Into The Cave: Mixing Can Be Back and Forth

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Into The Cave: Mixing Can Be Back and Forth

Hey, guys.

Matthew Weiss here — weiss-sound.com, theproaudiofiles.com,
and also mixthru.co.

Welcome to Into the Cave.

This one is going to be a conceptual one.

It’s about – you know, we think of the mix
process sometimes, I think, as it’s own sort

of thing, but really, when I think of it,
I think of it as an extension of the production

process, and I think that this is going to
illustrate that idea really well.

So this record came in from a producer named
Joe.

Joe Lowery.

He’s very talented.

A really musical guy.

It sounds like this.

[song]

And it came with this guitar part that I’m
going to bring on in.

[song]

You hear it off on the right, right there,
and when I was listening to it, I thought,

you know, it was a really well played part,
but I thought that it was maybe a little bit

too predictable, because it kind of just fit
too nicely.

I wanted to do something that was a little
different with it, so I pulled up this AIR

Vintage Filter, which is a really colored,
really cool sounding Pro Tools plug-in.

Something that I use pretty frequently.

I ran it through the processing and some reverbs
and such, and I came up with this.

[song]

Has almost like a “wah” kind of effect,
and I’ll solo these two so you can hear it

clearly.

[electric guitar]

Now, this is a pretty dramatic change, because
it changes the guitar part quite a bit, and

it changes the intention of the guitar part,
which I really think was a big improvement,

but when Joe heard it, it sort of shifted.

It wasn’t originally what he heard, so he
pulled out his guitar and he played a new

part, and sent me a new part right back.

It sounds like this.

[music + guitar]

Now, I got to talk to Joe, because now I got
to get adjusted to how that sounds, because

it doesn’t sound right to me, because I got
used to hearing it the other way, so you know,

I’m going to have to compare the two.

[song]

You know, the rhythmic figure is a little
bit different and everything like that, but

what I can do is I can talk to Joe, I can
compare and contrast, I can print versions

of both, and we can come to the conclusion
as to what might be really the best.

I think they all sound nice.

I think it’s just a question of what’s really
going to fit the song in the best way?

That’s an important question to ask.

So anyway, what I hope I’m trying to show
you is I’m not trying to say that you need

to be changing peoples’ parts around, and
sometimes you do, and sometimes you don’t,

but what I’m saying is that you can think
of – I can’t keep this accent up! [laughs]

You can think of the mix phase as it’s own
arm of the production world, and your communication

with your client, if you have a good reputation
with that client can be back and forth and

productive in that sense.

So… [laughs] Anyway, that was Into the Cave.

I hope you learned something.

Alright guys, until next time.

Into The Cave: Mixing Can Be Back and Forth

Instant access to every in-depth mixing course from Matthew Weiss: http://theproaudiofiles.com/members

http://theproaudiofiles.com // http://mixthru.co // New Into The Cave from Matthew Weiss.

P.S. We love Dave Pensado and Pensado’s Place.

About The Pro Audio Files

Tutorials on mixing, mastering and producing music in Pro Tools with plugins from Waves, FabFilter, SoundToys, Softube, Sonnox, PSP, Slate Digital and more. Learn how to mix using EQ, compression and effects like reverb, delay, saturation and distortion on vocals, drums, guitar, bass and more.

Into The Cave: Mixing Can Be Back and Forth

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