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We've got refer madness great name par for the curse and then fight the demi urge I hope I'm saying that right guys over submitted it probably makes which one let's say how about par for the curse has that sound let's find the part for the curse session okay, open session I wonder what that one is that's fight the demi urge is dark out darnell lee I'm assuming that's it okay so what do we have here? Okay, so it's kind of I guess like a quote unquote modern you call it modern rock track you know, so we should probably feel it in the track um let me millions going maybe to a different and because this thing is too dang loud yeah let's good cody's marshall a hundred thing is too daring loud. Well, this is warming up any, uh, any q and a while it's warming up uh somebody online how to question a while ago about your when you're doing the post production and do you do the actual live automation for some of that stuff tio or do you just do that like, are you just turning knobs on the amp as ...

it's going down under the track or if you're okay you are we're getting a little radio all right um as faras they mean post production like yeah, I guess that would include revamping they weren't specific and yeah, I mean, you know, the funny thing is the rehab pain like I mean, I might do something like that but I generally tend to I don't know because when I'm doing stuff like that with with an artist right there you know, I'll always be grabbing things and turning knobs and like pedals and whatever and I don't have them to tell me I don't have the luxury of them being in the room with me because they could just be like that's too much you know what I mean? So it's like, you know, I could talk to him sometimes they'll be like you let you just go while it's like ok, then I can do that kind of stuff because that's just what I'm feeling but for the most part it's like this where I'm just trying to get like a basic rock tone it's like ok, I'm not gonna go tino so they get back what is this is all sorts of rear pedals on my stuff and like, you know like like I said, when the artist is right there, I could do that and they'll be like, oh that's cool with me like, I don't like that so and then I'll be like, ok, fine, I'll back off you know but yeah, that answered the question cool like that radio stuff's coming through that unbalanced guitar cable it happens certain times of the day so that's it's probably, you know, and even with the ramp and it's just there's so many variables but that kind of thing and it's rock n roll right, it's very rocketing. Very spinal tap. I love it let's see what we got here? We have a decent level on this let's. Just hear what it sounds like. That's left that's certainly loud as decent actually. Now, not going to listen in the track really quick again. Almost like starting at the source. Like, obviously I'm going to finally tweak it once it's in the track, but just for right now, just to get the basic tone, something like that, it might need a little more maybe needs a little more a little more gains so let's going into our same thought process and are saying thing with the petals so here's a going back to the pedals what's to excuse me, we just move this over really quick, all right? So they could run a little more gain. I think I need these little more crunch it's like it feels like the d I signals little low and I'm right at zero on the pro tools mixer we're gonna try to game we're gonna put it in the in the line selector, so again, showing you what going through the tube screamer is I'll show you the difference between going through it just straight and then blending it using like some sort of lou petal like this line like the boss line selector okay way over output yeah that would help way to things you don't need this now we're out of the way beginning spaghetti just give me one we'll spend twenty minutes detain leah cable all right okay I'll put on the line selectors good way so it's important that we we make sure that like on the line selector because some of the some of the loop panels on the blender petals have just one not like wet dry like this one has two knobs so we want to make sure that we're setting this kind of like for unity gain so it's the same whether we put it in or not when you could tell when you're just back and forth getting in and out if it's obviously if it's if it's not low it's going to be low can you create a track and record arm it so that is good so that it goes out absolutely because otherwise everybody online can oh yeah sorry sorry about that guys okay so just really quick just showing this and again going back and forth with the line selector panel just you can hear the difference and just trying to max it said make sure that it's the same basically is what's going into it normally all right, so that's now that's just basically, like the the same level as the d I r same levels the virtual guitar player that's sitting right here and then now we're going to blend in some of the tube screen. Okay, so now just to really quick just to show you the a b with that now straight into the tube screamer, where are we? Yes, I do showing that why are we not getting in a really old um please we back we're backwards that's straight through the tube screamer and there's the difference theme this is blended. You're the difference it's subtle, but it's enough, like I feel like when you're blending the tube screamer and not just going straight to the pedal, you're getting all the initial attack of just the raw guitar into the amp and then you're adding that element to it. So so now let's hear it in the track let's let's. Now adjust to the track a little bit more with the drums and kind of still dialing in a little further and we'll go back, go back to our line selector it's reacting really? Was that an acoustic guitar that it is your campaign? No, they're on and it's again it's almost it's going to the exact point I was talking about there's an acoustic in there with that on the layer of that acoustic that brightness almost like what we do with dion is that is actually an area that guitar sound you hear in this and then let's hear uh yeah one and then let's make a new one and he gave us a guitar right? All right to re m two and let's send this one out to the ramp now and just for the heck of it here let's ah let's layer in we have I think our analysts ribbon which is coming in on here let's just let's see if we can layer and that sound a little bit very quickly without the track just hearing it again uh, interestingly enough, I feel like there's a little bit of a face thing between the west ribbon I was just trying to show a different um let's just try with just the ribbon and see what that does. Okay, let's, try that it's here in the track. Okay, so we recorded the second guitar tried with the same amp set up but different mike I just threw I threw that analysts ribbon at the ribbon on the other speaker and I don't even really listen to hard but just we're showing just for example are set up same car, same everything a little darker on the one side theme, the writer on the other side and giving it so that's kind of revamping in a nutshell it's it's a simple is that and then you know what's it is great like I said, you know when when the artist isn't there obviously might you know use a little bit of caution or a little bit of restraint when if you're doing like what I do with like a lot of the pedals and a lot of effects and just again try to sir and you you know, talk to the artist in tartus serve what they what they're looking for ask what their girls are where they looking whatever guitar center looking for you know is it a really thicker heavier sound or something like that like that feels right to me for that kind of track something like that and again it's almost like when you listen by itself it doesn't sound that way that distorted or that big but in the track with the way it's heading with again it's also what you're feeling and what you're what you're hearing to you know trying to serve the song trying to sort of the artist but it enables you had frees you up because you're not you're not punching in their performance you're not dealing with any of that kind of thing so once you get the tone you couldn't then sit there and play with the tone and just really tone it in it's really good s so it's great for that you know but and dealing again with the prius with the pre mixed thing um simple check your cross fades listen for clicks and pops if you're unsure just made double check and make sure consolidate the files to one track if you haven't commit make sure things air tidy and easy to work with especially if you're setting to another engineer and that's probably more from my edification anything descended too because like I said I've had I've gotten tracks where it's just a nightmare you know and it's just you know so common courtesy to other engineers so if you're sending somebody to somebody else for mixing you know, I guess if you're if it's your own house and you want to make your own house messy that's fine but it's also with pro tools and with other files how many tells if you'd lost files you know it happens so to me when you consolidate all your regions and get ready for your mixing um it's uh you know it's just a car it's also precautionary because like like I said you all of a sudden some reason things happen and like computer, sometimes you open it up it's like missing two files like what happened? I understand you know that happened more than once, especially when you're sharing pools with different versions and things like that or you didn't realize that you deleted clean something out that you need it so exactly they didn't really get too much in the mixing but uh sorry about that guys but we I think we maybe we went a little too far in certain things but I really hope that everybody got a lot out of this course and uh I got a lot of this course like I said just deconstructing my thought process which was something I had never thought about before until literally two days ago you know, we're about a week ago before you know, getting ready for it but really try to like, you know, delve into just any artistic process like you know, just like you like how do you write a song? How do you know what's good? I don't know, you know, like you just just deconstructing that creative process and that thing and breaking down such such precise technical terms is interesting, but hopefully somebody does anything if you little thing out of this and inspires you to two do something to try something new or just, you know, different technique than you probably think, you know, I think in hindsight what I think most people would get out of this is, uh I don't think there is much to talk about when it comes to mixing because the whole philosophy that steve I think it's getting to here is that by doing things right by committing by, um you know, taking this approach, this holistic approach as you go thinking, a few steps ahead, you're mixing along the way you're thinking, frequency, range. You're thinking space, you're thinking creating a snare where things aren't competing and they're complimenting each other, so the mix shouldn't really be that complicated. If you're taking things this, if you're taking this approach, in my opinion, yeah, absolutely, alright, guys, awesome, the gentlemen, any final thoughts before we take back over, you know, my final thought is exactly what I've been saying from day one. Commit there's, such a great power and committing and, you know, taking a stand for what your artistic vision is and what the artists who you're working with artistic vision is, and just really committing to that. And don't be afraid to be wrong. And if it's wrong, guess what? There's, always time, you can do it again.