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Do today's hip hop instrumentals even require mixing? Metering & Analysis Plugins
Old 22nd December 2016
  #31
Gear Head
 

Is it a joke??


honnestly, i will seriously not consider a producer who is claiming that he doesnt need to mix anything... won't argue so much, but this is just damn stupid.


For me hip hop without sample... hum something is missing... i can even say that without sample that's not hip hop. The principle of sampling is everything. It makes the producer be well cultured and open minded to ancient styles, it gives warm colour vintage sounds... With samples, impossible to not mix it, this will be awful and not balanced.

Music full of synthesizer sound is not hip hop for me but electronica or something so. Techno eventually
but with those kind of sound, that are very loud etc, oh yes it can appear normal to not mix, but damn, just so dumb.


Depending the sound you sample you don't need to work them like a crazy .honnestly i dont use so much compression (when it's really indeed, for creativity on beats, but thats all, and often i can sample beats which just dont need. I usually like strong attack so i can compress the sustain or use a transient booster etc... rarely on some melody sample if i want break the dynamic but it's damn rare... depends). Eq is the base, cant mix without EQ. you could take off everything but just let me some EQs and i will do great sounds.


i will never consider seriously some guys of the new generation that think they have discover the world all alone. Won't trust itunes values either. I think those kind of guys don't know what they are talking. They made sounds because "its so cool!! hey look at me" and they will never make the effort to make something consistent. From what you are saying they correspond to a simple schema: producer with no feeling that just answer to the needs of boring people who doesnt have any culture nor taste.
Old 22nd December 2016
  #32
Gear Nut
 

Quote:
Originally Posted by Studio507 View Post
Well.

Typically the heavy hitter producers i have mixed beats require very little mixing tbh…the right sounds and the right arrangements and the right key (!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Pitch your f'nn sounds right!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!) everything should kind of fall in place without anything too drastic happening from a technical standpoint…and that pretty much holds true from guys i know that are/were still using SP's 950's and dusty records up to kids using FL and Nexus.

While i agree that a whole lot of people (particularly this generation who was raised strictly on internet videos---internet interns) "over engineer" frequently i would apply the term "advanced engineers" to people who actually know how to make the song sound & feel the best it can, not just a trigger happy engineer with a lot of plugins

So do instrumentals require mixing? If they're going to be released as instrumentals probably yes, I would…or if the producer is really bad at arrangement, is tone deaf and/or doesn't understand some very basic technical stuff (that sound? thats clipping bro). I've never been one to partake in instrumental mixing for the **** of it (or the dollar of it) not to knock anyone who does, either as a consumer or service provider but if a beat is dope its gonna be picked wether it sounds like it was tracked and mixed on a Maxell or a SSL…SONGS however still need mixing, typically. Sometimes peoples roughs sound good tho, and thats kinda been the case since home recording started so…not much has changed lol
quick question...when you get stems are the efx printed to the tracks or are they dry?
Old 22nd December 2016
  #33
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Quote:
Originally Posted by CTodd901 View Post
quick question...when you get stems are the efx printed to the tracks or are they dry?
I typically prefer them to have the effects printed, as long as I can get a dry stem if necessary.

Here's a little advice: the artist picked the beat, loved the beat, has been living with a rough for who knows how long, played it for the label, Mgmt, DJ's, god himself...why on earth would I want to change the reverb on the pad or the delay on the lead line? That's not my job (unless its really ****ed up and everyone's lucky it's made it this far sounding this ****ed up--then I'll request the dry stem)

But again most of the big guys with a couple dozen plaques I've mixed for don't really have a ton of effects and mixing happening on their beats, just good composition the right sounds...I know that secret might be disappointing to a lot of people but it's the truth!
Old 23rd December 2016
  #34
The big question for me is... Is it worth mixing?? Beat makers make beats in minutes and reference their music on phones and iPods... That's why 80℅ of the beats on you tube have no real punch... It's all 100hz and up.
Old 1st January 2017
  #35
Quote:
Originally Posted by Coleman Young View Post
How much mixing does a disposable mumble rapper being played through a cell phone speaker by a 12 year old on a noisy bus really need?
LOL facts
Old 25th May 2017
  #36
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Quote:
Originally Posted by Gduron View Post
The big question for me is... Is it worth mixing?? Beat makers make beats in minutes and reference their music on phones and iPods... That's why 80℅ of the beats on you tube have no real punch... It's all 100hz and up.
Possibly for the quick listening factor but for overall song recording in the studio the obvious mix is needed. But it's very true when listening on YouTube and Soundcloud beats are not necessarily mixed and most simply cater to the artist factor for possible reference track instrumentals.
Old 25th May 2017
  #37
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PettyCash's Avatar
 

The stuff that isn't mixed stick out quite badly in comparison to the stuff that is. Do you need to pay a premium to have it mixed by a professional? Probably not if you have a decent set of plug-ins and enough knowledge of how to use them to pull off things for yourself, but your work needs to at least be treated so your "sonic intentions" can actually be understood by people that are listening to it, and some loudness maximization would also be important for pulling in the dynamics a bit so the details in your beats will be more easy to listen to on cheap quality playback systems, tablets, phones, etc.
Old 26th May 2017
  #38
Registered User
 

Well, if you compose, pick sounds and arrange properly, the track will basically mix itself.

If you make the same trap beat over and over just with some different arps, chords and drum patterns you can use the same mix settings over and over so technically you could do without mixing. Maybe some fine tuning and you're good.

No need to overcomplicate things.
Old 26th May 2017
  #39
Gear Maniac
 
elgee's Avatar
 

In my opinion mixing my beats is what makes a difference. If I am at the studio sometimes people in the other rooms like to swing by see what's going on. Then throwing a beat on the mains seals the deal.... If I didn't do the mixing ahead of time I wouldn't be prepared.

A beats a beats a beat. I've had situations where someone didn't like the raw composition I mixed it and then all of a sudden they need it.

Even for tracking session some dudes, want to throw another artists track on the bigs and then ask the obvious question, you got anything like that??? Tough because the track you just listened to was mixed and mastered.
Old 26th May 2017
  #40
DAH
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Quote:
Originally Posted by elgee View Post
In my opinion mixing my beats is what makes a difference. If I am at the studio sometimes people in the other rooms like to swing by see what's going on. Then throwing a beat on the mains seals the deal.... If I didn't do the mixing ahead of time I wouldn't be prepared.

A beats a beats a beat. I've had situations where someone didn't like the raw composition I mixed it and then all of a sudden they need it.

Even for tracking session some dudes, want to throw another artists track on the bigs and then ask the obvious question, you got anything like that??? Tough because the track you just listened to was mixed and mastered.
Somehow when you have learned a little bit of mixing and your mixes sound similar to the records of the same genre you start feeling how hard you fail in terms of production.
Old 26th May 2017
  #41
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elgee's Avatar
 

Quote:
Originally Posted by DAH View Post
Somehow when you have learned a little bit of mixing and your mixes sound similar to the records of the same genre you start feeling how hard you fail in terms of production.
Idk... you sure it's not your mix???

I believe mixing and production go hand in hand and the best producers know how to mix.
This concept to ME (keyword) is about representing yourself. I want/need to represent myself in the best way so I mix my stuff. If it sounds good it sounds good like others said no need to stress it. I'm just obsessive and so are they.

Concerning composition mixing... something that helped me personally is just like when using an SSL9, in the box I set up izotope insight to Lissajous, it can help with placement and width within the stereo field especially with 100+ tracks, that i've haas'd and phase flipped and still want "mono" compatibility. I've noticed new phones recently have true stereo so hopefully soon it wont be something to worry about.

A free metering tool that's awesome is called VPS scope computer music by vengeance.
Old 26th May 2017
  #42
DAH
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Quote:
Originally Posted by elgee View Post
Idk... you sure it's not your mix???

I believe mixing and production go hand in hand and the best producers know how to mix.
This concept to ME (keyword) is about representing yourself. I want/need to represent myself in the best way so I mix my stuff. If it sounds good it sounds good like others said no need to stress it. I'm just obsessive and so are they.

Concerning composition mixing... something that helped me personally is just like when using an SSL9, in the box I set up izotope insight to Lissajous, it can help with placement and width within the stereo field especially with 100+ tracks, that i've haas'd and phase flipped and still want "mono" compatibility. I've noticed new phones recently have true stereo so hopefully soon it wont be something to worry about.

A free metering tool that's awesome is called VPS scope computer music by vengeance.
I am sure, it is not the mix, and the best producers have the luxury of having built on purpose private studios with great control rooms. In a great room, 'knowing how to mix" becomes innate, specially after all those years put in it.
Old 26th May 2017
  #43
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Fanu's Avatar
Quote:
Originally Posted by PettyCash View Post
Unfortunately, "advanced mixing engineers" often tend to "over think" their mix and get the vibe of it completely wrong, because they're more focused on using every single technique that they know on a single mix in order to make things sound right to them from a "technical" standpoint, so they can go off and pat themselves on the back for a job well done, rather than focusing on doing a mix that actually reaches out "emotionally" to its listeners. The beats that are going to draw the most attention are the ones that get people moving/rapping the moment they hear them. A simple, raw "fader mix" can sometimes yield better results than having some "mix engineer" who doesn't know what they're doing beat the pulp out of stuff that doesn't need much treatment in the first place, thus destroying the sound of the beat out of sheer ignorance. "
That's why you gotta have your music treated by those who *understand* the style and genre, so they don't smash it or squeeze the life out of it. Have it treated by someone with some history with the music and not just an engineering degree.

As an engineer, I've let go of genres that were not my field of expertise (EDM etc) and concentrate on those that are (hip hop and bass music).
It does feel good working with things you feel at home with. Whenever I worked with EDM (always hated it), I felt a bit uncomfortable and was doing the "every single technique that they know" thing to make it impressive, I admit it. Clients liked it but I didnt. Heh.
Old 27th May 2017
  #44
Gear Nut
yes they require mixing and it bothers me that artists have been releasing ****ty unmixed tracks lately.

anyways, the more i do this **** the more i realize that whats really important is to hear the low end correctly, people are more forgiving if the mix is a bit muffled but if the bass and kick and drums aren't hard forget about it, automatic flop
Old 27th May 2017
  #45
Gear Maniac
 
elgee's Avatar
 

Quote:
Originally Posted by DAH View Post
I am sure, it is not the mix, and the best producers have the luxury of having built on purpose private studios with great control rooms. In a great room, 'knowing how to mix" becomes innate, specially after all those years put in it.
Really? HAHAHAHAH. okay.

Inspires me to book some time this weekend? Tap into that innate mixing ability you speak of where when I step into the control room fire up the bigfoots and become a free flowing mixing god just cause I'm in a soundproof fortress.

Not worth arguing but me and you understand music way differently. You act like people don't spend their entire lifetime honing mixing skills....

It's all good, good luck out there.
Old 27th May 2017
  #46
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PettyCash's Avatar
 

Quote:
Originally Posted by vxnylrules View Post
but if the bass and kick and drums aren't hard forget about it, automatic flop
The truth there is that battles can easily be won by selecting/designing sounds that bump from the get go and not leaving it up to trying to fix any wackness later in the mix. After it leaves the producer's hands, that low end should already be on the right track to the point where any competent mixing engineer couldn't possibly screw it up.

As a mixing engineer, the moment I have to start doing things to save a mix that should have been handled from the production stage, shame on that particular producer for not handling their business from the jump.
Old 27th May 2017
  #47
DAH
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Quote:
Originally Posted by elgee View Post
Really? HAHAHAHAH. okay.

Inspires me to book some time this weekend? Tap into that innate mixing ability you speak of where when I step into the control room fire up the bigfoots and become a free flowing mixing god just cause I'm in a soundproof fortress.

Not worth arguing but me and you understand music way differently. You act like people don't spend their entire lifetime honing mixing skills....

It's all good, good luck out there.
If you have never known what a good room sounds like both with reference mixes and your mixes - neutrally - then you are one step before the innate mixing in a great control room for you are not accustomed. The problem is when you start in a ****ty monitoring environment you are compensating for its defficiencies, not the mix itself and that becomes your uncertainity habit.

Last edited by DAH; 27th May 2017 at 02:05 AM..
Old 27th May 2017
  #48
Gear Nut
Quote:
Originally Posted by PettyCash View Post
The truth there is that battles can easily be won by selecting/designing sounds that bump from the get go and not leaving it up to trying to fix any wackness later in the mix. After it leaves the producer's hands, that low end should already be on the right track to the point where any competent mixing engineer couldn't possibly screw it up.

As a mixing engineer, the moment I have to start doing things to save a mix that should have been handled from the production stage, shame on that particular producer for not handling their business from the jump.
definitely, for me when i read the mix engineers handbook thats when I really started getting what you're saying, i'll say this tho, when i had my monitors on my desk or on the auralexes sometimes i would think i made a banger and then play it somewhere else and it would fall apart. And, I used to wonder why every commercial song was mixed so badly lol

got myself some good monitor stands that you fill with sand and it barely happens now, my beats translate 10 times better, made a huge impact.
Old 27th May 2017
  #49
Gear Nut
Quote:
Originally Posted by elgee View Post
Really? HAHAHAHAH. okay.

Inspires me to book some time this weekend? Tap into that innate mixing ability you speak of where when I step into the control room fire up the bigfoots and become a free flowing mixing god just cause I'm in a soundproof fortress.

Not worth arguing but me and you understand music way differently. You act like people don't spend their entire lifetime honing mixing skills....

It's all good, good luck out there.
what he means is that if you actually really hear whats going on it becomes way easier to select the right sounds and make the right adjustments and he's right, you can really get fooled by your monitoring and room, like it can really sound like its hitting super hard but then play it somewhere else and its the worst thing ever.

these guys making beats at treesound in atl, they make their beats bang and they dont care about mixing at all, they dont use hardware lol, just the fl stock plugins and maybe a couple good quality ones. but they have an amazing room to work with so it comes out 80% ready and the low end hits right

then they give it to tumay or seth firkins or james royo or a guy like that and they make it sound amazing.
Old 27th May 2017
  #50
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PettyCash's Avatar
 

Quote:
Originally Posted by vxnylrules View Post
definitely, for me when i read the mix engineers handbook thats when I really started getting what you're saying, i'll say this tho, when i had my monitors on my desk or on the auralexes sometimes i would think i made a banger and then play it somewhere else and it would fall apart. And, I used to wonder why every commercial song was mixed so badly lol

got myself some good monitor stands that you fill with sand and it barely happens now, my beats translate 10 times better, made a huge impact.
+1

I noticed that even cheap prosumer monitors can see a good improvement in their usefulness from doing something like that. I remember hitting up someone's studio where they had some Behringer Truths on top of cinderblock stands and their performance in his environment was much better than I was expecting.
Old 27th May 2017
  #51
Gear Maniac
 
elgee's Avatar
 

Quote:
Originally Posted by vxnylrules View Post
what he means is that if you actually really hear whats going on it becomes way easier to select the right sounds and make the right adjustments and he's right, you can really get fooled by your monitoring and room, like it can really sound like its hitting super hard but then play it somewhere else and its the worst thing ever.

these guys making beats at treesound in atl, they make their beats bang and they dont care about mixing at all, they dont use hardware lol, just the fl stock plugins and maybe a couple good quality ones. but they have an amazing room to work with so it comes out 80% ready and the low end hits right

then they give it to tumay or seth firkins or james royo or a guy like that and they make it sound amazing.
I know what he meant! I have spent what feels like a lifetime in those types of rooms. I agree having a treated room is important but, it is not vital. Trust me, some guys just mix on apple earbuds and use a studio to take it the last 5% of the way there. I still could get sessions whenever but honestly, unless I want to show off and blast out there's no point in me going to the studio anymore except tracking a full band/really important vocals/ or mastering (which I dont really do). Studios are going out of business because the ability to have a good room good equipment at home is very accessible. I don't need a million dollar room it is a LUXURY.

Watch alex tumay redbull... even as the dedicated talks about mixer he talks about finishing young thug album in a cab, all the sessions he shows, he's recording over a mixed down beat.

It's never the tools it's the man behind the tools. You could even go old school and just check on every source possible. I still have a kitchen radio CLA style that I will fire up and check my mixes on.

My reason for contributing in this thread is to encourage people that it's possible to get great placements with minimal tools! My original point is there are really basic compositions which get picked in my opinion because of how they are mixed. Cuz like the guys above me engineers don't want to have to fix a beat.

Lots of translation issues are cause they are not mono compatible and tons of clubs still run their rooms mono. People use samples and don't realize there is a ton of phasing **** going on.
Old 27th May 2017
  #52
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Fanu's Avatar
Quote:
Originally Posted by elgee View Post
Lots of translation issues are cause they are not mono compatible and tons of clubs still run their rooms mono. People use samples and don't realize there is a ton of phasing **** going on.
Yeah, especially a lot of sounds in sample packs are trying to go for a high "wow factor" by being really wide and therefore impressive to the buyer…but you try to mono them and whoah, they're half gone.
One of the most important tips I give out is do your mix in mono to have a realistic impression of how it'll translate here and there; literally put a mono-maker plugin on your master. When that's done and powerful, switch it back to stereo and then handle all the width to taste.
Old 28th May 2017
  #53
Gear Nut
Quote:
Originally Posted by elgee View Post
I know what he meant! I have spent what feels like a lifetime in those types of rooms. I agree having a treated room is important but, it is not vital. Trust me, some guys just mix on apple earbuds and use a studio to take it the last 5% of the way there. I still could get sessions whenever but honestly, unless I want to show off and blast out there's no point in me going to the studio anymore except tracking a full band/really important vocals/ or mastering (which I dont really do). Studios are going out of business because the ability to have a good room good equipment at home is very accessible. I don't need a million dollar room it is a LUXURY.

Watch alex tumay redbull... even as the dedicated talks about mixer he talks about finishing young thug album in a cab, all the sessions he shows, he's recording over a mixed down beat.

It's never the tools it's the man behind the tools. You could even go old school and just check on every source possible. I still have a kitchen radio CLA style that I will fire up and check my mixes on.

My reason for contributing in this thread is to encourage people that it's possible to get great placements with minimal tools! My original point is there are really basic compositions which get picked in my opinion because of how they are mixed. Cuz like the guys above me engineers don't want to have to fix a beat.

Lots of translation issues are cause they are not mono compatible and tons of clubs still run their rooms mono. People use samples and don't realize there is a ton of phasing **** going on.
hahah thats my bad then, and you make a great point i've seen the tumay red bull talk. And you obviously have more big studio experience than me.

its good to hear honestly, its a bit of a limiting belief i've had for a while now
Old 29th May 2017
  #54
I agree.

Whenever I mix a well produced track, 90% of the work is sitting the vocals against the music. I don't mix a lot of hip hop; but I do mix a large amount of EDM and the principle is broadly the same - your backing track is largely programmed and consistent, and the sounds chosen in production (along with the processing, unless it's just "generic reverb" or something should remain). I went through a period of stripping everything off and redoing it, which meant a lot of chasing the rough mix. Now I'd rather just have things printed with the FX they or processing that they like, and tweak that - if there's doubt then a wet/dry, but I'll start from the wet.

I still end up adjusting balances, a little bit of eq/compression and FX, but generally the better produced tracks don't need a lot of changes. If I find myself heavily processing the way you need to with a live band, it's usually the wrong sounds chosen.

Sitting the vocals is a skill most beat makers/EDM producers don't have though, so I feel justified there!

Quote:
Originally Posted by Studio507 View Post
Well.

Typically the heavy hitter producers i have mixed beats require very little mixing tbh…the right sounds and the right arrangements and the right key (!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Pitch your f'nn sounds right!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!) everything should kind of fall in place without anything too drastic happening from a technical standpoint…and that pretty much holds true from guys i know that are/were still using SP's 950's and dusty records up to kids using FL and Nexus.

While i agree that a whole lot of people (particularly this generation who was raised strictly on internet videos---internet interns) "over engineer" frequently i would apply the term "advanced engineers" to people who actually know how to make the song sound & feel the best it can, not just a trigger happy engineer with a lot of plugins

So do instrumentals require mixing? If they're going to be released as instrumentals probably yes, I would…or if the producer is really bad at arrangement, is tone deaf and/or doesn't understand some very basic technical stuff (that sound? thats clipping bro). I've never been one to partake in instrumental mixing for the **** of it (or the dollar of it) not to knock anyone who does, either as a consumer or service provider but if a beat is dope its gonna be picked wether it sounds like it was tracked and mixed on a Maxell or a SSL…SONGS however still need mixing, typically. Sometimes peoples roughs sound good tho, and thats kinda been the case since home recording started so…not much has changed lol
Old 29th May 2017
  #55
Quote:
Originally Posted by diaz209 View Post
Do today's hip hop instrumentals even require mixing?
Yes. Next question
Old 29th May 2017
  #56
Gear Maniac
Quote:
Originally Posted by psycho_monkey View Post
Sitting the vocals is a skill most beat makers/EDM producers don't have though, so I feel justified there!
I agree
Old 30th May 2017
  #57
Most beat makers don't even think about vocals when making the beat. They leave no space. Inmox a lot of two track with vocals and it can be a huge pain when you have a smashed two track that's pushed and unbalanced in all the wrong places..
For some reason, prob b/c they are cheap but it seems most best makers use laptops and head phones and if they do have monitors They have cheapo rokits 4" and 5" monitors that have no info under 80hz so all the LF is not bass or sub or punch its flub and mud from 100-200hz... Then the hi hat is so loud over the snare and the snare is is distorted from the limiter smashing it haha...

Gotta love chasing the distorted super loud clipping peaking super unbalanced " rough " the artist loves...
Old 30th May 2017
  #58
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Quote:
Originally Posted by ChaseUTB View Post
Most beat makers don't even think about vocals when making the beat. They leave no space. Inmox a lot of two track with vocals and it can be a huge pain when you have a smashed two track that's pushed and unbalanced in all the wrong places..
For some reason, prob b/c they are cheap but it seems most best makers use laptops and head phones and if they do have monitors They have cheapo rokits 4" and 5" monitors that have no info under 80hz so all the LF is not bass or sub or punch its flub and mud from 100-200hz... Then the hi hat is so loud over the snare and the snare is is distorted from the limiter smashing it haha...

Gotta love chasing the distorted super loud clipping peaking super unbalanced " rough " the artist loves...
I wouldn't say we don't think about vocals, it's that to get a good mix on the beat alone, vocals are not an issue. For me personally, I don't care about vocals because I don't sell 2 tracks, nor would I consider the mix of my beat to be part of the final session. Essentially, I am just stating for many of us, it's not a lazy thing, nor an inconsiderate thing, we are just trying to make the beat sound good to sell it, and then send the session.

Now, if you are talking about 2 track leases or $50 exclusives that are not tracked out, IMO, it's really hard to put any responsibility on the creator to do a good job to make it sound good. IMO, it's way under market for anything in the realm of professional pricing, so to expect professional results, IMO, is not exactly fair.

As for assuming everyone is using poor quality equipment, again, I would say people who are selling beats for nothing are not going to have quality. People who sell beats for real money typically have the money to invest in high quality gear and tend to do so.

I would just say as someone who creates and sells instrumentals, your point isn't wrong, but I think the mentality behind it is a bit off, and I know a lot of people who would agree with me who create instrumentals.

IMO, any 2 track beats, especially leased beats, by concept alone are "prosumer products". That is why people have like 3 tiers of what you get before you can even have the (typically) much more expensive option of getting a session, being a lease, or exclusive.

I am just saying this because a lot of people (and I am not saying you specifically), tend to dog these people selling beats for $10-50 for quality, but you get what you pay for. I don't like the practice for other reasons, but at the end of the day, nobody should expect quality at this price point.
Old 31st May 2017
  #59
Quote:
Originally Posted by ChaseUTB View Post
Most beat makers don't even think about vocals when making the beat. They leave no space. Inmox a lot of two track with vocals and it can be a huge pain when you have a smashed two track that's pushed and unbalanced in all the wrong places..
For some reason, prob b/c they are cheap but it seems most best makers use laptops and head phones and if they do have monitors They have cheapo rokits 4" and 5" monitors that have no info under 80hz so all the LF is not bass or sub or punch its flub and mud from 100-200hz... Then the hi hat is so loud over the snare and the snare is is distorted from the limiter smashing it haha...

Gotta love chasing the distorted super loud clipping peaking super unbalanced " rough " the artist loves...
I don't really have a lot to deal with the "mixing over 2 track beats" life anymore (thank god) - I do a lot of tracking over instrumentals, but the mixes are always done against the original parts. (NOT stems! Stems come FROM the mix!).

I was referring to people who are principally writer/producers but who feature vocalists and finish off their own tracks. You hear it all the time on quite big records (Calvin Harris with "I Need Your Love" is a good example - the vocal editing/mix is far weaker than the instrumental). Even if a producer is good at mixing their instrumentals, many struggle with the level of detail a specialist mix engineer might get, and I think it shows!
Old 31st May 2017
  #60
i'm not gonna mix a beat with no vocals.. not that i'm even a good engineer at all. i print effects destructively too with hardware equipment and essential software plugins that i all leave on my stems when the get sent out for mixing.
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