I had the pleasure of working with Ira Glylack at Capitol Studios the last 2 times I was there. We sat down after the session for a bit just to catch up and talk shop. We talked about some things that I think are helpful, so of course, I’m sending it to you. I hope you enjoy this conversation.
I want to tell you about a mixing hack that I had discovered where I can mix from my car in the parking lot of my studio OR even mix at my home (miles away form my studio).
I’m also using it to do real-time question and answer sessions with my mixing students.
In this video, I will explain how I mix remotely in real timed a little further.
Some links you may want to know:
In this episode… Allow myself to (re)introduce myself. A lot has happened in the past few years and I’m revamping the podcast to reflect all of the new things I’m learning.
I’ll be talking to some of my smart friends about what I’m doing now and want to teach… Audio, Video, Lighting and Leadership.
I’ve been mixing the web broadcast for a church in Denver called Flatirons. Their video production is the absolute best I’ve seen. I went to Denver to check out what they were doing and ended up mixing for them for a while. It’s been a pleasure and I’m learning a ton. Here’s a tip that I’ve been doing on the Flatirons mixes.
There are 3-5 songs each week plus a teaching segment. All in, it’s
little over an hour of material. I mix each song individually… even though it is a linear file that’s 48 tracks or so.
I import my template (that I’m custom designing for this process) then dial in the first song. I then mix that song (name it 01 SongName-mix)… tweak it, tune it etc. then I move to the next song and name it… you guessed it 02 OtherSongName-mix).
After I’m finished mixing the musical pieces, I send the mixes to the musical director for approval. but then I add a 5th session to it. I call it the “layback”.
Since I print the mix inside each individual song, all of the mixes are right there on a track. I then make all of the tracks “inactive” and hide them from view leaving only the 4 mixes, the audience response mics (house mics) the host mic, and the teaching mic (the pastor). I then do another linear pass adjusting the audience mics accordingly to make you feel like you were there.
I leaned something from a man named Eldridge Fox so many years ago. If you remember the legendary Southern Gospel group the Kingsmen, you will remember it seemed they did as many “live” records than they did studio records.
“I want to hear that little old lady in the back if she laughs or if she cries”
Eldridge told me that the most important part of a live recording was the response of the audience. “I want to hear that little old lady in the back if she laughs or if she cries”. The Kingsmen’s live records were VERY energetic… and not because of the giant personalities on stage, but because Eldridge was so adamant about audience response.
So I do a whole automaton pass JUST to get the audience response up. When the speaker says something funny, I want to hear people laugh.
I believe that live worship recordings is the way of the future. If you are interested in the future, you should learn to master the art of “capturing” a worship service.
Are subtle fader moves as subtle if your fader is not close to zero?
Check out this video I did on Facebook a few days ago.
As I was #mixing #vocals in #ProTools, I discovered something cool. #gainstaging is important… here’s why.
If you want to learn more about gain staging, check this out too. https://goo.gl/qH5D9A
I was doing a full tutorial the other day and thought I would show you some of it.
In this particular video, I concentrate on making sure that the phase is right... Nothing really complicated... just listening in mono and inverting phase when the need arises.
Hope you find this helpful. We have TONS of these kinds of videos in their entirety on http://MixCoachMember.com.