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hello I am Greg wells and we are here in
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the beautiful control room at Studio la
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Fabrique we are at the tail end of doing
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my first week here at mixed with the
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Masters which has been absolutely
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incredible and I hope they have me back
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we did kind of an interesting approach
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where I think I think it's safe to say
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that most of the Masters that come here
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will sometimes record a band or they
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will just show the mixing process that
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they do and and get into that with the
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attendees that are here we all came up
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with the idea of me showing up with an
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artist that I'm working with and some
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songwriters and we very bravely and we
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pulled it off we wrote a song from
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scratch here and then recorded it with
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me producing the recording and then I
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mixed it and then the last two days of
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the seminar have been me listening to
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the attendees work and being very
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interactive with it commenting on it
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from everything from mixing elements to
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production suggestions to the
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songwriting itself and and all points
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micro and macro with that what we're
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going to do right now is we have ten
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questions that were chosen from readers
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of the amazing sound on sound magazine
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and I'm just going to launch into them
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I've had a quick kind of read through
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them and they're good questions here we
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go so question number one is from Rob
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and he asks how do you go about choosing
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a mic for a vocalist I understand that
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you try to avoid a mic that enhances the
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bad characteristics of a voice but do
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you choose a particular mic for a
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particular vibe ie rock ballad pop and
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can you please explain what it means
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when someone says that a particular mic
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takes
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EQ well the vocal if you have a vocalist
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on a track for me that is the key
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instrument it is the
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the general of the army it leads the
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charge everything is there to serve the
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lead vocal and when the lead vocal
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sounds great and feels really confident
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really natural it makes everything sound
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better and I have really learned this
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one the hard way I was guilty in my
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early years of mixing and producing I'm
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such a musician I just want to hear I'm
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so what I mean by that it's like I'm
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really interested in what's the drummer
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doing what's the bass player doing
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what's that synth programming what is
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what patch is that what keyboard is that
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that I would sometimes loose focus on
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the lead vocal and at some point the
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penny dropped for me that that actually
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not only where my lead vocals not loud
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enough but everything sounded better the
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track sounds better when the lead vocal
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is on the right microphone has the right
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EQ has the right compression has
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whatever needs to speak the clearest and
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the most sort of unselfconsciously over
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the track so Mike choice is super duper
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important to me
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sometimes the best mic is one of the
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cheapest mics like a Shore 57 or 58
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those are great vocal mics the short SM
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seven is about a $400 US dollars Mike
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it's fantastic
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and at my studio I have all those mics
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and I have a beautiful 47 and a 250
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which is a cardioid 251 they're both of
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those mics our new mics made by
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Telefunken USA very much made to emulate
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the original vintage mics and and they
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have some extra ingredients in them and
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the 47 has a tube that we can't even get
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anymore there's sort of twiki versions
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that I worked on directly with them I
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find that between those two mics and a
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couple of different mic pre choices I
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have I have a lovely vintage 1073 which
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is nice and creamy and kind of rich and
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then I have
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probably my favorite mic pre is made by
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undertone audio the great Eric
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Valentine's making fantastic gear I also
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have his console I was his first
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customer as a console owner and he makes
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a mic free that is just ridiculous it's
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unbelievable it makes a single space one
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mic free with his EQ which is sort of
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just glorious crazy EQ you can do all
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kinds of things with including even
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changing the phase with EQ and then he
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makes a unit where it's just for Mike
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fries with no EQ and I have both of
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those those are big choices to make look
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what's them what's the right mic pre so
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you know microphones are very unnatural
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things this whole recording process is a
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very bizarre weird unnatural thing and
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I'm never I'm never bored by how
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unnatural we have to get sometimes to
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make things just feel you know as
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natural as possible to let the music
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just come through the speakers so
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microphones I've never seen a microphone
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that knows how to record an S properly
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or lots of consonants there are some
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singers who are fantastic singers that
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don't sound good on microphones they
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have an S that can just rip your head
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off and then there's some singers that
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are there almost like photogenic on them
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you know some people just have a quality
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on camera not me but they just kind of
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explode on Cameron they look amazing
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even sometimes more amazing than they do
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in real life some singers are like that
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too on the mic there are definitely some
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voices that that the microphone whatever
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microphone it is loves and all of those
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things are of the utmost importance to
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me not only because I think most people
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in the world only listen to the singer I
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don't really care what the track is
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doing with the accompaniment is doing
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the accompaniment is really secondary if
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of course there's no song without it but
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it's there to support the vocal
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how close the singer is to a microphone
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is also really important most of the
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time on modern pop music or any kind of
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modern sort of commercial music the
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singer should be pretty close to the mic
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but sometimes the difference of you know
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several centimeters a couple of inches
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makes a big difference it changes the
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vibe entirely the last part of Rob's
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question can you please explain what it
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means when someone says that a
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particular mic takes EQ well I'm not
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really sure what that means because you
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know certainly all my all mics sound
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different but it's the thing that your
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miking that really sounds the most
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difference so I don't know it's really
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about the singer the source of the sound
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and whether or not EQ is going to help
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or not I would recommend recording
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vocals with some sort of high-pass
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filter in
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some people are really bold with that
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and they roll out you know like 120
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Hertz and down I like to hear all that
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stuff but I'll probably roll out 50
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Hertz and down because you don't really
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need that there's a very few singers
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word those frequencies are going to help
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I think I've covered that probably more
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than I should have I'm giving
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caffeinated answers let's go to question
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number 2 from Mika how do you treat
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drums in a mix I'm a drummer so I'm
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really sensitive to that I have been
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accused of over overdoing the drums
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having louder drums then needed but I
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think it's just my skewed perspective of
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being a drummer and just sitting at the
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drum kit for decades and kind of hearing
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it that way
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I do love the excitement of loud drums
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if it's right for the song you know
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again drums are accompaniment they're
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also the foundation of the whole house
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that you're building the drums sound
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when you get the drum sounds right and
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the vocal sounds right
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first of all goal but then drums are
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right next that just below the vocal in
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terms of importance to me when you get
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drum sounds right then you're kind of
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off to the
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and then everything it's much easier to
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build out from there so there are many
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many many many choices you can make with
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drums there's such loud instruments even
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when you play them quietly so there's a
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lot of information being output room
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mics can do a lot for a drum sound you
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know there's the we did an amazing thing
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here one of the attendees man who is a
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great engineer and he was helping me
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record the song that we wrote here and
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he did something I've never seen anybody
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do he miked the snare bottom in stereo
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with two mics so if this is like here's
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the snare drum and the kick is there he
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made sure that they were both mics were
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the same distance from the kick drum so
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that we're not going to get some crazy
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phase issue with the kick and I thought
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that's a little eccentric but then I
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heard it and it was really beautiful
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turning up the stereo bottom had us look
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makes me want to make the top of the
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snare in stereo as well pretty cool
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there's lots of experimenting you can do
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sometimes the best drum sound is one mic
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with a bunch of compression I think that
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Micah's question was more about mixing
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well it says mix oh I I know it was but
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you know the way that you capture the
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drums really informs how with the
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choices you can make in mix land the
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last thing I'll say about recording
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drums at my studio in Los Angeles that
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we have a think about 14 mics on the
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drums that doesn't mean we use all of
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them you can still go down to one or
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three or whatever combo but it's there
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as an option I like to collect stuff
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like kind of like you know like it's
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like the Hubble telescope like you'll
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want to see everything and then I can
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choose to do with each element what I
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want to do with it but I want to make
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sure I've got it in the best way so mix
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wise it really is so dependent on the
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track and there is no there is no one
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answer for that I think you have to be
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very sensitive to what serves
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the song and the singer the most
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sometimes sometimes quiet drums are the
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way to go sometimes
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super aggro drums are the way to go
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sometimes loads of room mics are the way
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sometimes Jackson five dry is the best
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sound you know sometimes there's drum
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replacement using I like to use trigger
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by Steven slave that thing is just solid
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it sounds amazing it's easy to use and
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you can use his samples you can use
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whatever samples you want to put in
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there and that's a big help and it's
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certainly a lot of the big mix engineers
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all do that I'm not sure that they all
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talked about it but I know I know for a
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fact that pretty much all of them are
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adding drum samples to mixes and I know
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that to mention Eric Valentine again he
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will do that but but it's usually quite
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supplementary and he has a way of just
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attacking the the drums and doing all
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kinds of things with the actual snare
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drum of the actual kick drum where it
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kind of almost turns it into the
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consistency of having a sample in the
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mix it's it's really interesting there's
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so many ways to go about it but you have
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to be sensitive to what serve the song
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00:12:24,999 --> 00:12:30,879
we're all here to you know we're all in
272
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total servitude to what's best for the
273
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the thing that we're trying to make not
274
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suck through the speakers okay question
275
00:12:38,679 --> 00:12:44,259
number three this is from Anton reading
276
00:12:41,049 --> 00:12:48,759
the literature on mixing audio semantics
277
00:12:44,259 --> 00:12:51,549
terms like box mud and air are often
278
00:12:48,759 --> 00:12:53,829
used but often have vague descriptions
279
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or in fact are contradicted by other
280
00:12:53,829 --> 00:12:58,389
authors how do you correlate the
281
00:12:56,559 --> 00:13:02,529
objective characteristics of the sound
282
00:12:58,389 --> 00:13:05,799
with the subjective descriptors what do
283
00:13:02,529 --> 00:13:07,449
these three terms mean for you so you
284
00:13:05,799 --> 00:13:11,439
know the one that I hate the most is
285
00:13:07,449 --> 00:13:13,300
warm going for that warm sound like what
286
00:13:11,439 --> 00:13:15,620
does that mean
287
00:13:13,300 --> 00:13:18,230
especially with your in the world of
288
00:13:15,620 --> 00:13:19,580
hi-fi home audio then when people start
289
00:13:18,230 --> 00:13:21,470
talking about warm that usually means
290
00:13:19,580 --> 00:13:26,620
they have no idea what they're listening
291
00:13:21,470 --> 00:13:28,580
for maybe they're deaf I don't know but
292
00:13:26,620 --> 00:13:30,470
you know it's different for everybody
293
00:13:28,580 --> 00:13:33,770
like I will say all that sounds like a
294
00:13:30,470 --> 00:13:35,810
record but there's no you know there's
295
00:13:33,770 --> 00:13:38,060
no objective definition of what that is
296
00:13:35,810 --> 00:13:41,540
it means something to me doesn't it's
297
00:13:38,060 --> 00:13:46,790
not necessarily the same thing to anyone
298
00:13:41,540 --> 00:13:49,460
else I certainly know what err implies
299
00:13:46,790 --> 00:13:53,839
you know it's not not low frequencies it
300
00:13:49,460 --> 00:13:56,830
means hello up there so probably you
301
00:13:53,839 --> 00:13:59,810
know anything above like 15k and up
302
00:13:56,830 --> 00:14:01,970
maybe 12 K and up that's sort of like
303
00:13:59,810 --> 00:14:06,490
the tip tip tip top of what we're able
304
00:14:01,970 --> 00:14:09,320
to hear I think men stop hearing around
305
00:14:06,490 --> 00:14:11,779
19,000 20,000 vibrations per second
306
00:14:09,320 --> 00:14:17,330
kilohertz and women can typically hear a
307
00:14:11,779 --> 00:14:19,580
little bit higher 21k 22 K of course
308
00:14:17,330 --> 00:14:21,860
sound continues way above what we're
309
00:14:19,580 --> 00:14:24,320
able to hear and I feel like we can
310
00:14:21,860 --> 00:14:25,910
perceive that somehow but when I really
311
00:14:24,320 --> 00:14:28,310
like hearing it was more like you're
312
00:14:25,910 --> 00:14:31,720
feeling it somehow so that's air air is
313
00:14:28,310 --> 00:14:33,950
nice it's very easy to overcook too much
314
00:14:31,720 --> 00:14:35,930
high-end information there's there's
315
00:14:33,950 --> 00:14:37,790
something that I used to do that all the
316
00:14:35,930 --> 00:14:39,860
time when I was younger I would use oral
317
00:14:37,790 --> 00:14:41,510
exciters and I loved the fact that it
318
00:14:39,860 --> 00:14:43,400
sounded really pristine really clear on
319
00:14:41,510 --> 00:14:46,760
top that was exciting for me because I
320
00:14:43,400 --> 00:14:48,350
grew up uh you know in a small town in
321
00:14:46,760 --> 00:14:50,510
Canada where we didn't really have any
322
00:14:48,350 --> 00:14:51,860
great Mike's a great gear I mean nobody
323
00:14:50,510 --> 00:14:55,040
was recording anything was just live
324
00:14:51,860 --> 00:14:56,900
bands and I was I spent most of my teens
325
00:14:55,040 --> 00:14:58,850
playing a kind of a broken drum set
326
00:14:56,900 --> 00:15:04,790
terrible guitars and everything sounded
327
00:14:58,850 --> 00:15:11,690
very boxy muddy and no air and cold not
328
00:15:04,790 --> 00:15:14,330
warm we were cold in Canada but um so I
329
00:15:11,690 --> 00:15:17,029
did it I became obsessed with like kind
330
00:15:14,330 --> 00:15:19,000
of super high fidelity and and when I
331
00:15:17,029 --> 00:15:21,650
listened back to that stuff I was just
332
00:15:19,000 --> 00:15:26,000
totally over blowing the top end so
333
00:15:21,650 --> 00:15:27,920
there is a way to have things be present
334
00:15:26,000 --> 00:15:30,230
and create that feeling of air on top
335
00:15:27,920 --> 00:15:32,960
without actually cranking a bunch of
336
00:15:30,230 --> 00:15:34,160
super high-end you got to really be
337
00:15:32,960 --> 00:15:35,750
careful with that it's just like cooking
338
00:15:34,160 --> 00:15:38,000
you just don't you know salt is nice
339
00:15:35,750 --> 00:15:40,610
when you over salt the food nobody can
340
00:15:38,000 --> 00:15:42,020
eat it the high frequencies are
341
00:15:40,610 --> 00:15:43,100
definitely like that you got to do it to
342
00:15:42,020 --> 00:15:46,790
taste you got to find the right balance
343
00:15:43,100 --> 00:15:49,850
and there are different types of salt so
344
00:15:46,790 --> 00:15:54,040
box I think box just means boxy like
345
00:15:49,850 --> 00:15:57,860
kind of usually lower mids sort of ugly
346
00:15:54,040 --> 00:16:00,620
frequencies I know I was hanging out
347
00:15:57,860 --> 00:16:04,910
with Michael Brauer in New York at the
348
00:16:00,620 --> 00:16:07,190
AES show last fall and he was telling me
349
00:16:04,910 --> 00:16:09,560
the studio that he started at in New
350
00:16:07,190 --> 00:16:12,140
York that they you know was that it was
351
00:16:09,560 --> 00:16:14,780
the disco era and there were a lot of
352
00:16:12,140 --> 00:16:17,810
dance records being made and pretty much
353
00:16:14,780 --> 00:16:20,660
every engineer would just cut 300 Hertz
354
00:16:17,810 --> 00:16:22,370
out of the mix to begin with it was the
355
00:16:20,660 --> 00:16:25,160
first thing they do just take it out of
356
00:16:22,370 --> 00:16:29,660
almost everything and that's definitely
357
00:16:25,160 --> 00:16:31,250
in the area code of boxiness to me again
358
00:16:29,660 --> 00:16:33,650
again it depends on the source it
359
00:16:31,250 --> 00:16:38,870
depends on what you're cutting the EQ
360
00:16:33,650 --> 00:16:40,550
out of yeah you know and then sometimes
361
00:16:38,870 --> 00:16:43,850
that's the very frequency you want to
362
00:16:40,550 --> 00:16:46,040
boost 300 Hertz 400 Hertz on a female
363
00:16:43,850 --> 00:16:48,470
vocal is a nice thing to turn up if you
364
00:16:46,040 --> 00:16:51,339
want it to feel a little rounder a
365
00:16:48,470 --> 00:16:53,600
little fatter in tone down there
366
00:16:51,339 --> 00:16:55,970
typically that's a dangerous frequency
367
00:16:53,600 --> 00:16:58,100
to turn up and gives you sort of that
368
00:16:55,970 --> 00:17:00,350
box down power on a female vocal it can
369
00:16:58,100 --> 00:17:04,069
be the very thing that makes it just sit
370
00:17:00,350 --> 00:17:07,819
perfectly in the track mud I guess mud
371
00:17:04,069 --> 00:17:09,380
means the opposite of air and bass
372
00:17:07,819 --> 00:17:13,490
frequencies are a funny thing you know
373
00:17:09,380 --> 00:17:17,560
bass in particular you can it's nice to
374
00:17:13,490 --> 00:17:21,079
have a big round fat low you know
375
00:17:17,560 --> 00:17:23,600
sonorous bass it can also be really
376
00:17:21,079 --> 00:17:26,300
boring can also really weigh a track
377
00:17:23,600 --> 00:17:29,540
down like in my own way I feel like I
378
00:17:26,300 --> 00:17:31,430
understand why Prince often would not
379
00:17:29,540 --> 00:17:33,230
have bass in his songs I mean he was an
380
00:17:31,430 --> 00:17:36,290
amazing bass player and he was a fan of
381
00:17:33,230 --> 00:17:37,700
amazing bass players but sometimes
382
00:17:36,290 --> 00:17:39,450
there's no bass in a prince track and
383
00:17:37,700 --> 00:17:41,100
it's super funky
384
00:17:39,450 --> 00:17:42,570
you know the song kiss is a perfect
385
00:17:41,100 --> 00:17:45,210
example of that there's no Becks
386
00:17:42,570 --> 00:17:48,570
just a crazy big drumbeat the bass drum
387
00:17:45,210 --> 00:17:52,740
is the bass in that song I think and
388
00:17:48,570 --> 00:17:55,649
low-end in general I really marvel at
389
00:17:52,740 --> 00:17:58,049
how someone like chris lord-alge ii or
390
00:17:55,649 --> 00:18:00,299
in a different way serving gaining of
391
00:17:58,049 --> 00:18:03,799
how they get their tracks to feel really
392
00:18:00,299 --> 00:18:06,960
full on the bottom and quite bottome
393
00:18:03,799 --> 00:18:09,210
sounding but if you look at it on some
394
00:18:06,960 --> 00:18:14,399
sort of analyzer there's not a lot going
395
00:18:09,210 --> 00:18:16,440
on below I don't know 60 Hertz 80 Hertz
396
00:18:14,399 --> 00:18:19,260
sometimes it feels low Andy but it's
397
00:18:16,440 --> 00:18:21,720
actually not same is true in Skrillex
398
00:18:19,260 --> 00:18:24,419
track sometimes with the bottom it feels
399
00:18:21,720 --> 00:18:26,909
huge but if you're talking like really
400
00:18:24,419 --> 00:18:29,340
really really low frequencies they're
401
00:18:26,909 --> 00:18:30,960
not there and I think that that actually
402
00:18:29,340 --> 00:18:33,240
somehow makes it feel bigger on the
403
00:18:30,960 --> 00:18:34,380
bottom it's counterintuitive sounding
404
00:18:33,240 --> 00:18:38,340
but it's fascinating
405
00:18:34,380 --> 00:18:39,539
so again it's all balances I encourage
406
00:18:38,340 --> 00:18:41,880
everybody to everybody through
407
00:18:39,539 --> 00:18:45,980
experiment a lot I certainly have I
408
00:18:41,880 --> 00:18:49,549
continue to every day it's humbling how
409
00:18:45,980 --> 00:18:52,649
how much there is to learn and how every
410
00:18:49,549 --> 00:18:54,990
song and every mix and every experience
411
00:18:52,649 --> 00:18:56,549
in the studio is case-specific it's
412
00:18:54,990 --> 00:18:58,200
they're all different even in the middle
413
00:18:56,549 --> 00:19:00,960
of the same album the same singer or the
414
00:18:58,200 --> 00:19:05,840
same band the approach is almost never
415
00:19:00,960 --> 00:19:08,610
the same anyway let's let's move on
416
00:19:05,840 --> 00:19:11,340
question number four Ahmet do you have a
417
00:19:08,610 --> 00:19:14,899
working routine while mixing do you take
418
00:19:11,340 --> 00:19:19,370
breaks or work start to finish I
419
00:19:14,899 --> 00:19:25,350
definitely like to kind of dive in and
420
00:19:19,370 --> 00:19:28,289
attack things pretty quickly and without
421
00:19:25,350 --> 00:19:31,950
much thinking involved and then I like
422
00:19:28,289 --> 00:19:33,659
to take a little break and that can be
423
00:19:31,950 --> 00:19:36,659
just turning the speaker's up and
424
00:19:33,659 --> 00:19:38,250
leaving the room and listening from down
425
00:19:36,659 --> 00:19:41,159
the hallway or listening from another
426
00:19:38,250 --> 00:19:43,320
room you know the thing that immediately
427
00:19:41,159 --> 00:19:44,760
evaporates and I've said this before and
428
00:19:43,320 --> 00:19:48,600
do in other interviews the thing that
429
00:19:44,760 --> 00:19:50,070
evaporates fast is your objectivity and
430
00:19:48,600 --> 00:19:53,250
if anybody doesn't know what I mean by
431
00:19:50,070 --> 00:19:56,280
that it's being able to hear the
432
00:19:53,250 --> 00:19:58,320
music like someone who's never heard it
433
00:19:56,280 --> 00:19:59,730
before which of course is what that's
434
00:19:58,320 --> 00:20:02,520
who we're making the music for we're not
435
00:19:59,730 --> 00:20:04,500
making it for us we know what's going on
436
00:20:02,520 --> 00:20:05,940
we've lived with the track we've been
437
00:20:04,500 --> 00:20:07,320
working on its we're not going to buy
438
00:20:05,940 --> 00:20:09,870
the record I mean we might but we'll buy
439
00:20:07,320 --> 00:20:11,460
one coffee or two copies at most this is
440
00:20:09,870 --> 00:20:13,500
for people that have never heard it
441
00:20:11,460 --> 00:20:15,390
people that probably don't know anything
442
00:20:13,500 --> 00:20:17,580
about music they just know if they like
443
00:20:15,390 --> 00:20:18,720
something or not but they'd like a song
444
00:20:17,580 --> 00:20:20,550
if they like a singer if they like a
445
00:20:18,720 --> 00:20:23,870
line of the lyric that can be enough to
446
00:20:20,550 --> 00:20:27,300
hook somebody in to a thing so
447
00:20:23,870 --> 00:20:29,250
objectivity I think like them you know
448
00:20:27,300 --> 00:20:32,760
once you hear something more than five
449
00:20:29,250 --> 00:20:35,160
times that perspective really just sort
450
00:20:32,760 --> 00:20:37,170
of gets drunk and you can't you know you
451
00:20:35,160 --> 00:20:40,410
kind of like you still have to keep
452
00:20:37,170 --> 00:20:46,050
working but so anything I can do to kind
453
00:20:40,410 --> 00:20:48,060
of trick myself into feeling like it's
454
00:20:46,050 --> 00:20:51,630
not my song or it's not my mix or not my
455
00:20:48,060 --> 00:20:55,800
production is really helpful taking
456
00:20:51,630 --> 00:20:57,840
breaks is huge listening to other stuff
457
00:20:55,800 --> 00:21:01,680
too this is something I really advocate
458
00:20:57,840 --> 00:21:05,520
and the great engineering producer Jack
459
00:21:01,680 --> 00:21:08,940
Joseph Puig told me several years ago
460
00:21:05,520 --> 00:21:12,150
that he makes a playlist of his favorite
461
00:21:08,940 --> 00:21:14,100
sounding mixes and while he's mixing
462
00:21:12,150 --> 00:21:16,920
whatever he's been hired to mix he will
463
00:21:14,100 --> 00:21:18,660
go to that playlist and you know switch
464
00:21:16,920 --> 00:21:20,580
the input and through the speakers he's
465
00:21:18,660 --> 00:21:22,380
hearing other people's mixes from
466
00:21:20,580 --> 00:21:25,410
records that he really adores and loves
467
00:21:22,380 --> 00:21:29,310
and then he'll go back to his mix and
468
00:21:25,410 --> 00:21:31,520
that can be a real quick
469
00:21:29,310 --> 00:21:35,430
you know bucket of water in the face of
470
00:21:31,520 --> 00:21:38,070
objectivity I sometimes I forget to do
471
00:21:35,430 --> 00:21:40,140
it but almost all the time I do it I've
472
00:21:38,070 --> 00:21:41,490
been doing it for years now in the
473
00:21:40,140 --> 00:21:43,860
beginning the first couple years it was
474
00:21:41,490 --> 00:21:47,160
so humbling just I was so far off the
475
00:21:43,860 --> 00:21:49,050
mark in terms of the way other records
476
00:21:47,160 --> 00:21:50,400
were balanced and and I like stuff in
477
00:21:49,050 --> 00:21:54,290
the playlist that's really different I
478
00:21:50,400 --> 00:21:57,290
mean I call it mixed reality playlist
479
00:21:54,290 --> 00:22:02,700
there is everything from spikes tents
480
00:21:57,290 --> 00:22:06,530
brilliant mix of a song called hella
481
00:22:02,700 --> 00:22:09,950
good from no Doubt's Rocksteady record
482
00:22:06,530 --> 00:22:13,400
fantastic fantastic mix very humbling
483
00:22:09,950 --> 00:22:15,980
mix thank you spike for making me feel
484
00:22:13,400 --> 00:22:17,360
like I don't know what I'm doing and and
485
00:22:15,980 --> 00:22:20,510
then I have like you know
486
00:22:17,360 --> 00:22:24,560
Public Enemies track nine-one-one is a
487
00:22:20,510 --> 00:22:26,750
joke Terminator X did the most brilliant
488
00:22:24,560 --> 00:22:31,610
tracks still does the most brilliant
489
00:22:26,750 --> 00:22:34,850
tracks to you know rich cos these mix of
490
00:22:31,610 --> 00:22:38,210
get gone from Fiona apples second album
491
00:22:34,850 --> 00:22:41,000
when the pawn has a super long title all
492
00:22:38,210 --> 00:22:43,760
kinds of stuff you know a chris
493
00:22:41,000 --> 00:22:44,420
lord-alge ease mix of American Idiot by
494
00:22:43,760 --> 00:22:47,840
Green Day
495
00:22:44,420 --> 00:22:52,340
absolutely stunning jaw-dropping crazy
496
00:22:47,840 --> 00:22:53,810
mix you know all kinds of stuff and so I
497
00:22:52,340 --> 00:22:55,280
will listen to that and they all sound
498
00:22:53,810 --> 00:22:57,050
different from each other and they have
499
00:22:55,280 --> 00:22:58,610
different framings and different
500
00:22:57,050 --> 00:23:00,080
perspectives and different takes on what
501
00:22:58,610 --> 00:23:02,600
the bottom end means and how bright
502
00:23:00,080 --> 00:23:07,430
things are and how dark things are but
503
00:23:02,600 --> 00:23:08,090
it really helps a lot so I think more
504
00:23:07,430 --> 00:23:11,720
than anything
505
00:23:08,090 --> 00:23:17,570
making your own mix reality playlist is
506
00:23:11,720 --> 00:23:20,270
like a PhD in in in the way record sound
507
00:23:17,570 --> 00:23:22,070
it is unbelievably you learn so fast
508
00:23:20,270 --> 00:23:23,360
especially when you go back and compared
509
00:23:22,070 --> 00:23:25,730
to what the thing you're working on and
510
00:23:23,360 --> 00:23:29,420
then go back to the playlist and listen
511
00:23:25,730 --> 00:23:30,860
to other things it doesn't have to be
512
00:23:29,420 --> 00:23:32,510
the same genre that you're working it's
513
00:23:30,860 --> 00:23:34,250
nice to listen to like something else I
514
00:23:32,510 --> 00:23:36,980
have on my playlist is Roberta flacks
515
00:23:34,250 --> 00:23:39,590
killing me softly which was done in the
516
00:23:36,980 --> 00:23:41,080
70s and it really sounds like it but
517
00:23:39,590 --> 00:23:44,420
it's kind of a perfect record and
518
00:23:41,080 --> 00:23:46,280
there's you can just learn gobs of stuff
519
00:23:44,420 --> 00:23:48,920
from listening to great work done by
520
00:23:46,280 --> 00:23:51,080
other people that more than anything I
521
00:23:48,920 --> 00:23:53,330
think will help everybody with their
522
00:23:51,080 --> 00:23:56,470
mixing jobs question number five Vaughn
523
00:23:53,330 --> 00:23:59,720
how do you layer multiple guitars
524
00:23:56,470 --> 00:24:01,880
meaning pan and EQ and if you record a
525
00:23:59,720 --> 00:24:03,380
guitar amp with multiple microphones how
526
00:24:01,880 --> 00:24:07,280
do you blend those two mics
527
00:24:03,380 --> 00:24:09,260
until you get the right tone you know
528
00:24:07,280 --> 00:24:16,010
again sometimes the best guitar sound is
529
00:24:09,260 --> 00:24:17,910
just one guitar with one mic depending
530
00:24:16,010 --> 00:24:20,970
on the song if you're doing
531
00:24:17,910 --> 00:24:23,850
kind of a more polished rock thing or
532
00:24:20,970 --> 00:24:25,860
like a real heavy kind of rock thing
533
00:24:23,850 --> 00:24:28,710
there's nothing sounds like double
534
00:24:25,860 --> 00:24:30,660
guitars and something I learned from the
535
00:24:28,710 --> 00:24:33,330
amazing Terry date when we were working
536
00:24:30,660 --> 00:24:35,460
with the Deftones in the early 2000s
537
00:24:33,330 --> 00:24:37,440
he's a big fan of three guitars so he'll
538
00:24:35,460 --> 00:24:40,410
do double track guitars right and left
539
00:24:37,440 --> 00:24:42,330
and then he'll do a third one that he
540
00:24:40,410 --> 00:24:43,679
talks up the middle not quite as loud as
541
00:24:42,330 --> 00:24:47,010
the ones on right and left but it's
542
00:24:43,679 --> 00:24:48,150
there I know that Bob Rock does a very
543
00:24:47,010 --> 00:24:52,039
similar thing and he calls that the
544
00:24:48,150 --> 00:24:55,289
thickener the third one you know on
545
00:24:52,039 --> 00:24:59,549
other types of songs that is overkill
546
00:24:55,289 --> 00:25:01,169
that would be too much so and then in
547
00:24:59,549 --> 00:25:03,630
terms of panning like if it's sort of a
548
00:25:01,169 --> 00:25:05,000
Deftones vibe if it's like you know kind
549
00:25:03,630 --> 00:25:08,460
of heavy
550
00:25:05,000 --> 00:25:10,700
just like wall of guitar then I like
551
00:25:08,460 --> 00:25:14,190
pretty hard left and right panning
552
00:25:10,700 --> 00:25:16,020
probably a hundred percent and or you
553
00:25:14,190 --> 00:25:19,530
know sometimes it's more like 80 85
554
00:25:16,020 --> 00:25:21,809
percent I usually don't pan any
555
00:25:19,530 --> 00:25:24,600
instruments hard left and right I like
556
00:25:21,809 --> 00:25:26,549
to feel like I'm listening to a
557
00:25:24,600 --> 00:25:29,100
performance from a stage that's in front
558
00:25:26,549 --> 00:25:30,480
of me it's just my particular the way I
559
00:25:29,100 --> 00:25:33,809
like to perceive music coming out of
560
00:25:30,480 --> 00:25:35,520
speakers but for like a heavy rock thing
561
00:25:33,809 --> 00:25:37,169
hard left-right sounds amazing
562
00:25:35,520 --> 00:25:39,480
especially with a third track kind of
563
00:25:37,169 --> 00:25:42,840
tucked in the middle and then in terms
564
00:25:39,480 --> 00:25:44,460
of you know microphone blending I have
565
00:25:42,840 --> 00:25:46,770
to I know some people put three
566
00:25:44,460 --> 00:25:50,150
sometimes four mics on a cabinet you got
567
00:25:46,770 --> 00:25:52,350
to be really careful with phase issues I
568
00:25:50,150 --> 00:25:56,159
think it makes sense to make the same
569
00:25:52,350 --> 00:25:58,260
speaker so that eliminates some phase
570
00:25:56,159 --> 00:26:00,030
issues you can at least tell that your
571
00:25:58,260 --> 00:26:02,130
mics are the exact same distance or
572
00:26:00,030 --> 00:26:03,360
almost the exact same distance virtually
573
00:26:02,130 --> 00:26:08,070
the same distance from the from the
574
00:26:03,360 --> 00:26:09,780
speaker I have a fifty seven can't go
575
00:26:08,070 --> 00:26:11,970
wrong with a shirt fifty seven which
576
00:26:09,780 --> 00:26:14,480
sounds great sometimes it's a bit too
577
00:26:11,970 --> 00:26:17,340
bright and I the other mic is a Royer
578
00:26:14,480 --> 00:26:22,440
121 which is just a gorgeous sounding
579
00:26:17,340 --> 00:26:24,150
ribbon mic it's brilliant on guitar it's
580
00:26:22,440 --> 00:26:25,679
just it's just an amazing thing it does
581
00:26:24,150 --> 00:26:27,510
something completely different from the
582
00:26:25,679 --> 00:26:29,280
57 and they're very complementary to
583
00:26:27,510 --> 00:26:31,350
each other they really blend beautifully
584
00:26:29,280 --> 00:26:33,210
I'm always
585
00:26:31,350 --> 00:26:36,750
tweaking the balance between the two
586
00:26:33,210 --> 00:26:40,320
always on every take it changes the tone
587
00:26:36,750 --> 00:26:41,580
pretty dramatically and and it you know
588
00:26:40,320 --> 00:26:43,290
like I keep saying with almost
589
00:26:41,580 --> 00:26:45,090
everything it's really about the song
590
00:26:43,290 --> 00:26:47,880
and what and so I will audition I'll
591
00:26:45,090 --> 00:26:48,840
play along to the song I think that's
592
00:26:47,880 --> 00:26:50,850
very important when you're trying to get
593
00:26:48,840 --> 00:26:52,680
a sound you can do with drums too like
594
00:26:50,850 --> 00:26:55,230
don't just get a drum sound if you have
595
00:26:52,680 --> 00:26:56,730
something that you can play too you can
596
00:26:55,230 --> 00:26:58,440
even just stay on input you don't have
597
00:26:56,730 --> 00:27:01,350
to record it you can also record it but
598
00:26:58,440 --> 00:27:04,470
get the sound while you're listening to
599
00:27:01,350 --> 00:27:05,880
the thing you're going to play to if you
600
00:27:04,470 --> 00:27:08,520
have that option that's that's really
601
00:27:05,880 --> 00:27:10,980
helpful because sometimes something that
602
00:27:08,520 --> 00:27:12,690
sounds fantastic in the room by the time
603
00:27:10,980 --> 00:27:14,760
it makes it into the track that you're
604
00:27:12,690 --> 00:27:17,730
doing it doesn't speak the same way
605
00:27:14,760 --> 00:27:21,630
through through the speakers
606
00:27:17,730 --> 00:27:24,000
I think it gives you sort of an
607
00:27:21,630 --> 00:27:26,700
objectivity again to use that word about
608
00:27:24,000 --> 00:27:28,020
what is the right town for it don't
609
00:27:26,700 --> 00:27:32,070
don't just kind of pull it out of the
610
00:27:28,020 --> 00:27:34,740
blue and like I said at the beginning of
611
00:27:32,070 --> 00:27:36,150
this answer really the right amp the
612
00:27:34,740 --> 00:27:39,000
right guitar part the right guitar
613
00:27:36,150 --> 00:27:41,670
player through one amp and one mic can
614
00:27:39,000 --> 00:27:46,790
be just as good if not better than
615
00:27:41,670 --> 00:27:50,700
anything okay that's a halfway point
616
00:27:46,790 --> 00:27:53,850
everyone take a little breather question
617
00:27:50,700 --> 00:27:57,600
number six from Miguel I heard you like
618
00:27:53,850 --> 00:28:00,090
to put a pull Tech EQ p1a on your master
619
00:27:57,600 --> 00:28:05,180
buss if so how do you set it to create
620
00:28:00,090 --> 00:28:08,790
the sound you want so I am a huge fan of
621
00:28:05,180 --> 00:28:12,330
Steve Jackson's recreation of pole
622
00:28:08,790 --> 00:28:14,700
technique use he he he's just done
623
00:28:12,330 --> 00:28:16,530
amazing work for years concocting this
624
00:28:14,700 --> 00:28:19,920
thing he got to know I forget his name
625
00:28:16,530 --> 00:28:22,260
right now was Eugene's Jean the guy that
626
00:28:19,920 --> 00:28:25,860
started pole Tech who I believe recently
627
00:28:22,260 --> 00:28:29,100
passed away but Steve bought the name
628
00:28:25,860 --> 00:28:30,510
and was completely faithful to the
629
00:28:29,100 --> 00:28:32,820
original design of full ticket queues
630
00:28:30,510 --> 00:28:34,470
and I I was a studio musician for other
631
00:28:32,820 --> 00:28:35,880
record producers all through the 90s and
632
00:28:34,470 --> 00:28:37,860
I really got to know pull Tech's in
633
00:28:35,880 --> 00:28:42,900
studios and they do a thing that nothing
634
00:28:37,860 --> 00:28:44,850
else does that I've ever heard and I was
635
00:28:42,900 --> 00:28:46,770
ready to buy
636
00:28:44,850 --> 00:28:49,500
one vintage one and that's right around
637
00:28:46,770 --> 00:28:51,900
when Steve first went public with his
638
00:28:49,500 --> 00:28:55,230
first EQ p1a I think that was the model
639
00:28:51,900 --> 00:28:56,640
he had at first and I've used a few of
640
00:28:55,230 --> 00:29:00,270
his different things over the years and
641
00:28:56,640 --> 00:29:02,640
then I settled on these two mastering
642
00:29:00,270 --> 00:29:06,090
versions of EQ p1 I swear there stepped
643
00:29:02,640 --> 00:29:08,790
and that was on my mix bus for several
644
00:29:06,090 --> 00:29:11,070
years I still have them I don't have
645
00:29:08,790 --> 00:29:12,960
them on the mix bus anymore I use them
646
00:29:11,070 --> 00:29:16,080
on tracking for all kinds of things from
647
00:29:12,960 --> 00:29:21,180
vocals to bass to kick drum to they're
648
00:29:16,080 --> 00:29:24,570
just magic Holy Grail crazy eq's what I
649
00:29:21,180 --> 00:29:28,560
have on the mix bus now is something
650
00:29:24,570 --> 00:29:32,190
that sends to my ear almost exactly like
651
00:29:28,560 --> 00:29:34,140
the pull technique use and it is an
652
00:29:32,190 --> 00:29:37,230
analog EQ but it is digitally controlled
653
00:29:34,140 --> 00:29:40,380
it's called the better maker and it's so
654
00:29:37,230 --> 00:29:42,540
convenient for me because I don't work
655
00:29:40,380 --> 00:29:44,610
long hours and I don't work on the
656
00:29:42,540 --> 00:29:47,940
weekends because I have 10,000 kids and
657
00:29:44,610 --> 00:29:50,880
I want to be there and to be dad the
658
00:29:47,940 --> 00:29:52,410
better maker the settings are saved in
659
00:29:50,880 --> 00:29:54,930
my Pro Tools session so I open the
660
00:29:52,410 --> 00:29:56,820
session I hear the little click and boom
661
00:29:54,930 --> 00:29:59,520
everything is there not only does it
662
00:29:56,820 --> 00:30:02,040
have a pull technique you section it
663
00:29:59,520 --> 00:30:03,570
also has two other eq's that are just
664
00:30:02,040 --> 00:30:05,760
kind of regular accused you can put
665
00:30:03,570 --> 00:30:07,620
across whatever you want to do and it
666
00:30:05,760 --> 00:30:09,660
also has the best high-pass filter I
667
00:30:07,620 --> 00:30:13,290
think I've ever heard it's really
668
00:30:09,660 --> 00:30:15,110
versatile it's a pretty amazing unit I
669
00:30:13,290 --> 00:30:18,690
think it's called the two three two
670
00:30:15,110 --> 00:30:21,270
something I love it and and I love those
671
00:30:18,690 --> 00:30:23,820
pull text too but in terms of the speed
672
00:30:21,270 --> 00:30:25,530
kind of a new hybrid version which is
673
00:30:23,820 --> 00:30:29,760
what the better maker is was better for
674
00:30:25,530 --> 00:30:33,300
me on the mix buss more for practical
675
00:30:29,760 --> 00:30:35,700
reasons than anything but my favorite
676
00:30:33,300 --> 00:30:41,340
setting on a pull technique you
677
00:30:35,700 --> 00:30:44,370
especially for mix buss is 20 Hertz on
678
00:30:41,340 --> 00:30:48,150
the bottom and sometimes that's kind of
679
00:30:44,370 --> 00:30:51,750
a sharp sharp EQ or a more broad it
680
00:30:48,150 --> 00:30:53,580
depends and then the attenuation which
681
00:30:51,750 --> 00:30:55,670
I'm still not quite exactly sure how
682
00:30:53,580 --> 00:30:57,840
that works but I know it scoops out
683
00:30:55,670 --> 00:30:58,320
something it scoops that something kind
684
00:30:57,840 --> 00:31:01,049
of creates
685
00:30:58,320 --> 00:31:05,070
pays for a bigger bottom so I turn it up
686
00:31:01,049 --> 00:31:08,399
20 Hertz probably like 3 dB which is
687
00:31:05,070 --> 00:31:13,080
maybe more than most people would do it
688
00:31:08,399 --> 00:31:15,899
I know CLA likes to do it 2 DB 3 DB is
689
00:31:13,080 --> 00:31:18,330
quite fun sometimes I go to 4 and a
690
00:31:15,899 --> 00:31:20,399
little bit of attenuation and it takes
691
00:31:18,330 --> 00:31:23,450
out some of the wolf enos of the bottom
692
00:31:20,399 --> 00:31:27,690
you just get this like gorgeous sexy
693
00:31:23,450 --> 00:31:29,940
just crazy impact down low makes the
694
00:31:27,690 --> 00:31:33,179
kick drum sound incredible same with the
695
00:31:29,940 --> 00:31:36,330
bass and then on top I usually don't
696
00:31:33,179 --> 00:31:40,460
intend u8 at all and I will boost it
697
00:31:36,330 --> 00:31:44,370
depends sometimes it sounds really cool
698
00:31:40,460 --> 00:31:47,279
you know if you're on a shelf to go 5k
699
00:31:44,370 --> 00:31:49,620
and boost that boost everything above
700
00:31:47,279 --> 00:31:51,029
that again depending on the source
701
00:31:49,620 --> 00:31:54,960
depending on the song that's going
702
00:31:51,029 --> 00:31:56,909
through it typically you know what is
703
00:31:54,960 --> 00:31:58,320
the top frequency on that Mikey I think
704
00:31:56,909 --> 00:32:01,169
it's 16 okay
705
00:31:58,320 --> 00:32:04,110
maybe boosting that as a shelf it's just
706
00:32:01,169 --> 00:32:09,720
incredible we'll talk about air it's
707
00:32:04,110 --> 00:32:12,629
just magic sounding and if I was using
708
00:32:09,720 --> 00:32:14,070
the original pull Tex on the bus then if
709
00:32:12,629 --> 00:32:18,149
I needed any kind of mid-range stuff I
710
00:32:14,070 --> 00:32:20,279
would probably do that in the box but
711
00:32:18,149 --> 00:32:22,679
there glorious eq's and I highly
712
00:32:20,279 --> 00:32:25,230
recommend if you can to have at least
713
00:32:22,679 --> 00:32:27,889
one in your arsenal because it does
714
00:32:25,230 --> 00:32:32,759
something that really nothing else does
715
00:32:27,889 --> 00:32:34,230
question number seven Mota's how many
716
00:32:32,759 --> 00:32:36,809
instruments should I have playing
717
00:32:34,230 --> 00:32:38,730
together at the same time I'm looking
718
00:32:36,809 --> 00:32:41,460
for tips for a good arrangement
719
00:32:38,730 --> 00:32:45,889
especially those behind a lead vocal so
720
00:32:41,460 --> 00:32:48,720
I understand the intent of the question
721
00:32:45,889 --> 00:32:50,970
it's it's all about the song like I have
722
00:32:48,720 --> 00:32:53,669
no idea is unfortunately is the answer
723
00:32:50,970 --> 00:32:55,710
if it's a you know if it's if it's a
724
00:32:53,669 --> 00:32:57,120
ballad if it's a slow song and it's a
725
00:32:55,710 --> 00:32:59,009
sensitive thing you probably don't want
726
00:32:57,120 --> 00:33:05,100
a lot of instruments maybe it's you know
727
00:32:59,009 --> 00:33:07,559
a couple of things this is all about you
728
00:33:05,100 --> 00:33:09,440
know salting your food to taste -
729
00:33:07,559 --> 00:33:12,080
whatever it tastes right to you
730
00:33:09,440 --> 00:33:14,679
I'm a real fan of experimenting if you
731
00:33:12,080 --> 00:33:18,830
have the time to do it so you can try
732
00:33:14,679 --> 00:33:21,379
you know I recommend this have your
733
00:33:18,830 --> 00:33:22,970
singer sing as early as possible this is
734
00:33:21,379 --> 00:33:26,210
what I try to do in the studio I will
735
00:33:22,970 --> 00:33:27,559
you know play like a Wurlitzer kind of
736
00:33:26,210 --> 00:33:29,779
piano roll will do like a simple guitar
737
00:33:27,559 --> 00:33:31,519
to a click track anything harmonic with
738
00:33:29,779 --> 00:33:33,830
a little bit of rhythm that the singer
739
00:33:31,519 --> 00:33:36,350
can give me a scratch vocal on and as
740
00:33:33,830 --> 00:33:38,120
soon as I have that I might tune it a
741
00:33:36,350 --> 00:33:41,090
little bit I might make it sort of mixi
742
00:33:38,120 --> 00:33:45,289
sounding so it behaves like a vocal on a
743
00:33:41,090 --> 00:33:47,690
record and then you can do whatever you
744
00:33:45,289 --> 00:33:49,519
want you can you can change the backdrop
745
00:33:47,690 --> 00:33:51,980
to a rainy day you can make it look like
746
00:33:49,519 --> 00:33:54,289
you're in the desert it's it's option
747
00:33:51,980 --> 00:33:56,240
anxiety at that point and you can
748
00:33:54,289 --> 00:33:58,730
experiment you can do all kinds of stuff
749
00:33:56,240 --> 00:34:01,340
you can throw the kitchen sink at it you
750
00:33:58,730 --> 00:34:03,649
can have it be at a 440 sine wave you
751
00:34:01,340 --> 00:34:05,149
could click whatever you want to do and
752
00:34:03,649 --> 00:34:08,899
then you'll know because I really
753
00:34:05,149 --> 00:34:10,159
believe and to me it's been proven time
754
00:34:08,899 --> 00:34:11,869
and time and time again that the
755
00:34:10,159 --> 00:34:14,659
speakers are really the thing that
756
00:34:11,869 --> 00:34:16,399
produced the record you can talk about
757
00:34:14,659 --> 00:34:18,470
music you can talk about ideas people
758
00:34:16,399 --> 00:34:22,310
often do of course I catch myself doing
759
00:34:18,470 --> 00:34:24,050
it a lot but until you try something and
760
00:34:22,310 --> 00:34:26,720
you hear it through the speakers no one
761
00:34:24,050 --> 00:34:28,520
really knows and I'm I'm often surprised
762
00:34:26,720 --> 00:34:30,589
at how something I thought wasn't going
763
00:34:28,520 --> 00:34:32,030
to work does work really well through
764
00:34:30,589 --> 00:34:34,970
the speakers and then the opposite can
765
00:34:32,030 --> 00:34:36,230
happen too I'm convinced this is the
766
00:34:34,970 --> 00:34:37,819
right thing and I hear it's like that
767
00:34:36,230 --> 00:34:39,859
doesn't really do what I thought it was
768
00:34:37,819 --> 00:34:42,200
going to do you have to stay open to
769
00:34:39,859 --> 00:34:44,510
recognizing the best idea I will often
770
00:34:42,200 --> 00:34:45,800
suggest something whether it's the
771
00:34:44,510 --> 00:34:48,169
accompaniment to a vocal like this
772
00:34:45,800 --> 00:34:48,829
question is asking or but you know the
773
00:34:48,169 --> 00:34:53,629
right
774
00:34:48,829 --> 00:34:55,760
what are anything and and it is my idea
775
00:34:53,629 --> 00:34:57,560
so it's inevitable that there's some
776
00:34:55,760 --> 00:35:00,770
kind of ego attachment to the fact that
777
00:34:57,560 --> 00:35:02,119
that's my idea that I put forth but if
778
00:35:00,770 --> 00:35:03,980
somebody suggests something that I think
779
00:35:02,119 --> 00:35:05,869
is a better idea I really like I'm open
780
00:35:03,980 --> 00:35:08,630
to whatever it serves it I don't need it
781
00:35:05,869 --> 00:35:12,440
to be my idea maybe my saying something
782
00:35:08,630 --> 00:35:15,290
spurred on the best idea coming into the
783
00:35:12,440 --> 00:35:17,510
sandbox that we're in but it doesn't
784
00:35:15,290 --> 00:35:19,460
have to be my idea so I everyone should
785
00:35:17,510 --> 00:35:22,280
you know if you can try to stay open to
786
00:35:19,460 --> 00:35:23,270
what is best for the music and so that
787
00:35:22,280 --> 00:35:26,780
you know addressing your
788
00:35:23,270 --> 00:35:31,550
question like the best arrangement to me
789
00:35:26,780 --> 00:35:37,150
is usually the least amount of stuff
790
00:35:31,550 --> 00:35:37,150
going on where the vocal feels supported
791
00:35:37,420 --> 00:35:46,400
hugged protected like it's you know it's
792
00:35:44,780 --> 00:35:49,400
kind of like the lead actor in a theater
793
00:35:46,400 --> 00:35:53,510
play you want the backdrop to to really
794
00:35:49,400 --> 00:35:56,120
support whatever is going on there 2,000
795
00:35:53,510 --> 00:35:58,610
years ago in Greece the origins of live
796
00:35:56,120 --> 00:36:02,690
theatre not that I was there I mean I'm
797
00:35:58,610 --> 00:36:05,420
old enough that old the the actors would
798
00:36:02,690 --> 00:36:07,850
be in the middle of stage and there
799
00:36:05,420 --> 00:36:09,650
would be a narrator on one side the
800
00:36:07,850 --> 00:36:11,960
stage reading kind of from the script
801
00:36:09,650 --> 00:36:13,790
and then there was a choir behind
802
00:36:11,960 --> 00:36:17,150
everybody that was the backdrop of the
803
00:36:13,790 --> 00:36:21,440
stage and the choir the chorus the Greek
804
00:36:17,150 --> 00:36:25,580
chorus would you know echo what had just
805
00:36:21,440 --> 00:36:26,810
happened they would kind of recap you
806
00:36:25,580 --> 00:36:29,150
know the last couple minutes or
807
00:36:26,810 --> 00:36:31,250
sometimes I think they would foreshadow
808
00:36:29,150 --> 00:36:33,350
what's about to happen
809
00:36:31,250 --> 00:36:34,970
Shakespeare would do that with whether
810
00:36:33,350 --> 00:36:37,280
in the term for that which I love is
811
00:36:34,970 --> 00:36:41,000
pathetic fallacy I don't know why I'm
812
00:36:37,280 --> 00:36:43,460
talking about this right now but I'm
813
00:36:41,000 --> 00:36:46,160
completely off the plot however I hope
814
00:36:43,460 --> 00:36:48,050
you're being entertained I am it's
815
00:36:46,160 --> 00:36:51,440
really down to whatever's right for the
816
00:36:48,050 --> 00:36:53,600
story that's being told and who the
817
00:36:51,440 --> 00:36:55,520
storyteller is and how it comes out of
818
00:36:53,600 --> 00:36:57,590
them you got to support that you can't
819
00:36:55,520 --> 00:36:58,910
get in the way of it if you do I don't
820
00:36:57,590 --> 00:37:00,710
think you're doing your job it's all
821
00:36:58,910 --> 00:37:03,950
about accompaniment accompaniment
822
00:37:00,710 --> 00:37:07,750
support support support and and then the
823
00:37:03,950 --> 00:37:10,040
ironically the better that the singer is
824
00:37:07,750 --> 00:37:15,020
at telling the story the better the
825
00:37:10,040 --> 00:37:17,870
accompaniment sounds okay
826
00:37:15,020 --> 00:37:21,980
question number eight from Steven what
827
00:37:17,870 --> 00:37:23,540
does good sound quality mean to you well
828
00:37:21,980 --> 00:37:29,690
I definitely know what bad sound quality
829
00:37:23,540 --> 00:37:33,770
is I think we all do but when things
830
00:37:29,690 --> 00:37:35,450
sound really good and and good it's sort
831
00:37:33,770 --> 00:37:37,150
of a very wide-ranging term let's change
832
00:37:35,450 --> 00:37:38,650
that to great sound quality
833
00:37:37,150 --> 00:37:41,020
because I think that's really the intent
834
00:37:38,650 --> 00:37:43,180
behind this question what would is great
835
00:37:41,020 --> 00:37:45,430
sound mean to me the quality of great
836
00:37:43,180 --> 00:37:50,069
sound you know when you're watching a
837
00:37:45,430 --> 00:37:53,079
movie and it's a really great movie and
838
00:37:50,069 --> 00:37:57,549
at some point like maybe 40 minutes in
839
00:37:53,079 --> 00:37:59,829
or earlier you completely forget that
840
00:37:57,549 --> 00:38:01,720
you're watching a movie and you're just
841
00:37:59,829 --> 00:38:03,880
in the experience of whatever is
842
00:38:01,720 --> 00:38:07,420
happening and you feel them all you care
843
00:38:03,880 --> 00:38:09,250
about the characters and that's the
844
00:38:07,420 --> 00:38:11,170
movie version of great sound qualities
845
00:38:09,250 --> 00:38:12,819
but I want music to do that to me I want
846
00:38:11,170 --> 00:38:15,309
to forget that I'm listening to a song I
847
00:38:12,819 --> 00:38:16,720
don't want to notice the kick drum I
848
00:38:15,309 --> 00:38:18,039
don't want to think about what kind of
849
00:38:16,720 --> 00:38:19,990
microphone this I don't want I don't
850
00:38:18,039 --> 00:38:24,720
care who wrote it I don't care where it
851
00:38:19,990 --> 00:38:27,190
was recorded I want to be lost in it and
852
00:38:24,720 --> 00:38:30,190
almost in a dreamlike state you know
853
00:38:27,190 --> 00:38:33,839
letting the music really get into me let
854
00:38:30,190 --> 00:38:36,309
me feel stuff so that is when I think
855
00:38:33,839 --> 00:38:39,579
things are sounding great oh and what is
856
00:38:36,309 --> 00:38:42,520
the thing that really dictates whether
857
00:38:39,579 --> 00:38:44,049
things sound great it is not EQ not
858
00:38:42,520 --> 00:38:47,260
compression it's not any mixed
859
00:38:44,049 --> 00:38:50,230
techniques it's not whether you're in
860
00:38:47,260 --> 00:38:53,109
the box or on this gorgeous console
861
00:38:50,230 --> 00:38:58,180
behind me or in your bedroom or on Mars
862
00:38:53,109 --> 00:39:00,940
it is the quality of the song that's
863
00:38:58,180 --> 00:39:04,990
what sounds good or great or terrible or
864
00:39:00,940 --> 00:39:07,210
bad or boxy or whatever you know when
865
00:39:04,990 --> 00:39:09,970
the song is when the script of the movie
866
00:39:07,210 --> 00:39:12,789
is great I think it's really hard to
867
00:39:09,970 --> 00:39:15,069
make a bad movie if you have an amazing
868
00:39:12,789 --> 00:39:16,510
script and then the opposite of course
869
00:39:15,069 --> 00:39:19,299
is you can have the biggest budget in
870
00:39:16,510 --> 00:39:21,839
the world the hottest director you know
871
00:39:19,299 --> 00:39:24,819
the best actors if the script is kind of
872
00:39:21,839 --> 00:39:27,190
broken you just cannot make a great
873
00:39:24,819 --> 00:39:30,160
movie you can't do it it is impossible
874
00:39:27,190 --> 00:39:32,319
so things that sound best are the best
875
00:39:30,160 --> 00:39:35,890
compositions they're the best songs the
876
00:39:32,319 --> 00:39:38,740
sound of the record is really in the
877
00:39:35,890 --> 00:39:40,690
writing of it and that can't be that
878
00:39:38,740 --> 00:39:42,190
can't be underestimated that's more than
879
00:39:40,690 --> 00:39:46,119
anything why I try to become a
880
00:39:42,190 --> 00:39:48,220
songwriter I remember playing on studio
881
00:39:46,119 --> 00:39:49,390
sessions in Los Angeles in the 1990s
882
00:39:48,220 --> 00:39:50,350
with you know I'd be in the room
883
00:39:49,390 --> 00:39:53,140
sometimes with the world
884
00:39:50,350 --> 00:39:56,770
best musicians like really intimidating
885
00:39:53,140 --> 00:39:58,390
killer team you know super famous people
886
00:39:56,770 --> 00:40:03,790
that I grew up worshiping I still do
887
00:39:58,390 --> 00:40:06,490
great producer great studios and if it
888
00:40:03,790 --> 00:40:08,110
was going well and if we got if we were
889
00:40:06,490 --> 00:40:11,260
tracking live and we got the song and
890
00:40:08,110 --> 00:40:13,090
one or two three takes nobody ever said
891
00:40:11,260 --> 00:40:15,310
well that's a really great song nobody
892
00:40:13,090 --> 00:40:17,590
ever commented on the song they would
893
00:40:15,310 --> 00:40:19,960
say oh nice strum Phil or whatever nice
894
00:40:17,590 --> 00:40:22,660
this that but it was in hindsight it was
895
00:40:19,960 --> 00:40:25,090
always because the song was great and
896
00:40:22,660 --> 00:40:27,400
it's sort of sort of to a degree
897
00:40:25,090 --> 00:40:29,260
recorded itself if we ever had the
898
00:40:27,400 --> 00:40:31,060
opposite app and we were like twelve
899
00:40:29,260 --> 00:40:33,400
takes in and it's just we're stuck and
900
00:40:31,060 --> 00:40:35,080
we know it's not right everything would
901
00:40:33,400 --> 00:40:37,060
get blamed I mean we were you know we
902
00:40:35,080 --> 00:40:39,070
people would quietly whisper we got the
903
00:40:37,060 --> 00:40:40,510
wrong producer or worth you know right
904
00:40:39,070 --> 00:40:42,580
the wrong studio this is the wrong
905
00:40:40,510 --> 00:40:44,590
consoles we've got it's the wrong kick
906
00:40:42,580 --> 00:40:46,950
drum that's the wrong coffee it's the
907
00:40:44,590 --> 00:40:49,000
wrong whatever it was pretty much always
908
00:40:46,950 --> 00:40:50,740
something wrong with the song and
909
00:40:49,000 --> 00:40:52,150
sometimes songs will have sections that
910
00:40:50,740 --> 00:40:58,270
work really well and there'll be a
911
00:40:52,150 --> 00:41:00,880
problem area like a big road bump and it
912
00:40:58,270 --> 00:41:03,340
affects the whole thing it's really down
913
00:41:00,880 --> 00:41:06,100
to the writing and that is what sounds
914
00:41:03,340 --> 00:41:07,570
best and I humbly advise and you don't
915
00:41:06,100 --> 00:41:10,480
let anybody tell you otherwise because
916
00:41:07,570 --> 00:41:12,250
they're wrong it's the composition it's
917
00:41:10,480 --> 00:41:13,900
the quality of the script that's what
918
00:41:12,250 --> 00:41:16,960
sounds the best of course everything
919
00:41:13,900 --> 00:41:18,820
else is super important I mean I you
920
00:41:16,960 --> 00:41:20,800
know there is there's a particular
921
00:41:18,820 --> 00:41:23,470
guitar cable that I like to use that
922
00:41:20,800 --> 00:41:25,000
again Eric Valentine makes and it is the
923
00:41:23,470 --> 00:41:28,060
best guitar cable you can change the
924
00:41:25,000 --> 00:41:31,000
impedance on it yeah that makes a
925
00:41:28,060 --> 00:41:33,880
massive difference yes I record on
926
00:41:31,000 --> 00:41:37,780
microphones that cost almost as much as
927
00:41:33,880 --> 00:41:39,700
a car but you can use all of that gear
928
00:41:37,780 --> 00:41:43,840
you can be in a gorgeous facility like
929
00:41:39,700 --> 00:41:45,330
this if the song is broken you can
930
00:41:43,840 --> 00:41:46,960
you're not going to make a good record
931
00:41:45,330 --> 00:41:48,600
definitely not going to make a great
932
00:41:46,960 --> 00:41:52,720
record you maybe will make a good one
933
00:41:48,600 --> 00:41:56,140
it's in the writing okay question number
934
00:41:52,720 --> 00:41:59,440
nine Vincent how do you get such a good
935
00:41:56,140 --> 00:42:01,950
bass sound do you combine the DI with an
936
00:41:59,440 --> 00:42:06,930
amp what Mike do you use
937
00:42:01,950 --> 00:42:10,349
I love bass I love bass synth I love
938
00:42:06,930 --> 00:42:13,020
tubas I love petals on a pipe organ I
939
00:42:10,349 --> 00:42:15,750
love mogh Taurus petals
940
00:42:13,020 --> 00:42:17,760
I love low notes they're just they're
941
00:42:15,750 --> 00:42:20,220
amazing fun and it's really fun to play
942
00:42:17,760 --> 00:42:22,020
bass guitar through a great sounding amp
943
00:42:20,220 --> 00:42:26,700
on a great song there's no feeling like
944
00:42:22,020 --> 00:42:32,250
it it's really wild and I play a lot of
945
00:42:26,700 --> 00:42:34,440
bass in the studio so a few times I had
946
00:42:32,250 --> 00:42:36,690
I've had some other bass amps throughout
947
00:42:34,440 --> 00:42:38,579
the years and they were cool but a
948
00:42:36,690 --> 00:42:43,020
couple times I would rent an ampeg
949
00:42:38,579 --> 00:42:44,730
classic amp egghead and an 810 cabinet
950
00:42:43,020 --> 00:42:46,650
and every time I did I just thought
951
00:42:44,730 --> 00:42:49,440
that's it that's the bass amp that's the
952
00:42:46,650 --> 00:42:52,260
one I wish I had and then finally I just
953
00:42:49,440 --> 00:42:54,390
committed and had enough money in the
954
00:42:52,260 --> 00:42:58,260
bank where I could get a reissue of the
955
00:42:54,390 --> 00:43:00,720
ampeg classic head and I instead of an
956
00:42:58,260 --> 00:43:02,910
810 cabinet I got a 410 cabinet I just
957
00:43:00,720 --> 00:43:04,710
figured it would eat up less space in my
958
00:43:02,910 --> 00:43:07,710
studio and I'm on a microphone it sounds
959
00:43:04,710 --> 00:43:11,880
pretty much the same so that's what I
960
00:43:07,710 --> 00:43:15,260
use we have two microphones on the bass
961
00:43:11,880 --> 00:43:20,970
cabinet we also take the DI the direct
962
00:43:15,260 --> 00:43:23,130
signal through a radial di so when I
963
00:43:20,970 --> 00:43:25,049
record there's three bass tracks there's
964
00:43:23,130 --> 00:43:27,359
the direct you know coming right off the
965
00:43:25,049 --> 00:43:30,119
bass not going through an amp and then
966
00:43:27,359 --> 00:43:33,630
there's two mics on the bass amp one is
967
00:43:30,119 --> 00:43:36,950
this weird old mic that was made in
968
00:43:33,630 --> 00:43:38,990
Pasadena California in the 1950s and
969
00:43:36,950 --> 00:43:41,579
it's a company called American
970
00:43:38,990 --> 00:43:44,490
microphones the microphones look like
971
00:43:41,579 --> 00:43:46,109
these old James Bond laser guns from
972
00:43:44,490 --> 00:43:48,000
early seventies movies they're really
973
00:43:46,109 --> 00:43:50,549
they're really cool-looking
974
00:43:48,000 --> 00:43:52,140
they're about that long you get you can
975
00:43:50,549 --> 00:43:57,829
find them on eBay for three four hundred
976
00:43:52,140 --> 00:44:01,109
dollars and I've got three of them now
977
00:43:57,829 --> 00:44:02,970
they are sort of fantastically not high
978
00:44:01,109 --> 00:44:05,220
five sounding but they're not that
979
00:44:02,970 --> 00:44:08,220
crunchy either they're just they have a
980
00:44:05,220 --> 00:44:10,170
lot of personality and I use that for
981
00:44:08,220 --> 00:44:12,660
kind of the presence and the sort of
982
00:44:10,170 --> 00:44:14,670
real character more top-end sounds of
983
00:44:12,660 --> 00:44:15,240
the bass it sounds good in the lower
984
00:44:14,670 --> 00:44:19,140
mids too
985
00:44:15,240 --> 00:44:20,670
and then I blend that to taste depending
986
00:44:19,140 --> 00:44:26,609
on the song and the kind of bass part
987
00:44:20,670 --> 00:44:28,500
I'm playing with my favorite mic for
988
00:44:26,609 --> 00:44:31,260
this kind of like low rich tone is a
989
00:44:28,500 --> 00:44:33,140
forty seven and a fat forty seven is
990
00:44:31,260 --> 00:44:36,480
great - it's probably say frontal loud
991
00:44:33,140 --> 00:44:40,190
bass amp but I could not afford a second
992
00:44:36,480 --> 00:44:43,410
47 that I really liked so I asked Alan
993
00:44:40,190 --> 00:44:46,710
Venna Tosh at Telefunken USA who built
994
00:44:43,410 --> 00:44:49,680
my two great vocal mics I asked him to
995
00:44:46,710 --> 00:44:53,700
recommend something that would go as low
996
00:44:49,680 --> 00:44:55,320
as that sonically was going to pick up
997
00:44:53,700 --> 00:44:57,930
like you know especially if I
998
00:44:55,320 --> 00:45:00,119
occasionally I'll use a five string bass
999
00:44:57,930 --> 00:45:01,650
just to have a low D or a low whatever I
1000
00:45:00,119 --> 00:45:03,450
know it's not cool to play five string
1001
00:45:01,650 --> 00:45:06,150
but it sounds great sometimes on the
1002
00:45:03,450 --> 00:45:09,540
right song so they have a mic call to
1003
00:45:06,150 --> 00:45:12,690
see you twenty-nine and it sounds
1004
00:45:09,540 --> 00:45:17,280
phenomenal on the bass amp so it's those
1005
00:45:12,690 --> 00:45:21,450
two mics blended going through some nice
1006
00:45:17,280 --> 00:45:27,390
Chandler Mike pries and usually no
1007
00:45:21,450 --> 00:45:30,030
compression on the way in I like to keep
1008
00:45:27,390 --> 00:45:32,520
all the kind of low there all the low
1009
00:45:30,030 --> 00:45:35,550
end intact and I'll just control my
1010
00:45:32,520 --> 00:45:37,470
dynamics just as a player and then
1011
00:45:35,550 --> 00:45:41,070
usually in the mix I almost never use
1012
00:45:37,470 --> 00:45:43,200
the DI signal it's always the amp I just
1013
00:45:41,070 --> 00:45:47,580
that's in my head that is sort of the
1014
00:45:43,200 --> 00:45:49,550
big gloopy glue a little bass sound that
1015
00:45:47,580 --> 00:45:53,130
I'm looking for that I really like a
1016
00:45:49,550 --> 00:45:56,820
bass through di to me sometimes sounds
1017
00:45:53,130 --> 00:45:57,240
cool but rarely it just it feels a bit
1018
00:45:56,820 --> 00:46:02,310
too
1019
00:45:57,240 --> 00:46:07,710
I like the bass to sound kind of kind of
1020
00:46:02,310 --> 00:46:09,770
dumb and you know simple and the amp
1021
00:46:07,710 --> 00:46:12,750
actress does an amazing job of that so
1022
00:46:09,770 --> 00:46:15,710
if you like the bass sound on anything
1023
00:46:12,750 --> 00:46:20,310
that I've done in the last I don't know
1024
00:46:15,710 --> 00:46:24,839
10 years it is that setup okay we're
1025
00:46:20,310 --> 00:46:27,089
we're now at the final question if
1026
00:46:24,839 --> 00:46:29,270
you've made it this far through my not
1027
00:46:27,089 --> 00:46:31,700
short answer
1028
00:46:29,270 --> 00:46:35,510
question number ten is from Saul how do
1029
00:46:31,700 --> 00:46:38,420
you deal between fidelity and harmonic
1030
00:46:35,510 --> 00:46:40,310
distortion knowing every now and then in
1031
00:46:38,420 --> 00:46:43,670
the process of recording and mixing both
1032
00:46:40,310 --> 00:46:45,260
our relative concepts as all is
1033
00:46:43,670 --> 00:46:47,630
distorted in a certain kind of way
1034
00:46:45,260 --> 00:46:50,540
because of the medium do you prefer the
1035
00:46:47,630 --> 00:46:54,320
old school or these days use
1036
00:46:50,540 --> 00:46:57,530
I mean distortion is really is an
1037
00:46:54,320 --> 00:46:59,270
amazing thing and and you know
1038
00:46:57,530 --> 00:47:02,600
distortion doesn't mean a distortion
1039
00:46:59,270 --> 00:47:03,800
pedal there's all kinds of there's some
1040
00:47:02,600 --> 00:47:06,590
kind of distortion happening right now
1041
00:47:03,800 --> 00:47:08,900
this this you know little mic that is
1042
00:47:06,590 --> 00:47:11,840
attached to my shirt that you're hearing
1043
00:47:08,900 --> 00:47:15,110
but the Beatles records are just covered
1044
00:47:11,840 --> 00:47:20,120
in really all the all recordings are
1045
00:47:15,110 --> 00:47:22,130
absolutely slathered layered in just in
1046
00:47:20,120 --> 00:47:24,950
distortion but it's more like tube
1047
00:47:22,130 --> 00:47:27,800
overdrive the imperfections of tubes and
1048
00:47:24,950 --> 00:47:29,780
what they do to sound is imperfect but
1049
00:47:27,800 --> 00:47:32,630
it sounds amazing same with tape we
1050
00:47:29,780 --> 00:47:34,730
record things to tape its smearing the
1051
00:47:32,630 --> 00:47:36,280
frequencies it rolls off a bunch of high
1052
00:47:34,730 --> 00:47:38,390
end it rolls off a bunch of low end
1053
00:47:36,280 --> 00:47:42,230
ironically it makes things sound bigger
1054
00:47:38,390 --> 00:47:44,330
a lot of the time the minute you audio
1055
00:47:42,230 --> 00:47:46,850
passes through a tube it's being kind of
1056
00:47:44,330 --> 00:47:50,440
changed and colored and I really like
1057
00:47:46,850 --> 00:47:53,360
all of that stuff I'm a big fan of
1058
00:47:50,440 --> 00:47:57,110
hardware and software that where you can
1059
00:47:53,360 --> 00:47:58,780
control adding harmonic distortion to
1060
00:47:57,110 --> 00:48:02,870
things
1061
00:47:58,780 --> 00:48:04,520
the there's a new plugin by way it's
1062
00:48:02,870 --> 00:48:06,920
called a Saphira I think I'm pronouncing
1063
00:48:04,520 --> 00:48:09,130
it right the virus if you're where you
1064
00:48:06,920 --> 00:48:11,870
can really bring out second and third
1065
00:48:09,130 --> 00:48:15,320
harmonics on the source sometimes I'll
1066
00:48:11,870 --> 00:48:20,300
put it across the entire mix I have a
1067
00:48:15,320 --> 00:48:23,840
unit on in my console called the master
1068
00:48:20,300 --> 00:48:26,240
and servant made by / stair in LA Jeff
1069
00:48:23,840 --> 00:48:31,270
terzo makes great gear and that's really
1070
00:48:26,240 --> 00:48:35,290
fun to use the Decapitator plugin is
1071
00:48:31,270 --> 00:48:35,290
ridiculous really fun
1072
00:48:35,309 --> 00:48:42,599
I like the the level or made by standard
1073
00:48:40,289 --> 00:48:44,459
audio in McGregor and his partner Tom
1074
00:48:42,599 --> 00:48:46,499
standard audio there's actually these
1075
00:48:44,459 --> 00:48:51,150
one here right beside me that mix at the
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00:48:46,499 --> 00:48:54,449
Masters level or right there there's all
1077
00:48:51,150 --> 00:48:55,679
kinds of stuff that that helps but most
1078
00:48:54,449 --> 00:48:56,519
of it you don't really hear as
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00:48:55,679 --> 00:48:59,669
Distortion
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and sometimes it just makes things sound
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00:48:59,669 --> 00:49:04,739
more present sometimes it gives it a
1082
00:49:01,759 --> 00:49:07,739
cohesiveness and a kind of record light
1083
00:49:04,739 --> 00:49:10,049
quality that if you take it out you
1084
00:49:07,739 --> 00:49:13,229
really miss it it's a really fun thing
1085
00:49:10,049 --> 00:49:14,429
to play with it like almost everything
1086
00:49:13,229 --> 00:49:17,159
if not everything it involves
1087
00:49:14,429 --> 00:49:20,459
experimenting and figuring out what too
1088
00:49:17,159 --> 00:49:23,279
much is what not enough is always
1089
00:49:20,459 --> 00:49:27,599
compared always a be with it off and put
1090
00:49:23,279 --> 00:49:31,140
it back in turn it off turn on there's
1091
00:49:27,599 --> 00:49:33,719
different types of it my plugins with
1092
00:49:31,140 --> 00:49:35,869
waves have a fair amount of that stuff
1093
00:49:33,719 --> 00:49:38,640
built in especially the mix centric
1094
00:49:35,869 --> 00:49:41,219
there's a it would sound very different
1095
00:49:38,640 --> 00:49:44,999
actually if the harmonic distortion was
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00:49:41,219 --> 00:49:46,650
taken out of the path so I encourage
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00:49:44,999 --> 00:49:48,239
everyone to kind of mess with it it does
1098
00:49:46,650 --> 00:49:52,739
do a thing it can make things sound
1099
00:49:48,239 --> 00:49:55,919
really cool it's amazing on bass bass
1100
00:49:52,739 --> 00:49:58,109
synth bass guitar it just makes the
1101
00:49:55,919 --> 00:50:00,150
notes sound better
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00:49:58,109 --> 00:50:03,599
not necessarily louder just gives them
1103
00:50:00,150 --> 00:50:06,529
more of a footprint a sonic footprint in
1104
00:50:03,599 --> 00:50:11,150
the track it can be incredible on vocals
1105
00:50:06,529 --> 00:50:13,949
definitely on drums the guitar obviously
1106
00:50:11,150 --> 00:50:15,359
you know if there's all kinds of usages
1107
00:50:13,949 --> 00:50:18,029
for it and then you have somebody like
1108
00:50:15,359 --> 00:50:20,939
Chad Blake who was doing the seminar
1109
00:50:18,029 --> 00:50:25,199
just before me here I'd mix with the
1110
00:50:20,939 --> 00:50:27,509
Masters and Chad is a master of running
1111
00:50:25,199 --> 00:50:30,509
things through things like the sansamp
1112
00:50:27,509 --> 00:50:32,599
or Decapitator or I know he's a big fan
1113
00:50:30,509 --> 00:50:36,390
of the shore level lock which is an old
1114
00:50:32,599 --> 00:50:37,799
I think it was 4p I systems like it's a
1115
00:50:36,390 --> 00:50:40,199
mic pre and there's some sort of weird
1116
00:50:37,799 --> 00:50:42,419
noisy built in compression thing that
1117
00:50:40,199 --> 00:50:45,029
happens and he's all about all of that
1118
00:50:42,419 --> 00:50:47,309
stuff and he is you can hear the
1119
00:50:45,029 --> 00:50:48,740
distortion in his mixes but it just
1120
00:50:47,309 --> 00:50:52,670
gives a character and
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00:50:48,740 --> 00:50:55,430
kind of a sculpting element to the stuff
1122
00:50:52,670 --> 00:50:56,810
that he uses in his mixes that I've
1123
00:50:55,430 --> 00:50:59,150
never heard anybody else do it like that
1124
00:50:56,810 --> 00:51:01,310
he's really you know talked about a
1125
00:50:59,150 --> 00:51:03,050
master of so many things but in
1126
00:51:01,310 --> 00:51:05,230
particular like the way he uses
1127
00:51:03,050 --> 00:51:08,930
distortion to just vibe his mixes up
1128
00:51:05,230 --> 00:51:11,240
it's so brilliant from his latest work
1129
00:51:08,930 --> 00:51:14,330
to even you know one of my favorite
1130
00:51:11,240 --> 00:51:17,000
examples of all that is the Latin
1131
00:51:14,330 --> 00:51:19,580
playboys recordings him and Mitchell
1132
00:51:17,000 --> 00:51:23,990
froom and two incredibly talented guys
1133
00:51:19,580 --> 00:51:25,369
from Los Lobos so I hope that helps I've
1134
00:51:23,990 --> 00:51:28,330
mentioned a lot of things that will give
1135
00:51:25,369 --> 00:51:31,100
you distortion that you can use in a mix
1136
00:51:28,330 --> 00:51:32,810
it's really more like overdrive not
1137
00:51:31,100 --> 00:51:34,130
really distortion to me that means like
1138
00:51:32,810 --> 00:51:36,830
more of a fuzzy kind of thing but even
1139
00:51:34,130 --> 00:51:38,780
that can be cool experiment experiment
1140
00:51:36,830 --> 00:51:42,650
experiment compare try to stay objective
1141
00:51:38,780 --> 00:51:45,040
and go make some great music I'm going
1142
00:51:42,650 --> 00:51:47,750
to wrap this up thank you for joining me
1143
00:51:45,040 --> 00:51:50,000
it's a real honor and privilege to be
1144
00:51:47,750 --> 00:51:52,280
able to answer these questions from this
1145
00:51:50,000 --> 00:51:55,900
beautiful studio here in France and
1146
00:51:52,280 --> 00:51:57,530
thanks for submitting the questions and
1147
00:51:55,900 --> 00:52:00,280
I'll see you later
1148
00:51:57,530 --> 00:52:00,280
Thanks
88012
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