NAMM Day 1 - Ask your Questions to the Guest Speakers

Welcome to the official NAMM thread for Day 1, the 25th of January.

Watch the YouTube livestream replays here:

Our program for the day is as follows (all times are in PST):

Andrew Scheps

Tchad Blake

Alan Meyerson

Ian Kirkpatrick

Eric J Dubowsky

Yeti Beats

Chris Coady

Bainz & Teezio

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@Andrew_Scheps Hi, Andrew! How do you organise your gain staging ITB? Regards, Vlad.

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Hi @Andrew_Scheps!

I have a speakers/monitors question: If You started Your serious mixing career TODAY and would have a chance to get any speakers that You can - what would you chose?

By that I mean, that for example Warren Huart said that in today’s mixing world it doesn’t make any sense to teach your ears on NS-10’s like back in a day because they are WAY better flat response speakers than those.

Do You agree or would You still recommend go old school and teach yourself on NS10’s the “ugly and hard way”?

Thanks and from Poland with Love!

@Tchad_Blake Hi, Tchad! When you make gain staging and then balancing in the mix, which meters are mostly important for you (when you put your main instruments (or support instrument, around which you make mix)) - RMS, LUFS or True Peak? For example you put your kick on -18 Db (RMS), snare -18 Db etc or something other? Regards, Vlad.

The only thing that has ever mattered is finding a monitoring setup that works for you, but most importantly will result in mixes that translate when mixed elsewhere. never think of any part of mixing as what you “should” do. There is nothing you should do other than find a way to make the mixes feel the way you want them to feel, and most importantly, feel that way no matter where you listen to them. Some people do great work on NS-10s, some people do terrible work on NS-10s and some people are in between.

Personally I don’t enjoy mixing on them.

Doing anything the “ugly and hard” way sounds like absolutely no fun to me!

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Thank You and BTW: You have some great plugin combination advices on mixing Lifeboats and Pumpkins.

I copied those Pultec–>LA2A–>Pultec settings or that final touch with Eventide reverb on master and this brainworx with stereo spread.

It worked also for me.


@Tchad_Blake 2 Questions. First of all, I am assuming that during the Peter Gabriel i/o mixes you and Spike Stent did not have any interaction. Is this the case or were there any discussion between the two of you?
Second. Peter Gabriel is notoriously meticulous in music production. Did this carry over into the mixing process or did you mix these songs fairly quickly?

@Andrew_Scheps Hi Andrew! Supposing you were only able to mix with headphones, what would be the main things you’d go through to make sure that the song will later sound great in any speaker, cheap or expensive, once you’re done mixing? thanks!

Hi @Bainz and @Teezio! Given both of your extensive experience in the world of Hip Hop and R&B vocals, I’m wondering what advice you may have for newer engineers who also engineer their own music who want to have a fairly consistent, yet sonically unique/diverse palette to their vocal sound and fx. What places should have more emphasis placed on them than others? Thanks again.

@Andrew_Scheps Andrew, do you tend to finish mixing a song in one day? How long does it usually take you? What was the longest you’ve ever been mixing one song?

Hey Ian Kirkpatrick, couldn’t find your @ but wanted to ask you a question anyway.

What are your favorites go-to production techniques for creating memorable hooks or elements that stand out in a track?

And how do you achieve such clarity and space for every single track in your productions? It feels like everything works perfectly together and nothing is getting in the way of another element.

Love your work, keep it going!

For deep male spoken word (using OC818 / 416 microphones) What is you process for deciding which plugins to use?

@iankirkpatrick how did you get discovered? And what advice would you give a young producer who wants to work with big artists the way you do?

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Do you think that as a producer who work with artists, it is better to work in the same musical genre or if it is possible to do other opposite styles, and if it possible, does it not make more difficult to get contacts?

@iankirkpatrick. Hey was wondering with all the educational stuff that is out there now whether it’s MWTM, Twitch Streams, Online Masterclasses, YouTube, Etc. It’s very easy to convince yourself that your getting better by watching as many of these as you can.

I personally find it hard to balance learning and actually doing.

What would you say is the best way to find that balance between making music and learning? I find that the greats have their workflow and their method of doing things which really can only come from a bunch of self trial and error and just working.
And even within making music it can be very stressful if your constantly referencing songs on Spotify so what is the best way to fight through that urge of comparing your music to others and just make music on your own without overthinking everything and to actually enjoy the process?

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@Andrew_Scheps Hello Andrew! What new audio technologies are you currently excited about and how do you see them impacting the future of mixing? Thx!

@Andrew_Scheps How much does the choice of gear vs. your mixing technique impact the final sound of a record?

@Andrew_Scheps how do you approach the first arrangements when recievieng a demo

How did you get discovered?