Iam seeing instant clarity using this technique but curious about the thought that will the mixes be mono compatible cutting the mids ??
@danieldettwiler.official9 сағат бұрын
As long as you do the cuts in stereo mode you are absoltuely fine. Incase you would use MS Mode and only cut in the "Mid-Band", then you might want to check mono compatibility.
15 күн бұрын
Hi Daniel, I have a question for you - in terms of dynamic mics, do you find dynamic mics captures less harsh transients than condensers? I know dynamic mics are better for more definition without too much crosstalk just as you explained in this video, but what about the transients response? The other day I recorded kalimba with small diaphragm condensers and the transients were too strong and harsh. Should I have used dynamic mics for such transient-heavy instruments?
@danieldettwiler.official13 күн бұрын
Yes, on a Kalimba, often a RE20 or SM7 is better than a condenser-mic... Or use a vintage tube mic, if you have, those are condenser mics, however the tube and trafo smooth the transients a little bit.
@catvision77717 күн бұрын
the man with the crazy eyes is great. Thanks Daniel!
@danieldettwiler.official13 күн бұрын
always
@t.kuenzlerАй бұрын
great video
@danieldettwiler.official13 күн бұрын
Thanks
@demon-by8eyАй бұрын
thank you legend
@joshcolebassАй бұрын
A request for more thoughts on mixing jazz and classical music please
@danieldettwiler.official13 күн бұрын
if you are interested, I created a payed course, "mixing the pablo held Trio". Both in analog and digital. Available on my HP: danieldettwiler.com
@jimmynickles828Ай бұрын
Maybe you shouldn't call the bass player an 'F-hole'
@PierreBaudinat2 ай бұрын
Myburgh M1 on bass is absolutely killing ! That video convinced me to get one for the studio.
@danieldettwiler.official13 күн бұрын
Tell Andrew about what made you sure to get it:-)
@PierreBaudinat2 ай бұрын
Thank you Daniel. Precious shared knowledge. Let's only agree this session with those mic placements would be ruined with Elvin Jones in the room 🙂. Even the RE20 on the f hole would be unusable. I'll never thank you enough for the Myburgh M1 advice on the upright bass.
@danieldettwiler.official13 күн бұрын
Thanks..
@showpony3212 ай бұрын
Thanks for these great tips, especially the depth and dimension.
@danieldettwiler.official13 күн бұрын
Glad you liked it. Also check my courses under: www.danieldettwiler.com
@gianfrancogaureau86242 ай бұрын
Suddenly: ‘The drummer is Jeff Ballard’. Great channel 🙏🏻
@danieldettwiler.official13 күн бұрын
Thanks. Yes, Jeff is amazing!
@manuzid68372 ай бұрын
no free trail ??
@danieldettwiler.official2 ай бұрын
No, but so far, I did not get a single negative feedback… I think you won‘t go wrong with that course…
@gerdmilano81372 ай бұрын
What did you use on the bass drum? What would you use for a higher tuned 18" bass drum, which has a clear pitch, to still have some weight and bass frequencies? Where do you position?
@danieldettwiler.official2 ай бұрын
Probably a U47 Fet. I position it, so that it sounds good, there is no right position, it's different with every baddrum and every drummer.
@markjob63542 ай бұрын
*I disagree. In all examples (Including Frozen by Madonna), the C37 Sounds bigger, richer, warmer, and fuller. Whatever the magnetic tape is doing it sounds more pleasing to the ear. The high end on digital sounds so harsh, while the tape does not.*
@danieldettwiler.official2 ай бұрын
Yes, indeed, a smooth top end is something, that a real tape can do, while this is near impossible to recreate in digital.
@mygic1833 ай бұрын
Great stuff!
@danieldettwiler.official2 ай бұрын
Thanks! If you want to delve in deeper, then also check my masterclasses: www.danieldettwiler.com
@newguy69353 ай бұрын
Funny, but... I find that rarely use compression.
@witnessthelightmusic4 ай бұрын
Your KZbin Add brought me here!
@rickspyder61594 ай бұрын
I love this guy when i learned engineering in the 70s. You would be lucky to even have a teacher like this. Now all this expertise is given to us for free. Im going to start donating to their patreon channels.
@D_M_Wolfe4 ай бұрын
Thank you so much Daniel, a very nice quick in depth tutorial about this great plugin. I'm new to FabFilter Pro-Q3 and this is exactly what I was looking for. Your English is perfectly fine by the way, thanks again ;)
@alexkempkes014 ай бұрын
Thank you for sharing those tips.
@danieldettwiler.official4 ай бұрын
Always. Spread the word!
@MarcEdwards4 ай бұрын
Great video with some amazing tips. Thank you. Also, it was exciting to see iStat Menus in your menu bar (I helped create iStat Menus!).
@MirkoAmorini4 ай бұрын
The band with the three large knobs below the line has disappeared. what to click to get it back?
@jazzpedals4 ай бұрын
This is great. Not only the information is clear, precise and very educational but, also, Daniel works on great, beautifully played music. I'm so fed up with youtube mixing tutorials where the music they work on is so horrible that is difficult to listen to, even if it is well mixed.
@danieldettwiler.official4 ай бұрын
Glad you liked it. Spread the word! And feel free to check out my courses at: www.danieldettwiler.com/courses
@alexhulme61354 ай бұрын
What’s so awesome about this is that it’s helped me identify that I’m doing the ‘right’ things but not implementing them correctly! I’ve always notched out resonances but that method you showed and the explanation of the phycology and way your ears fix what your hear has already helped Me on the work I’m doing for today’s client!! 🙌🙌
@danieldettwiler.official4 ай бұрын
Glad you liked it. Spread the word!
@denysholovatyi31494 ай бұрын
that "bad" jazz example sounds like it used to in the 60s. i ponder maybe the studio tried to emulate old school sound
@danieldettwiler.official4 ай бұрын
Thanks! Spread the word!
@blaise11114 ай бұрын
Thank you, Daniel. It is a beautiful blessing that you take the time to help educate those of us who love producing music and need help understanding and hearing what we need to hear.
@danieldettwiler.official4 ай бұрын
Thanks, glad you liked it. Spread the word!
@rickspyder61595 ай бұрын
Holy S$#t . Ive never heard this approach. You just made all my future. Mixes 30 % better
@kilswitchengaged5 ай бұрын
Great stuff!
@danieldettwiler.official5 ай бұрын
Thanks! Let others know about it! And feel free to check out my courses at: www.danieldettwiler.com
@chrisb51315 ай бұрын
Thank you for the amazing content Daniel! I was also looking for your Reverb Bible but missed the intro sale, hope you'll go off for another time this year :O). Cheers
@danieldettwiler.official5 ай бұрын
Thanks for liking it. Maybe you want to get the Pablo Held Masterclass? That one is on sale, and I also speak about reverb a little bit. I don't know when the next Reverb-Bible sale will be... Cheers!
@andupandu1445 ай бұрын
Thank you a lot for your time and for giving out this kind of info. Out of curiosity, can you say 3 mixes that you consider to be reference mixes? To have good physical integrity, good depth of field and good spectral balance? In other words, to say some of the best mixes that you ve ever heard. This way it would be easier to understand the video better. Thanks again!
@danieldettwiler.official5 ай бұрын
Diana Krall - Temptation (by Al Schmitt) For Jazz, that's my only reference. Also good: Joni Mitchell Both Sides now Beck - Morning Or anything from Steely Dan
@rogertetuanui59505 ай бұрын
Thank you for sharing Daniel
@danieldettwiler.official5 ай бұрын
Always
@dougr51875 ай бұрын
Hi Daniel, many thanks for this excellent tutorial (and also your other wonderful videos that I have watched). Please may I ask for your opinion about this: one of my favourite genres to arrange and then mix is 1970s style dub reggae (Lee Scratch Perry / King Tubby etc). The genre's 'traditional Aston Barrett type' bass is very low in terms of frequencies and not saturated or EQ-extended much beyond about 250hz if at all. It is a limitation of the genre (and the expectations of the genre's fans) for there to be low, deep bass which can be heard on powerful speaker systems. The problem is that these mixes cannot, of course, be heard on most iphones / laptops (and most 'casual' music listeners - ie, not dub reggae bass fans - will probably use such systems which cannot output sounds of below 250hz to any great degree). Of course, I could go against the expectations of the dub bass genre and its fans, and I could just saturate or EQ the bass into the higher frequencies so that the bass guitar is heard on smaller systems - and this would probably give my music a wider audience. But, tbh, this then does not recreate the sort of deep bass sound / timbre that is most reminiscent of 1970s style dub reggae bass. Ultimately, I am not a music professional (and I am creating music primarily for me to enjoy), so it might be that I just accept the limitations of this 'niche' genre's low bass requirements and I (and other dub bass fans) restrict ourselves to playing these songs on powerful systems. Sorry for the long essay, but I was wondering if you had ever found yourself creating / mixing for a specific genre whose own limitations affect the 'listenability' experience for a wider audience? If so, what decisions / choices did you consider? Many thanks.
@danieldettwiler.official5 ай бұрын
I would make a compromise, as when a instrument is not heard on average speaker, its not a great mix. In out time we have the technology to solve that problem. Leave the bass deep but create more harmonics, so that it can be heard on smaller speakers..
@dougr51875 ай бұрын
@@danieldettwiler.officialThank you for the reply - that's a good compromise. Cheers.
@OdoSendaidokai5 ай бұрын
Thank you so much for these great insides 🌻
@danieldettwiler.official5 ай бұрын
Always. Spread the word. and check out my courses, if you are interested in even more in depth learning:-) www.danieldettwiler.com
@Rhuggins5 ай бұрын
Wow a new video from Dan!! I absolutely love you man you are the best online 🙏🏽
@danieldettwiler.official5 ай бұрын
Thanks, tell this to others, so that the channel can grow...
@Submangalam5 ай бұрын
An amazing masterclass! Thank you so much! Useful and clear
@danieldettwiler.official5 ай бұрын
Thanks, glad you liked it. Let others know about the channel... Also, in case you are interested, check out the "real" masterclasses, they go way more into the depth! www.danieldettwiler.com/courses
@arpantoppo32665 ай бұрын
Can you demonstrate mixing vocals, I feel it's a very difficult instrument to get right
@danieldettwiler.official5 ай бұрын
Good Idea. Also check out my masterlasses, there are vocal examples in the reverb bible, and also in the mixing bible. I might make a free KZbin Tutorial once... www.danieldettwiler.com/courses
@raphaeldelavie59575 ай бұрын
Endlich ein neues Video😍😊
@danieldettwiler.official5 ай бұрын
Ja, gell, in meinem Alter... Aber lasst andere davon wissen, dann mache ich mehr...
@meetplace5 ай бұрын
Hey Daniel! Thanks for your videos, I will be buying your course in the next month or 2 as I have learned so much from just a few of your videos that I haven't learned from any other vids, and they have immediately improved my mixes, thanks! BTW Do you just drink wine and make music in that studio? If so, sign me up!
@danieldettwiler.official5 ай бұрын
Yes, wine sometimes, and also we, obviously, do make music there.. Great if you buy the courses, they go way, really way deeper than the free KZbin Videos:-)
@DG1TAL5 ай бұрын
Wie die Vorstellung der Mikrofone einfach immer weiter eskalliert - gefällt mir sehr gut!
@danieldettwiler.official5 ай бұрын
thanks
@bugbass5 ай бұрын
How do you deal with phase?
@danieldettwiler.official5 ай бұрын
This is similar to me as a chef dealing with different spices. Once we have more than 2 microphones, there is phasing. This is essentially an equalizer effect. In the end, it can sound better or worse, much like when cooking with many herbs. I position the microphones in a way that I can use phasing to my advantage. Because if we use too few microphones, we haven't captured all the attributes, typically. If we want size, we need microphones to capture the size of the instrument. But then they lack intimacy, so if we also want to record the intimacy of an instrument, we need additional microphones. And so on. In my Mixing Bible, I go into detail about this: www.danieldettwiler.com/courses
@paulfrancis10625 ай бұрын
Thank you for this fascinating video. Very interesting and got me really thinking about mixing. I am a pianist, not a sound engineer, but I enjoy finding out about the recording, mixing and production of music. I will look at your other videos with great interest, 👍🏻 Danke schön.
@danieldettwiler.official5 ай бұрын
Thanks. Incase you are interested in Deep-Learning of those topics, also consicer my masterclasses: www.danieldettwiler.com/courses
@paulfrancis10625 ай бұрын
Wow! This is such a valuable set of information for a relative newcomer to recording. I have recorded in studios a few times over the years, but recently had a session with my own jazz piano trio. I wanted to understand more about how we were recorded and how the mix would be done. Thank you for the time and trouble in putting together this wonderful video.
@danieldettwiler.official5 ай бұрын
Thanks. Yes, if you want to understand more about that topic, I highly recommend my mixing bible, available here: www.danieldettwiler.com/course/daniels-mixing-bible There I really go into the details, explaining about why we need to first learn to analyze sound before we actually really can be able to mix it:-).
@chadball45266 ай бұрын
The album recorded here is on Spotify. It's called Puerta. Love it!
@danieldettwiler.official6 ай бұрын
Yes, it's great music, isn't it? Good, that it is in Spotify, although it obviously even would sound better, if you could stream it in PCM 48, or even 96 kHz... But at the end, if the recording and mix is ok - it also survises a MP3 Codec:-)
@chadball45266 ай бұрын
@danieldettwiler.official I really enjoyed watching the recording process and then referring to the finished product, even if the quality isn't where it should be
@joeblack007forever6 ай бұрын
💕💕💕
@danieldettwiler.official6 ай бұрын
Thanks for liking it. Spread the word!!
@zlucoblij6 ай бұрын
This is amazing insight. Thank you so much for sharing this. I love this setup for recording but dealing with crosstalk is really hard. Amazing to see somebody taking this so far with so much success and being able to learn from it.
@danieldettwiler.official6 ай бұрын
Glad you liked it. Also check out my Bibles, if you are interested in more in depth videos (www.danieldettwiler.com/courses). Cheers!
@dncivjrbels-13536 ай бұрын
I myself had worked at Decca records and I can't count how many pieces/recordings were finalized with no compression at all, whatsoever. I do recording myself too from time to time, from solo piano to small ensemble, and I NEVER use compression because whenever I try to apply some, it always sounds unnatural, no matter what compressors you try. Of course I am talking about classical music here but doesn't this apply to any genre, especially acoustic music genre? I totally understand the concept you talked about and I know you are technically correct, regarding "people are listening to your songs pretty quietly and they might even chat while listening" - yes, compressors will even out the volume of harmonics and thus anyone can hear everything more clearly even in low volume, but here's my question - do you even care about these listeners when you want to release your classical music records in the finest form that you have trained decades for performing and expressing your most delicate dynamics expression? Why do you ignore the inevitable sacrifice that compressors will give? If you recorded any instruments and if you feel it's seriously perfect sound as is (which I always feel on classical recordings), then applying compressors will not make it more perfect, it will make it worse. I'm also very curious what you'd think about Bruce Swedien's (Michael Jackson's producer) famous saying, "I hate compressors. Compressor is for kids, it's a crutch." He was talking about inevitable unnaturalness that compressors will give to your sound, and he was always saying "find the BEST performer, BEST microphone and BEST mic placement". I assume what he wanted to say is similar to what I think to classical recordings. Al Schumitt was the guy, famous for not using EQs and I have seen your video trying to mix without EQs. Why not giving it a try to make another video about mixing without compression? I would love to see your opinions and approach.
@danieldettwiler.official6 ай бұрын
I strive to convey a serious level of education in my content, particularly in these free KZbin tutorials, aiming to go beyond mere "Wow the crowd" moments without substantive information. In the realm of audio technology, every advancement or decision involves a price or compromise. Yet, we must acknowledge that the complete reality of musical performance doesn't translate entirely into our living rooms. What we hear are the membranes of two speakers oscillating back and forth. As sound engineers, our task is to create a pleasant experience, simulate a sense of space, and ensure that even at lower monitoring volumes, we capture enough detail. Aspiring sound engineers must master and adeptly use a variety of tools, adjusting their application based on the situation. Criticisms of EQ may arise, asserting that it alters phase, and indeed, some engineers, like Al Schmitt, claim not to mix with EQs. However, this approach necessitates other compromises, such as miking a piano from above the hammers instead of the side (a preference for many) (because if miced from the side, one would need to use an EQ). Schmitt himself does employ EQ when necessary, particularly for recordings he didn't engineer. Bruce Swedien's compressor commentary, doesn't offer much guidance to aspiring engineers, as he used tape and a great sounding analog mixing board back then. His heavy tape compression setup was tailored to the music of his time, which was already produced in a way that minimized the need for additional compression. And he did a lot of fader riding too. In the classical realm, the use of a compressor is particularly delicate. In my recent classical project with the London Symphony Orchestra recorded at Abbey Road Studio 1, I opted not to use a single compressor. Instead, meticulous automation of levels was employed to ensure that in quieter passages, the upper harmonics remained audible. While some may find contentment without compressors, another critique might emerge against automating levels. However, other clients and producers want a slightly more processed sound even on orchestral work, and I don't have any problem using compressors even in classical music (but they would, obviously, not do a lot, and be very slow and forgiving). Decca, pioneering early experiments with poly-miking, faced criticism for an unnatural sound (although I personally appreciate the distinctive Decca sound). Criticisms also targeted their use of three main microphones instead of two (Decca-Tree), as well as employing Out-Triggers. However, I believe Decca's unconventional miking techniques helped reveal details that would have otherwise been lost. In conclusion, my perspective is that engineers must be well-acquainted with their tools, utilizing them when necessary. I use, whatever tool is available, when this tool is required. The poorer the quality of the initial recording, the more crucial these tools become.
@dncivjrbels-13536 ай бұрын
@@danieldettwiler.official Thanks for your detailed reply. Just to clarify, don’t get me wrong, I’m not that “don’t use compressors at all” guy. I appreciate your educational explanation videos. But I just wanted to hear your opinions about this compromise that compressors give you because as far as I see, you haven’t mentioned about this. I worked for symphonies and bigger orchestral recordings and found that these “big” projects are much more forgiving to use compressors (because I don’t hear it much, as long as it’s used subtly, just on some parts, but never “entire” bus..) but in smaller structures, such as solo classical or small ensemble, I always hear compression being unnatural, even if it was just -1db GR so I always say NEVER to them. Yes of course, volume automation is always necessary and I use them all the time when needed, but my biggest point is volume automation never alters any transients or anything and it keeps sounding natural or unnoticeable if well done, but compressors will, and I hate that in classical. Yes, I know and I’ve seen many of opinions of “Bruce Swedien had tapes though”. First of all, (I’m sure you know all of this, but) tape compression is much, much more natural and I myself think that they are not even “compressors” to start with. Yes they give you somewhat similar effects of compression, which reduces dynamics, but I wouldn’t call them “compressor” because to me it’s more like calling “that microphone has compression in it” “this room has compression in it” “the electric resistance on this cable has compression in it”. I hope you get my point. Furthermore, Bruce did use all-digital system too from time to time, without any tape. But he didn’t change his opinions about compressors. Anyway, if Swedien finds additional compressors will help sound, he would have used additional compressors, but he didn’t and said that. I believe what Bruce was hearing is the same effect that I don’t like in my small ensemble situation.
@mosermichael44047 ай бұрын
Hey Daniel. Wie die Stimme sich löst nach vorn so bald du auf dem reverb ein distortion drauf legst ist echt magic...echt wertvoller Trick.🙏 ❤ Verwendest du auch bei vocals revebs sidechaning oder arbeitest du da mehr mit dem pre delay I'm reverb?.. Danke für deine super gute Erklärung.. habe echt viel dazu lernen können von deine Tutorial!🙏👌👍❤️
@danieldettwiler.official7 ай бұрын
Danke, check auch meine Bibeln aus (www.danieldettwiler.com). Sidechain: Mache ich nie.
@mosermichael44047 ай бұрын
@@danieldettwiler.official Interessant das du nie sidechain verwendest.. 🤔 demfall nur leichtes compressing auf dem reverb und distortion.. 🙏
@danieldettwiler.official6 ай бұрын
@@mosermichael4404 Nein, kann auch kräftiges Signal sein. Es klingt natürlich ohne Sidechain. Wenn jemand laut singt, dann ist dann auch der Reverb am lautesten. Wenn der Compressor das verhallte Signal sieht, dann ist alles smoother. Wenn man sidechained, dann regelt der Kompressor oft zu schnell und die Hall-Einschwingkurve klingt unnatürlicher, was für Dance Musik z.b. total cool ist.
@discomyass7 ай бұрын
i came across to this channel today i just wanted to say thank you for sharing all the information.....most of the youtube in our field out there is saying nothing with a lot of words
@danieldettwiler.official7 ай бұрын
Thanks - spread the word!
@SayajinKanak8 ай бұрын
Thank You Happy New Year 2024
@barfyman-wn3id8 ай бұрын
Worst idea for a career path. Too late for me almost a decade into it. Nobody wants to hire full time, nobody needs more skilled audio engineers. My advice: Be a rigger! Don't go into audio. It sucks!
@danieldettwiler.official6 ай бұрын
Well, good-sounding content is always in demand and appreciated. There are plenty of engineers (myself included) who can make a comfortable living from it. Of course, if getting rich is your main goal, becoming an audio engineer might not be the quickest path to wealth! 😄 But my main point is this: many people underestimate the effort it takes. Some believe that simply downloading Logic, taking a course or two, and voila, they're a mixer. It's not that simple. Just like any other profession, it requires training. I've taught over 500 sound engineering students, and not one of them didn't have the potential to develop a keen ear-equal to or better than mine when I was starting out. However, success comes to those who are willing to put in the training. Some might not be up for it, and that's okay. But for those truly dedicated to reaching a high level, it's absolutely possible.