Tough Love Web Series is a show that I've been involved in since the beginning. One of the lead actresses, Ebony Obsidian had a special project in mind and this was the series she was working on at the time. I mixed and mastered her debut "Hold Me" produced by Woodro Skillson which premiered on Season One Finale. Here we are at the finale of Season Two of Tough Love.
Here's the interview I did with Sam Moses from Moses Mastering. I added some photos of the interview below.
I spoke about the struggles of the creative process, staying positive in negative situations and the artists who I worked with!
I received my Softube Console One MKII yesterday. The box and sleeve came in a cardboard flip design and the hardware was well packed. The build quality is excellent and tactile. No loose buttons or bad LED lights! The installation process was simple, installing Gobbler which has an installer for Softube plugins. The onscreen panel for Console is a standalone app that syncs with the hardware. You'll have to put Console One plugin on every track. For me, I tried to load as many instances as possible in a current mix. My CPU hit was around 60% then it had a high distortion and crashed. I took off a few instances and it worked. I used the compressor, EQ, distortion and transient shaper. The EQ sounds incredible, very clean and precise like a new SSL would sound. It definitely gives tracks some width and depth, just having a few minor EQ adjustments. The compressor is versatile from being a level controller to a grabby character. The transient shaper and gate are great! The punch and sustain is awesome for added weight and sustain to tails for snares, claps, percussion to cut through. The drive section has two sections for driving the distortion and a character which can be positive or negative values. Positive values add a high end crunch and the negative values added weight and a darker tone similar to a tone control.
Using the Console One has the feel and familiarity to people who have used analog consoles. This is not a toy. It's a high end piece of a equipment and one of the best purchases i've made in 5 years. I was already using it how I would EQ on a console. The Console One approach from the start, makes you use less plugins which is my goal. I always had a EQIII and RCompressor or the Metric Halo Channel as my go to. Now, its the Console One where I can trim, gain stage, EQ, and compress in one plugin. I did have issues this morning with the hardware connecting but it worked out fine. I opened up the Console One app and it worked out fine. Those are my first impressions and we'll see where the Console One goes in the next 2-5 years.
My latest gear acquisition is the Softube Console One! Bye to Universal Audio (for now!) Although, I had a QUAD Thunderbolt Satellite and plugins by Manley, Pultec, Fairchild and Dangerous, I wasn't using them a lot. That made me reconsider the UA platform to invest in a system I would use all the time. I was browsing Michael Brauer's website (Coldplay, John Mayer, James Bay) which has a great Q&A on all of his techniques with multi-buss using the 2 extra busses from his SSL 9000J to treat separate groups of instruments. Michael has a hybrid room which has multiple summing mixers to replicate the multi-busses, a Softube Console 1, faders and a few 500 series. It's a small exact setup as his main room. I liked the idea of having the Softube Console 1 as the center section since it emulates an SSL 4000E or 9000K. I've mixed on SSLs and the tactile feel is what is missing from ITB. You can't have the same control moving a mouse. I loved the fact you have to put the Softube plugin across the channels like you would on a console. Hence, the name Console 1. This piece of equipment is exactly what I've been looking for! I'll write an in depth review once I install the unit.
This is a guest blog post from Moses Mastering. Sam Moses is a great mastering engineer and fellow Mix With The Masters student. His blog posts are insightful, honest and unique perspectives on the music business. This post is about rates, setting them and what clients should expect. It's a great read! The link is below.
I was talking to a colleague of mine about summing units! In the digital age, everyone is looking for that analogue character and punch. Personally, I use the Slate VCC Mix Buss on my 2 track on the SSL E series setting. I rarely change the settings which is default and I let that setting clip when it can. That's apart of driving the consoles hotter. You get that nonlinear distortion that sounds great in certain consoles i.e. SSL E/G series, Neves, APIs etc
Pro Tools in itself sounds incredible, I haven't upgraded to Pro Tools 12 yet. I heard it's the best sounding version yet. There isn't a need in my opinion, to have a clean summing unit. You want color and vibe on the tracks. Like the Neve summing unit or the Chandler summing mixer. That makes a huge difference to ITB mixes and productions. There is no reason to debate back and forth. Digital is incredible and so is analog. Use your tools and make music!
Mixed by yours truly
Mixed by Sam Sherbin
I've been posting books on my instagram to showcase quality information. Here's two that will change your perspective on challenges and one for creativity!
I Moved Your Cheese by Deepak Malhotra and Change Your Mind by Rod Judkins
Here's two exclusive shots from the photoshoot! More to come soon
This VLOG is a special one because I went back to my hometown in New Paltz, NY. I lived in New Paltz for over 8 years and made some lifelong friends there. My manager Adecka, and I drove from NYC for a photoshoot for BITROYD. BITROYD (Believe In The Reality Of Your Dreams) is a clothing company from Beyond The Buzzer. They showcase individuals working hard in their field and making continual progress. I've been working non-stop for seven years, and the progress is showing. Overnight success is rarely overnight. A lot of sleepless nights to become great. Special thanks to Mack and Steph for making this happen! The photos are being edited as we speak, and they will be released soon.
Also, I went to Sterling Sound for a mastering session with Alex Psaroudakis. Alex's room at Sterling is one of the best sounding rooms I've ever heard. He does amazing work, very smooth, clear and punchy. The attention to detail is the upmost importance to me. Alex made small EQ changes to the mix and nothing more. Over the past few years, I've learned a lot from mastering engineers in attended sessions. Attended sessions for mastering is super important, because as a mixer you want to hear how the mix translates in their room. It helps you understand your mixing room when you come back with the masters. Thanks a lot for everyone who watched and subscribed to my YouTube channel.
I had a great photoshoot for the BITROYD (Believe In The Reality OF Your Dreams) brand of Beyond The Buzzer. Here's a few shoots for the day! Special thanks to Mack and Stephanie!!
I had a photoshoot at the Oculus and a spot around Greenwich Avenue. Check out the new photos!
Here's a few photos from last week's event at Alto Music Brooklyn. It was a demo of the Limit One analog limiter from Rockruepel. Stefan Hegar from Mastering Works played some before and after tracks! The Limit One sounds like a great piece and can handle a lot of level
In this short video, I'm discussing the use of one of my favorite reverbs, Bricasti M7. One of the key features in the hardware is the early/late reflections mix. This setting helps back the source into the back of the mix. The ambience and large hall settings are go tos for me!
Q: How do you use the reverb?
A: I use the reverb from a send on the console or an aux in a hardware insert in Pro Tools. While the source is fully "wet" - I'll adjust the reverb time, the pre-delay to delay the reverb. Then, I'll adjust the settings from hall to ambience to make the reverb sit in the track.
Q: Why do you use this reverb?
A: I use the Bricasti because it has a certain character that spotlights the source. It's clear, high quality for vocals and any other instruments. For ballads or lush backgrounds I'm using the large hall, EQing the return for 80% of my vocal reverb sound.
Tonight I visited a few art galleries in the Lower West Side. Here's a few photos from the various showcases.
My goal has always been about delivering top tier services to clients. I want to help artists create music that is timeless. There is a void in quality and product over the past few years in music production. Everything seems to be rushed with no thoughts behind the music. This is my vision about music creation, collaborating and being an artist advocate. I grew my organic professional relationship with clients over the past few years. Now, it's time to the music to another level.
Looking at my catalog of previous work, I wanted to introduce a higher level of music mixing, client hospitality, and service. I've been introducing clients to some of the best studios I know including the Brewery Recording Studios in Brooklyn. These studios fit into my standards of excellence, professionalism and incredible vibes.One of the premium mixing services is at Precision Sound NYC in the Upper West Side. My friend and colleague, Alex Sterling has a top of the line 48 channel SSL Duality Sigma console, a boutique selection of outboard gear including two Retro Sta Level Compressors, a Manley NU MU vacuum tube compressor, Manley Massive Passive, Rupert Neve 5052, API 2500, API 5500, Purple MC77, 2 Bricasti M7 reverbs (My favorite reverb on the planet, super detailed and lush), Dangerous BAX and much more.
On the monitoring side of things, there are ATC SCM 100 ASL Monitors (ATC is a UK based loudspeaker company that makes the greatest monitors that I've heard) They are go really loud and stay dynamic through mixing and playback. The midfield monitors are Amphion One15 monitors (Clarity in the midrange) and Avantone Mixcubes. Sometimes, it's good to listen to the track on smaller speakers like a consumer would. All of these equipment specifications are custom, tailored experience to make the best music possible.
To really deliver on the full experience, the bookings for premium service is through my manager, Adecka Gordon. He can be contacted at email@example.com. This service is ready to be booked.
Thanks to my manager Adecka Gordon, Alex Sterling at Precision Sound NYC, Jeff for additional photography and video. Johnny Williams for art direction, directing, editing, and videography.
Stay tuned to my Twitter account, @ssherbinmix, Instagram @samsherbinmusic, and the blog on my website samsherbin.com for updates.
I got a mixing question from @mixedbylain on Instagram about how I route on the SSL pictured here.
This is my friend Alex Sterling's SSL Duality console with his subgroup routing marked
MISC (Any non-major instrument and percussion)
LVS (Lead Vocals)
BVS (Background Vocals)
I route my ITB template in a similar fashion which I learned from Dave Pensado. There are few main reasons why I'm subgrouping this way.
1.) Overall dynamics control to lift certain sections or lower them for a bridge breakdown.
2.) Gain staging each main component of the mix. For example, you can get your levels quicker by adjusting the subgroups instead of going to each individual channel for quick access.
3.) Overall processing on the subgroups, I might add a distortion plugin like SansAmp to the Bass aux or some top end to the vocal aux
4.) It's easy to print stems, all you have to do is mute whichever subgroup to make the stems. For example, you can just mute the FX aux and print the lead vocals dry without any reverbs or delays.
Remember, there are no rules!
If I need to route all the 808s to their own aux, I will. This is just for speed, organization, and proper execution for mixes that need to be delivered on time!
I hope I answered your question and if anyone has any more mixing questions, free feel to comment me on Instagram @samsherbinmusic or email firstname.lastname@example.org
Here's a few photos from the Grammy Town Hall event on November 30th. The panal included industry professionals and Aloe Blacc.
Here's a video recap of the 10 hour session with Sage. It started at 11pm - 10am. Nothing but, good music and a lot of coffee!
Last night, I had a 10 hour session (11pm - 10am) at the Brewery Recording Studios with a producer named Sage. Thank god for coffee! Here's some photos to recap that session.
Later on that day around 3pm, we visited Alex Sterling at Precision Sound Studios in NYC for a video interview and EPK. Here's a few photos from that session as well.