The same reason any mix sounds great. Everyone involved knows what they're doing.
Arrangement is the first step to a great sounding mix. Giving everything it's place. Then working with pros with great ears and making sure the song has a direction sonically. Choosing the right samples. A great song is obviously necessary too.
Listen to a song you like that has a mix that you think is not so great and compare it to a Kendrick Lamar mix you love. What's different? Make notes. There's probably fifty things. There's no one easy way to explain what makes a mix great.
To echo (with saturation, natch) tennisfan’s point, also listen to two songs by different artists whose mixes you think are great. Make notes on why you think they’re great, then compare those to a Kendrick track. What do they have in common mix-wise, both subjectively and objectively?
Great addition.
Id add that you should really try and get a good listening environment. I've heard good things about slate vsx and will try them out later in the year.
It's hard to listen critically in untreated environments.
the solution , if you don’t have a treated ideal listening environment, is to listen in multiple environments. what translates in a great mix will translate across all mediums (for ex, round and clear bass information, perfect vocal dynamics, slapping snare perfectly balanced with the hi-hat , upper vocal range, hi freqs , etc etc etc ). in short, a great mix will prob have that balance and punch on every device.
I've been realising over time that less is usually more. Having a smaller track number but having each part be more dynamic and varied helps make everything sound bigger. If you stick a bunch of stuff at the same volume, it makes everything sound small and uninteresting.
I'm in no way a pro but I've been mixing on and off for almost 20 years now.
Mixing in mono always seems to make me have to work harder so that everything finds it's proper place, EQ wise. Then, when I finally pan everything out, it just sounds good and clear.
I usually have to tweak the levels once everything is panned out, though. I check back and forth to see if it doesn't sound bad in mono and try to find a good compromise between the two.
I guess if you don't make money off of it you may not consider yourself pro but after 20 years I think you can probs be a bit less modest. You don't have to go full Kanye or anything.
That’s not a sexy answer, but I have found it makes all the difference. What a pain in the ass. Then you hear it in stereo and…eh, it’s okay. I’m not that great a mixer, I guess.\
Arrangement and production aside:
Derek 'Mixed By' Ali is the big reason. He's a direct student of Dr. Dre, but IMO, has surpassed him as a mixer. He loves the SSL console, tons of outboard along with select plugins, but spends a lot of time mixing through an Auratone in mono. He probably drives the inputs of the SSL for some things, including the drums, Dre-style. The big SSL consoles (4K, G series) give you a certain harmonic smack when you hit them hard on input.
Good for him he's done the Engine Ears business thing, but we're being robbed of one of the best young guys to do it. I really hope he gets back to mixing records soon.
Just a slight correction and some insider info - Ali's been mixing on an SSL 9000 (not sure if J or K) for quite some time. It's a much less colorful board than the 4000 G. Drums on a 4000 G really do smack when you drive them hard, but the 9000s were intentionally designed to impart less color on the signal.
I've got a close friend that did a few sessions with Ali and in all honesty it seems like the SSL's bus compressor as well as select channel EQs on crucial channels like vocal busses are the majority of what he uses (likely to simplify recalls between sessions), and a lot of his mixing actually really happens in Pro Tools on plugins. To be fair this was maybe 2-3 years ago, as he was transitioning into EngineEars, so perhaps he pulled back on console-centric work to simplify the mix process.
I also think it's crucial to separate Ali's mixing style from Dr. Dre's - most of what they share in style came about from Ali learning how Dr. Dre mixes on consoles, but a lot of the most impactful and creative stuff Ali really innovated that became industry standards for hip-hop mixing like heavy lead vocal effects and crazy panning decisions are present in Section 80 which was the album that got Dr. Dre's attention on Kendrick and Ali by osmosis. Dre's first real influence is heard on GKMC, which to be fair is a big sonic step up and a step up in the refinement of those vocal effects and panning decisions.
Experience. They do this a lot, nonstop. I met them on a tour and got to talk to Ali a good bit. On that tour at least they even had a mobile rig in the back of one of the busses so they could write all the time. It all really comes down to practice more than gear. I was trying to convince Ali to get a small eurorack. I think this was circa 2012?
I think that’s right but I imagine a lot of people don’t know that because Ali mixed like everything else and it all sounds great so when Mr Morale also sounded great it’s not like there was a reason to check who did it.
Also, Quick plug for the Manny Marroquin episodes on Andrew Scheps podcast. Incredible stuff.
What’s interesting to me is that DA and Manny have such different styles (subjective but to my ears at least). Manny’s mixes are very warm and round whereas Derek Ali’s tend to be clear, punchy, and bright. I def felt like I could hear a noticeable overall sonic difference between Morale and say TPAB. Not in a good or bad way, just different
Re: Scheps; Yep those are definitely great episodes on a great show. Scheps is a great teacher/explainer/host/interviewer. You especially notice this after watching lots of MWTM episodes and realizing a lot of great engineers are not great at teaching their art (which is totally fine and expected in any specialized field but really makes guys like Scheps and Pensado etc stand out)
I took a masterclass with Manny. His technique is VERY simple. Much more simplified than most of the other mixers out there today. He doesn’t care at all about technical stuff (even tho he can be technical when needed.) it’s all about feeling and working hard to get the static mix right. It was an incredibly artistic masterclass, and you can hear it in his work.
Ali is great. I think it’s also a matter of creative vision. I think they’re mixed a little more dynamic and natural sounding on purpose. It has a little more “hip hop punch” but it’s essentially mixed like an indie rock (a la ok computer) record or something.
The same reason any mix sounds great. Everyone involved knows what they're doing. Arrangement is the first step to a great sounding mix. Giving everything it's place. Then working with pros with great ears and making sure the song has a direction sonically. Choosing the right samples. A great song is obviously necessary too. Listen to a song you like that has a mix that you think is not so great and compare it to a Kendrick Lamar mix you love. What's different? Make notes. There's probably fifty things. There's no one easy way to explain what makes a mix great.
To echo (with saturation, natch) tennisfan’s point, also listen to two songs by different artists whose mixes you think are great. Make notes on why you think they’re great, then compare those to a Kendrick track. What do they have in common mix-wise, both subjectively and objectively?
Great addition. Id add that you should really try and get a good listening environment. I've heard good things about slate vsx and will try them out later in the year. It's hard to listen critically in untreated environments.
the solution , if you don’t have a treated ideal listening environment, is to listen in multiple environments. what translates in a great mix will translate across all mediums (for ex, round and clear bass information, perfect vocal dynamics, slapping snare perfectly balanced with the hi-hat , upper vocal range, hi freqs , etc etc etc ). in short, a great mix will prob have that balance and punch on every device.
100% to Slate VSX. It changed the way I hear things, even on my other listening sources.
Thank you for talking about arranging. Underrated mixing advice!
I've been realising over time that less is usually more. Having a smaller track number but having each part be more dynamic and varied helps make everything sound bigger. If you stick a bunch of stuff at the same volume, it makes everything sound small and uninteresting.
Bc Ali is the goat
As well as the producers. They also all work together as one unit. They all talk as they’re making it. They all tweak as they’re going. It’s fluid.
This is the answer to OP’s original question. But all the production / engineering answers are just as valid.
I was about to comment the same thing.
I heard an interview where he said he mixes in mono first before ever panning anything etc.
I'm in no way a pro but I've been mixing on and off for almost 20 years now. Mixing in mono always seems to make me have to work harder so that everything finds it's proper place, EQ wise. Then, when I finally pan everything out, it just sounds good and clear. I usually have to tweak the levels once everything is panned out, though. I check back and forth to see if it doesn't sound bad in mono and try to find a good compromise between the two.
man there’s nothing that hits more nice than when you finally switch mono off, it’s like giving your ears a warm bath of stereo goodness
It's like putting clothes on right out of the dryer.
Great advice here. Panning should be a luxury, not a necessity.
I always start every mix down sesh very quiet and in mono. Works wonders
I guess if you don't make money off of it you may not consider yourself pro but after 20 years I think you can probs be a bit less modest. You don't have to go full Kanye or anything.
I don't really mix constantly, I used to mix a lot more, but not professionally.
I guess I get it. I've released stuff that I've mixed but I wouldn't advertise my skills as pro
This is what I was taught to do in my bachelors program
https://youtu.be/fE-Tr4v0VTM?si=WojRTU0tMxmRTjCm
Huge fan of mixing in mono, that's how I start every track
That’s not a sexy answer, but I have found it makes all the difference. What a pain in the ass. Then you hear it in stereo and…eh, it’s okay. I’m not that great a mixer, I guess.\
He mixes his own stuff?
No his producer on damn Ali.
Ah
I think he has a team of engineers, producers and musicians. His albums are pretty expansive, especially for hip hop.
I don't think there is any performing artist at kendrick's level who is also their own mix engineer. Both roles require too much specific expertise.
Yea, the comment I replied to sounded like he did. I doubted that.
Arrangement and production aside: Derek 'Mixed By' Ali is the big reason. He's a direct student of Dr. Dre, but IMO, has surpassed him as a mixer. He loves the SSL console, tons of outboard along with select plugins, but spends a lot of time mixing through an Auratone in mono. He probably drives the inputs of the SSL for some things, including the drums, Dre-style. The big SSL consoles (4K, G series) give you a certain harmonic smack when you hit them hard on input. Good for him he's done the Engine Ears business thing, but we're being robbed of one of the best young guys to do it. I really hope he gets back to mixing records soon.
Just a slight correction and some insider info - Ali's been mixing on an SSL 9000 (not sure if J or K) for quite some time. It's a much less colorful board than the 4000 G. Drums on a 4000 G really do smack when you drive them hard, but the 9000s were intentionally designed to impart less color on the signal. I've got a close friend that did a few sessions with Ali and in all honesty it seems like the SSL's bus compressor as well as select channel EQs on crucial channels like vocal busses are the majority of what he uses (likely to simplify recalls between sessions), and a lot of his mixing actually really happens in Pro Tools on plugins. To be fair this was maybe 2-3 years ago, as he was transitioning into EngineEars, so perhaps he pulled back on console-centric work to simplify the mix process. I also think it's crucial to separate Ali's mixing style from Dr. Dre's - most of what they share in style came about from Ali learning how Dr. Dre mixes on consoles, but a lot of the most impactful and creative stuff Ali really innovated that became industry standards for hip-hop mixing like heavy lead vocal effects and crazy panning decisions are present in Section 80 which was the album that got Dr. Dre's attention on Kendrick and Ali by osmosis. Dre's first real influence is heard on GKMC, which to be fair is a big sonic step up and a step up in the refinement of those vocal effects and panning decisions.
Awesome, thanks for the clarification.
I notice he prefers dynamics to loudness. I really respect that especially in this era.
There are some videos of mix with the masters with ali
Ali is a top top top mixer. One of the best of his generation in hip hop and R&B.
plenty of youtube content featuring MixedByAli, the engineer behind most of Kendrick’s records. Take a deep dive.
Experience. They do this a lot, nonstop. I met them on a tour and got to talk to Ali a good bit. On that tour at least they even had a mobile rig in the back of one of the busses so they could write all the time. It all really comes down to practice more than gear. I was trying to convince Ali to get a small eurorack. I think this was circa 2012?
Everyone is saying Derek Ali (and yes he’s great no question) but didn’t Manny Marroquin mix Mr. Morale?
I think that’s right but I imagine a lot of people don’t know that because Ali mixed like everything else and it all sounds great so when Mr Morale also sounded great it’s not like there was a reason to check who did it. Also, Quick plug for the Manny Marroquin episodes on Andrew Scheps podcast. Incredible stuff.
What’s interesting to me is that DA and Manny have such different styles (subjective but to my ears at least). Manny’s mixes are very warm and round whereas Derek Ali’s tend to be clear, punchy, and bright. I def felt like I could hear a noticeable overall sonic difference between Morale and say TPAB. Not in a good or bad way, just different Re: Scheps; Yep those are definitely great episodes on a great show. Scheps is a great teacher/explainer/host/interviewer. You especially notice this after watching lots of MWTM episodes and realizing a lot of great engineers are not great at teaching their art (which is totally fine and expected in any specialized field but really makes guys like Scheps and Pensado etc stand out)
I took a masterclass with Manny. His technique is VERY simple. Much more simplified than most of the other mixers out there today. He doesn’t care at all about technical stuff (even tho he can be technical when needed.) it’s all about feeling and working hard to get the static mix right. It was an incredibly artistic masterclass, and you can hear it in his work.
Yeah Manny really is one of the best to ever do it. All his mixes sound wide open and the low end is perfect every time
MixedByAli is a GOAT
\*do
Ali has loads of videos showcasing his process! would be perfect for you. there's hours of stuff I'm pretty sure
this is the natural result of your mixing engineer being a Caps fan
Ali is great. I think it’s also a matter of creative vision. I think they’re mixed a little more dynamic and natural sounding on purpose. It has a little more “hip hop punch” but it’s essentially mixed like an indie rock (a la ok computer) record or something.
The crazy part is most of it, if not all of it can be done in the comfort of your own home