101 Archives | Audiomovers

We’re diving into some of the hard won techniques and wisdom gained from working in the industry in our series #101.

For this instalment, we uncover the “co-mix” with multi-platinum recording and mix engineer Bainz.

He shares that there are multiple ways you can get a co-mix, but what’s essential is that everyone is acknowledged when they have significant involvement in making a record. #Bainz #Mixing #CoMix #MixingEngineer

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TRANSCRIPT

The co-mix is when any, they could be a bunch of different things.

You could be someone who has a studio who’s organizing the session and delivered with the artist, engineer is also a part of it.

A lot of times the recording engineer gets Co-Mix.

Really? That’s how I, that’s how I started when I, when I first, uh, was working on ‘So Much Fun’, Alex gave me Co-Mix on a lot of them, cuz it was a lot of the stuff that I did in the recording sessions that’s stuck on.

It could just be you’re getting an acapella for someone else. It could be actually sitting in the room like me and my assistant do together a lot. Like, you know, give him Co-Mix, cause we work on the records together.

I’ll do some stuff, he’ll do some stuff. We’ll give each other ideas or here, whatever.

I might leave my finished a record. Vice versa.

When he’s prepping, he might get started or working on it.

Everything is collaborative these days and I feel like everyone should kind of get credit for it cuz that’s really what we hold proud.
Our collaborators are diving into the essential things you need to know in our series, #101.

In this episode we are joined by writer, producer, mixer and collaborator extraordinaire Matthew Genovese.

Watch the full video to discover how he utilizes LISTENTO to streamline the mixing process and test and tweak sounds on different speakers while on the go without needing to print and export mixes.

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TRANSCRIPT

One way I use Audiomovers that’s very useful and kind of unique is I will send myself a link to stream it from my car.

For the most part, I have my room pretty dialled in, so everything translates. Occasionally there’s a song with some elements that I don’t normally record like an upright bass or something like that. And I’m less familiar with how it sounds on a lot of different speakers.

I will record the song and then I’ll be going to the grocery store or something and I want to check my mix in the car and instead of me printing a whole mix, exporting to iTunes and then I got to bring it into iTunes and then update my iCloud library so it shows up on my phone. And sometimes that doesn’t happen and it’s a whole thing.

So sometimes I just put the LISTENTO plugin on my master channel and I send myself a link and I open up the app on my phone and I just get in my car and drive to Whole Foods and I can stream it in my car on the way there and back.

I can kind of figure out oh, I should add more bass or take some out and immediately when I come home from my errand, I already know exactly what I need to do.

I’ve even gone as far as sat in my car and screen shared on a laptop my screen in here and actually tweaked the mix while sitting in my car and streaming the audio from Audiomovers.
We’re uncovering the recording and mix tips that rarely leave the studio in our newest series, #101.

Kickstarting the series, we speak to three-time Grammy nominee Teezio about the high-speed tracking techniques he uses when tracking vocals for Chris Brown.

Arming multiple channels to never miss a moment of inspiration, Teezio explains the process he uses to guarantee Chris’ creative flow is never hindered.

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TRANSCRIPT

“Hey, I’m Teezio and you’re in my studio in Los Angeles, California. Today we’re going to be going over some recording techniques that I use with Chris Brown. Let’s dive in.

We’re in the room, we’re vibing and he’s coming up with lines. He comes up with the first line and it’s like ‘go in there now and lay it’. He runs in the booth. And obviously, I have the track always in record ready to go, boom!

I usually have three record tracks, right? So like one of them is the one that records and the other two are where I dump the vocals before I actually drag them to where they need to go. We set off recording, he’s going to lay the first line and when he finishes, I’m gonna hit stop record, drag it up.

He’s gonna listen to it and he’s going to now sing the next line. So same thing he sings it, he’s done singing, he listens to it, does the next line, maybe says ‘do it over’ so I do it over. Everything is playlist. I never delete anything that he records.

So that’s kind of the whole layout. Everything is happening really fast. There’s no silence for Chris. Everything he’s hearing in the headphones is a constant push of music.

He doesn’t know any of this is happening. It’s just a smooth, almost as if he’s driving on a road with no bumps. And that’s what I want to make the experience like for the artists.

All of the hectic stuff, I’m dealing with it. All the stuff that I’m doing, how I’m moving like this, it’s all second nature to me. I don’t even think. That’s what happens over 13 years of doing this. It’s all I know is how to do this.

WATCH FULL VIDEO

TRANSCRIPT

We’re uncovering the recording and mix tips that rarely leave the studio in our newest series, #101.

WATCH THE FULL VIDEO

TRANSCRIPT

“Hey, I’m Teezio and you’re in my studio in Los Angeles, California. Today we’re going to be going over some recording techniques that I use with Chris Brown. Let’s dive in.

We’re in the room, we’re vibing and he’s coming up with lines. He comes up with the first line and it’s like ‘go in there now and lay it’. He runs in the booth. And obviously, I have the track always in record ready to go, boom!

He’s gonna listen to it and he’s going to now sing the next line. So same thing he sings it, he’s done singing, he listens to it, does the next line, maybe says ‘do it over’ so I do it over. Everything is playlist. I never delete anything that he records.

So that’s kind of the whole layout. Everything is happening really fast. There’s no silence for Chris. Everything he’s hearing in the headphones is a constant push of music.

He doesn’t know any of this is happening. It’s just a smooth, almost as if he’s driving on a road with no bumps. And that’s what I want to make the experience like for the artists.

All of the hectic stuff, I’m dealing with it. All the stuff that I’m doing, how I’m moving like this, it’s all second nature to me. I don’t even think. That’s what happens over 13 years of doing this. It’s all I know is how to do this.