With Ableton's Audio to Midi you can generate midi notes and make dynamic layers pretty quickly.

these are all fine plugins.

Very good articulation! I've learned a lot here with your explanation and breakdown of the early mixes like Steely Dan. Indeed, all those stood out as hallmarks of really great recordings that stood the test of time.

Cool 😎

Nightfly is the best of the best!.

Donald Fagan`s Nightfly is a MASTERPIECE recording .

I needed to hear this, man

Absolute gold

9:05 you talkin about “Do It Again”?

So the high pass is happening on the SSL?

Excellent, conversational and clear run-through. Thanks massively for this!

7 years later and this is still GOLD. Good advice.

Man I love hearing this :)

Did I smoke too much weed HAHAHA dead 😂

And then there's Devin Townsend with his wall of sound production AND delay and reverb on everything 😂

I get a message that the video is private. I just subscribed to your channel. Great information and much appreciated.

You helped me 9 years ago with this video

Nice one ☝️

Here are some 70s songs that I think are perfect quality and sonically speaking: 1. After The Love Is Gone (Earth, Wind, And Fire) 2. You Make Me Feel Brand New (The Sylistics) 3. Dancing Queen (ABBA) 4. Reminiscing (Little River Band) 5. Come To Me (France Joli) 6. How Deep Is Your Love (The Bee Gees)

mate, this is the greatest lesson ive had in the short while that ive started my own music production, (4 months of constant constant obsession) (insanity). do not apologise saying this "might be boring" thank you so much for your words FOR REAL!!!!

I will use that tip.

Every time I hear the eagles on the radio the mix always jumps out at me and how perfectly balanced it is

Thanks! Great video!

Subbed!

The greats panned almost everything hard left, hard right or center, almost all of the time. The in between positions cause mud.

Bet you thought this one was done, but it's just great to find this. Thanks for posting.

and I thought it was the mountains of cocaine ...

Thanks dude! It just randomly clicked for me that this might work when listening to one of my favorite EDM artists.

this video is actually majestic

It was also the top of the tape machines development

There are only 2 speakers in a stereo speaker set

1978 until 1984 were the best years

yes, i put all sorts of processing on the master - reverb, distortion, delays - to add colour and glue to my mix, also a really simple way to do transitions

All good info and great perspective. All I can think to add is this: the best low/hi cut filter --- by a wiiiiiiide margin --- is the instrumental part itself. Like in the rhodes example, yeah, you can filter the lows, and if your only job is mix engineer you'll have to... but if you're the player, and/or the producer, you need to create a part that better slots itself into the arrangement. It's amazing how far you can get if you just stop playing the bottom 2 strings on the guitar, and/or if your left hand rarely if ever goes lower than an octave below middle C. Let the rhythm section OWN the bottom, and if another instrument encroaches, it better be for a very clear emotional payoff, and as soon as the moment passes you get the f&*k out of that space. Much love to the geniuses who made those classic records, it's insane what they pulled off and I'm with you, stuff today may be equaling it in terms of creativity but IMHO nothing is touching the sheer size of the soundstage on those old records. Compression is fun, but stuff gets real small real fast, and the older I get, the more I prefer to use saturation and distortion to control dynamics, and use compression as a form of distortion. Low ratios don't get enough love!

Just watched an interview with Elliot Scheiner who mixed Gaucho and the 2 previous ST albums, and he said he used no high pass filters and very little processing overally. This takes nothing away from the benefits of hi-passing of course, just for the record. The need of hi-passing became stronger as the number of tracks in a project increased drastically to ridiculous numbers: Gaucho was still a 24 track project.

wow to record mute and fader in the console in reason 11 or 12 ??

merci beaucoup pour le tuto

I just stumbled onto this video last night. I was looking for just what you're talking about. I soon will be attempting to mix my own music and I've been going through the visible folks on KZbin to see what I can learn. I agree that the 70's' were the high water mark. I have a bias because it was my era as well. I see that this video is 7 years ago. I'm wondering where you've taken this in that time? The takeaway here for me is that it's all about what you put into whilst' tracking. The sound stage, panning, stacking etc. all the while avoiding conflicting frequencies. I'll be tracking with all of this in mind. The modern day approach to bass frequencies...it hurts my ears.

Definitely a great video. And another way to compliment this way is do mix checks in mono. I lower all channels and bring up just the kick and bass guitar. Then I eq them so that they are distinct and live in their own space. Then add another track, guitar or keys maybe. Add it in and again, make sure it lives in it's own space . To make sure of this, I ask myself, can I pay attention to, and hear an instrument even with the rest of the mix going. So do your basic eq tasks in Mono. Do not set levels in Mono because as most know the level of an instrument in the center is louder because both right and left are equal in amplitude. Once you pan that instrument you are turning the amplitude down on the opposite side, which of course is why it sounds like it is moving to the side. But now the amplitude is too low and you must raise the volume of the track. So set levels after your stereo panning is done. But do both ways, frequency panning and checking in Mono that every instrument lives in it's own space. Masking equals Mudd and perceptual confusion., so low pass and high pass where needed to carve out space not just FOR each instrument, but AROUND each instrument. Making music on my own I have to play all my own instruments (besides drums, I use EZ Drummer for them), which makes it hard for me not to want to mix even as I am recording tracks. I am trying to break myself from this habit and keeping things in mono as I record tracks seems to help me refrain from dabbling in mixing before I should. This frequency panning as well is another nice way to keep myself in the proper work zone and stop trying to mix before I just get the darn tracks all recorded first. Again, great video and sound advice.

Great advice to just try put and have the option.

A lot of people around my age( born in 79 ) love 80s music but I feel like the worst thing to ever happen to music was the 80s. This helps to understand part of what went wrong with music in the 80s.

I've always loved the Dire Straights first album from 1978 and thought it sounded amazing. I've been countless hours listening in awe to the subtleties of his second to none guitar playing. After finally getting serious about learning how to hear for production and not just performance, I've been listening to it, amongst others, and wow! I hear things swapping places in the Pan throughout a song to make room and balance the frequency spectrum as different elements move in and out of the track. Hearing some of the tricks I've been learning about like panning the reverb of a vocal to the opposite side and then putting some sort of modulation effect on only the reverb. This has been an amazing journey, being able to find all these awesome treasures in songs I've listened intently to hundreds of times before is worth the effort without even considering The reason I've been studying in the first place, which is to increase my still level in the studio. If I never apply my new (and developing) skill set to a single track, I'll not regret a single minute spent studying.

Wooow are u still using this bro? I tried it it sounds sweet

😊 gold.

So, with parts ( "acoustic" guitar ) one plays down at the nut, the other plays up the neck - but - the notes played need to be in the frequency band matching the instrument's place in the EQ of that track? Aim: To fit in with other sources of sound and not hog frequencies or clutter that frequncy band. Result: More clarity in the whole track. Taking a wild stab - this would also involve the "room", because the sound waves are complex and if a band played as one, or if parts were recorded one at a time, it would make a huge difference to the engineering, choice of mics, mic distances and mic locations - which right there SHOWS how talented the 1970s sound engineers truly were. Look at all the techniques that have come down to us for mics and D.I. too. I won't go on about music structure, facility of composition, or of insights into humanity in the music and lyrics of albums from that period of time - as those are obvious to a blind frog.

how strange, i figured it out all by myself, using rev on masters and this exactly it is. damping and dry/wet signal ajdustments. Yup great on ballads and classical genre of music, sounds so great for orchestral works. Am comfortable with abbey road plates, watching this gives me a bit of confidence to try convolution reverbs. IR-L for example. gonna give it a try. Thanks.

So you dont need to use EQ with this? Thanks

I put on Steely Dan and couldn't stand it....there was something special going on in the mix though. lol Really popped out even on my shitty TV speakers.

Amazing, thank you for sharing!!

That’s exactly what I was thinking about when listening to that 70’s sound. These guys didn’t have all those crazy surgical eq options like we have today so instead their mixing decisions were based off of a wisely selected sonic characteristics of the instruments. Something we lack of today.