Event Description

May 11,2017

We went to Los Angeles at The Echo Bar studios to shoot this unparalleled  mix breakthrough. In this video Bob doesn't hide anything, he shows you every single detail while explaining why he did what he did. Are you still not 100% sure when it's about boosting, cutting, or when to add parallel compression instead of serial compression? Watch and listen while Bob explains how to interpret and treat every single track in the mix. In this seminar Bob mixes a song from the artist Jennie Laws, and the song not yet released is called, "All about you". You will get a chance to see the mixing process before the song is actually released.

In this episode you will see:

Chapter 1. Intro

• Introduction to song “All about you” by Jennie Laws.
• Listen through segments of the song, and an overall view of the mix.

Chapter 2. Drums

Chapter 2.1 Kick

• Listen to the isolated drums.
• Kick drum parallel processing.

Chapter 2.2. Snare

• Using parallel compression to bring out 3 distinct snare sounds to mix together.

Chapter 2.3 Drum loop

• Making the loop fit within the program kick and snare with tools like compression, eq, and multi-band compression.

Chapter 2.4 Snaps and hi-hat

• Smoothing out and removing unwanted characteristics from snap. 
• Mixing in live hi-hats with the rest of the tracks.

Chapter 2.5 Percussion

• Extreme processing on shakers to make them fit in with the rest of the drums.
• Electronic hi-hat.
• Adding reverb to a reverse cymbal sound.

Chapter 3. Bass

Chapter 3.1 Keyboard bass

• Mixing with eq and compression, and use of alternate settings and reverb during the bass solos. 

Chapter 3.2 “Bass Honk”

• Creative processing necessary to be able to bring out this sound louder than it was on the demo. 

Chapter 4. Keyboards

• Mixing two pianos that alternate throughout the song.
• Rhodes piano.

Chapter 5. Trumpets

• Channel processing and adding dimension with a great technique using reverb and delay.

Chapter 6. Choir and gang vocals

• Getting a good sound out of keyboard choirs. 
• Creating reverb trail outros.

Chapter 7. Vocals

Chapter 7.1 Rap section

• An example of a unique spatial effect.
• How to bring up the vocals using compression and volume automation.

Chapter 7.2 Main vocal

• Parallel processing through an aux track.
• Achieving a loud vocal and retaining good dynamics. 
• Unique spaces with an outboard reverb and other effects.

Chapter 8. Making track presets (Pro Tools)

• Bob shares the way he creates up track presets in pro tools. These presets can include plugins, multiple tracks and other settings. 

Chapter 9. Background vocals

Chapter 9.1 Part 1

• A different sound for the lead vocal in the bridge section.
• Backgrounds during the chorus and rap.

Note - In this section Bob Horn uses a variety of sets of plugins, including stock plugins and other brands in order for you to see techniques with something you already have. 

Chapter 9.2 Part 2

• Backgrounds during verses.
• Insights into using equalizers with graphs correctly.
• Backgrounds on a later chorus.

Chapter 10. Master processing

Chapter 10.1 Part 1

• Sub-masters, organization and processing.
• Master buss processing.

Chapter 10.2 Parallel mastering

• Bob Horn’s unique approach to parallel mastering.
• Insights into how to send song to clients and mastering.

Chapter 11. Outro and final playthrough