Mixing Hip Hop Masterclass with Joey Raia [ft. Run The Jewels]

Mixing Hip Hop Masterclass with Joey Raia [ft. Run The Jewels]

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• first check if there are any level-dependant plugins and print those tracks
• then, clip gain all tracks down 3-6db
• grab all tracks and move the “hottest” fader down so it’s at 0

• can make moves quick- biggest momentum killer is opening the plugin menu
• saves this as a template– thinks of the template as “making it like you’re walking into a studio”
• sub tracks are in the template as well (has tape emulation on all of them)
• everything colour coded in the name of speed
• label everything, all buses, sends and returns

• uses outboard “dangerous audio bus compressor” and “Buzz Audio EQ” on mix bus, plus a couple limiters in the box (likes subtle use of M/S eq to clean up bass from the sides – lots of meters)
• especially in hip hop, doesn’t want his 808s and sub bass to hit the compressor
• filters them out of mix bus compression, i.e. instead of sending the 808 group to mix bus, just send them to print bus
• this doesn’t sound the best every time, still need to A/B and use your ears
• after all the prep work, DO NOT just jump into the mix, take a break
• when starting the mix, he likes to start with the vocals
• uses a deesser for speed, but mentions that manually “automating down sibilant sounds” is always the best
• as good as deeser plugins are, they still have a bit of impact on your high freqs

• starts with a more transparent, faster compressor (fast attack and release, just a couple DBs of reduction)
• followed by a vibey compressor (he uses the UA LA2A here), again just a couple DBs of reduction
• then into character EQ (uses Maag EQ4 here), has the Air Band at 20kHz cranked to 8
• Oxford Inflator to add harmonics
• one more desser to account for all the boosting that’s happened
• one more EQ (used SSL here)
• “the finisher” is RVox as a light limiter (-1.3db, very subtle)
• always leaves one space in the chain after RVox for an EQ to be used to address mix feedback, so he doesn’t go back and mess with the pre-existing chain

• in one parallel process, the Culture Vulture distortion
• in another parallel process, an 1176 compressor (slammed), potentially followed by a deesser
• getting a lot of attack without over compressing

• uses keyboard shortcut to jump to different markers to quickly A/B sections
• once vocals are levelled and in, will leave them in while mixing the instrumental
• tries not to solo things while mixing
• in a hip hop song, you should be able to rock the accapella (will let you know that you haven’t compressed it too much, the attack is there)
• for 808s, sends to aux tracks for saturation/distortion, and Maxx Bass
• watch out for phase with 808s– if you have phase, you’re done, all the body and punch will be gone
• using Maag EQ4 again on kick drum
• wanted thicker snare, duplicated track and pitched it down a 4th
• will boost lows and roll off high on hi-hats– don’t always want more sizzle on the hats, and don’t want to get in the way of the vocals (gotta watch out for the vocal ‘S’ and hi-hats clashing)
• automating volume on synth stabs, up 2db, down 0.5db, creating subtle variety and interest
• autopanning is a cool alternative to reverb for creating space
• when you’re dealing with big drums, synths, and a lot of layers, creating space is part of the battle, tweaking M/S
• recommends a monitor controller to switch between monitors and mono button (reminds that nightclubs and PAs are typically summed to mono)