Gridlock: 2009

What up yall. Leslo in the building. I hadn't been on in a while but the posting below is a direct response to some youngster in the game that tried to disrespect me. You'll see his lame comments first, then you'll see how i RANKED him!

BRYAN'S LAME COMMENTS:
Plies and Chris J Mixed ITB

I just mixed this record completely in the box with waves and UAD 1 plugs.
No summing box or outboard reverbs. Im not saying its the best mix in the world because it was done so fast and not meant to be a final for me but it does give hope to people like me and some others on here that cant afford a 9000j but are trying to compete with that sound.. Ive been recording Plies for three years but it looks like now IM gona record , mix and make beats for his records. Wish me luck!
They put this song on blast today.

Ozone Magazine » Audio Randy's Playlist » Chris J. feat. Plies - “Don’t Need No Man”

The distortion happened in mastering. Plies first album was distorted as hell from mastering. That mastering job sucked. The volumes where uneven and the tracks were distorted. I believe this guy Glen did a good job. yeah its clipping a little but I think these days they do that on purpose. And I agree about his vocals being loud on his other records. I personally hate the mixes on the other records. Some of them are good but most of them are thin and bright as hell with the vocals loud as shit and the kick real loud. Plies mixes sound so different coming out of patch works than the other artists. I almost felt like they had something against him. I was in a strip club the other day and 2 plies songs came on and it sounded like shit. The volume dropped, shit got thin and all you could hear was his voice kik and clap. To me the feeling and life is in the Instruments not drums. Of course the drums have to hit but theres gotta be a balance. Outstanding mixes come out of patchworks and even some of Plies singles sound great but the album fillers seem to get the album fillers mix. Of course that drives me nuts because Ive not had a single yet but 8 album fillers!
This mix was done in less than a hour. They had them send the session so I could put breaks in the beat before we sent it to patch....and I was like shiiiiiit if I got the seperated files IM gona do a quick mix and hopefully win them over. Sure enough they picked this mix over the ones from patchworks, Plies said B how can I get this record to sound just like your mix and I was like.....umm.... send my mix to mastering! and thats what they did. Theres a few things I dont like about this mix. Plies fears me touching anything that he feels already works so I left it just how he liked it. The consummer will NEVER hear this stuff so who cares! lol Im an engineer that never went to school or was taught by anyone but studied and practiced endlessly. This site gearslutz played a BIG part of my development over the years so I felt it was appropriate to come post a industry mix they helped happen. . Add me on my space guys!
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__________________
Thank You,

Bryan Tyson

www.myspace.com/deepproductionsinc
www.hallucination.com
www.pliesworld.com

THIS WAS MY RESPONSE TO HIS IGNORANCE:

Ok, first off. I’m no young buck in the game. I’m 15 years deep on this mix sh*t. RESPECT MUST BE SHOWN TO THOSE THAT PAVED THE WAY. I usually don’t address comments on the internet, but this sh*t was brought to my attention. I mixed a lot of the PLIES records referred to at patchwerk studios. So let’s get things clear.

1) I give PLIES the same quality and attention that I give EVERY other artist I mix.

2) EVERY group of files I received to mix was POORLY recorded. Vocals, Basslines, and Drums were usually somewhat distorted. Before anyone accuses mastering engineers or mix engineers of distorting things, they should check their OWN files first. (HINT: if your waveforms are squared off at the top, you are most likely distorting. Do I need to post screen shots of how the sessions looked before I mixed them ?????? hmmmmmm????)

3) EVERY ruff mix that I received along with the session files sounded HORRIBLE. When I’m in a room full of people and EVERYONE agrees that the ruff mix sounds horrible, then guess what……. You’re a long way from being me.

4) Even the most amateur of engineers know to use PROTOOLS (even LE if they can’t afford the HD system) and a MAC. Using NUENDO and a PC is pretty lame and gives us PROFESSIONALS a hard time mixing anything that comes from that setup.

5) BEGGING someone to mix their sh*t is not only tacky, but it’s a career killer. The fact that you have to “WIN SOMEONE OVER” means you got a lotta work to do homie. I’ve NEVER asked someone to mix ANYTHING in my entire career. Even when I was first starting out, THEY CAME TO ME. My work speaks for itself. When Cher asked me to mix her stuff because she really liked my mix on TLC, or when MARY J. asked me to mix her album because she heard OUTKAST, or when LUDA asked me to mix his ALBUMS because he heard 10 banging mixes in a row in the club, all of which I mixed – THAT’S REAL PLAYA SH*T. Begging for mixes is weak. The LAW OF ATTRACTION is a powerful thing. Read up on it.

6) If you have album fillers but no single, that simply means you gotta do better work. When you get to a place where you FEEL LIKE you should be further along than you REALLY ARE, then you head down a really destructive path. The universe unfolds as it should. When you start producing single worthy material, then you’ll get a single. SIMPLE.

7) the FEELING and LIFE of urban music, is in the DRUMS, BASSLINE, and VOCALS (all of which I previously stated are usually distorted when those sessions get to me). If you think the “FEELING and LIFE” are in the instruments, then that might explain why you have to BEG for mixes or haven’t had a single yet.

8) When an artist is stuck on a ruff mix its USUALLY because it’s the first version of the song that they got used to. It doesn’t mean that it sounds great. More often than not, its quite the opposite. Most artists just get accustomed to what they’ve been listening to since they recorded the record, which is usually a VERY SUB PAR mix. When the files are sent to a PROFESSIONAL, it comes back sounding so different to them that they often want to revert back to the ruff mix, NOT because the ruff is better, but because its FAMILIAR. When you’ve been mixing for more than a WEEK, you’ll learn this quite well.

9) I have absolutely nothing against PLIES. I admire the guy, and I often speak very highly of him. and as his engineer, you can’t just disrespect another fellow engineer and think its cool, there’s rules to this sh*t. To suggest that I would treat a PLIES mix any different from any other mix is straight up DISRESPECTFUL. If you gotta DIS my work and the work of others, just so YOU can get a mix on an album, then that means YOUR work doesn’t speak for itself. BOSS UP MAN. Instead of tearing someone else down, just BUILD YOURSELF UP. But first you need SOMETHING to build on. YOU’VE BEEN EXPOSED. VAMOOSE.

LESLIE BRATHWAITE HAS SPOKEN.