I am not talking about R&B because for me, it doesn't matter the style. Toby Gad would be a great choice, Logic user since Emagic times, openminded, selftaught, great sound...or someone like him.
I was watching videos 34 and 35 about the backing vocal mix.
I think there's a weird sound going on.....
On the 2nd and 4th vocal phrase (around Bar32 and 36) there's a couple of clicks just as the "you" is ending. I thought it was just the computer keyboard being clicked, but it happens on all the vocal tracks at the same time.
You only hear it when the vocals are solo'd. With the rest of the tracks added you can't hear it.
I've also heard these clicks on the video. He actually mentioned them at one point, which made me think he was going to take care of them...
Anyway, I really enjoyed that tutorial, but I'de really like to know which logic pluggings could replace(to some extent) some of the third parties pluggings Mr Isaac is using.
Yes, I also thought the tutorial was fantastic.
I made exact copies of his channel strip settings for guitar, rhodes, strings, bass, etc., none of which use 3rd-party plug-ins. But yes, the mastering plug-ins are very expensive, except Izotope Ozone 3. David seemed to really like that one and I got it from MusiciansFriend for only $200. I just haven't figured out how to make it appear in Logic yet...
