All language subtitles for 19 - Mitchell Froom & Tchad Blake
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hello I'm Mitchell froom and I'm Chad
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Blake and we're talking to you from la
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Fabrique in the South of France were in
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the middle of a seminar that we're doing
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for 15 participants and this is just a
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bit extra to answer questions from the
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world out but so we have ten questions
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and the first time we've worked together
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in 14 years so it's a great occasion
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first question you want me to read here
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yeah a Steve McClintock Chad I love how
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the Arctic Monkeys
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am and Black Keys El Camino have such a
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full bottom end like a hip-hop record
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can you share any tips or techniques for
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achieving that nice full bass and kick
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Cheers
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that's pretty easy both these bands came
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to me saying exactly that they they
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wanted a live band feel but to have some
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Sonics that reflect the modern sound of
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hip-hop records and so I added a sample
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and I'm pretty sure I used the samples
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that are on this drum agog is the
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sampler that I have and there's a
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there's two samples that I use a lot and
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that's techno 15 and techno number five
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and you just have to play with the
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tuning the EQ and the phase some maybe
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high-pass filtering to just it's just
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got to fit with the rest of the drum kit
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in the bass so play around with that and
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you should get it exactly that your turn
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okay Pete hello santé what are the new
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tools that you've discovered in the last
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five years that made the biggest change
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in your productions new keyboard
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software's the thing that's made the
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biggest change in my production is
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something that was a new tool for me
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which is Pro Tools I am
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I kind of avoided learning it and I
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found myself doing needing to do more
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more arrangements full band arrangement
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strings horns everything so past three
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years I've been writing a lot of music a
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lot of tracks working with artists that
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way and also delivering full
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Arrangements on Pro Tools and new
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keyboards I just got one I love it's
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called a op1 I brought it here everybody
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seemed to like it it's a great keyboard
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and it's one of these ones everyone will
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use in their own way so you can sample
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off FM radio you can mangle sounds in a
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lot of different ways you can sample
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your own keyboards or guitars or
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whatever it's a great thing and it's got
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cranks and rubber bands it's got
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everything you want and it's tiny and
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but a solid is a great great great
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instrument and another thing called a
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pocket piano that it's just fun I
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haven't used it a lot on recording but
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it's a just a little 8-bit analog synth
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and these are the first dopey one on
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this are the first new keyboard things
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that I've found maybe in 15 years that I
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like so my key cooling I frequently
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record vocalist guitarists trying to
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separate the vocals and guitar from a
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take is tricky especially if I want to
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apply pitch correction any tips also
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keeping the hand off the snare tracks
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that is a really you know age-old
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engineering problems and besides the
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obvious of just doing things separately
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which with I don't do a lot of pitch
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correction on vocals myself so I mean I
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if it was going to be a lot I'd record
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them separately but if you can't for the
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like acoustic guitars and vocals is just
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finding a mic that really rejects the
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acoustic and there are there's annoyin
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I'm sorry I can't remember the model
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number but it looks like a pencil mic
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with a larger head like a kuat 6 or
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something like
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it's it's so it's not the greatest vocal
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mic sound but you can work with it and
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it really it you have a guitar here and
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the vocalist up here and you just almost
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don't hear the guitar at all the other
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thing is using a lavalier mic which we
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did a lot call all the records that we
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did back and then 90s would have if it
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was acoustic guitar it would have been
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recorded this way is putting a little
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lavalier back then it would have been in
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ECM 50 a Sony ECM 50 or an ECM 55
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putting it as an omni lavalier condenser
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that would put it inside the sound hole
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just hanging slightly inside the sound
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hole roll off all the low-end add a
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little bit of sansamp and you know
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really virtually no leakage of vocal
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into the guitar then you just got to
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find yourself a good vocal mic as far as
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the hi-hat my only tip i've never found
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anything that worked for me except that
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worked as good as having a set of high
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hats around that are quiet just find
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yourself a really good pair of high hats
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that sound good and that are quiet you
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can you can find under half the level of
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these k's or a lot of drummers come in
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with high hats that that are for live
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and it's just really meant to project
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find something else or i would say this
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yeah just get the balance right have the
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drummer play it quieter there's nothing
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that sounds better than a balanced
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drummer so if it's and i think you're
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despite it all the way to the end if you
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don't get a balanced kit to make the
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decision of how loud you want stuff and
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have the person play like that yeah
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that's some drummers will get thrown by
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that and in that case get the Crider
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smith yeah but that's but also if
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they're thrown by that just give them a
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chance and they learn how to play in the
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studio you know that it it's actually
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that you're right that's the only way
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they're going to learn isn't it yeah it
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was probably we've admitted I remember
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some guys that played the hi-hat too
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quiet yeah for my taste
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I I can play a balance
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and just encourage them not to all the
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sudden start bashing it you know so it's
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play balance the attract yeah I think as
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an engineer it's not always your job to
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like think that you can do the
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impossible I think it's okay to ask
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Volkl this when they're singing to work
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the mic people don't do that much
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anymore
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drummers can work the kit and work the
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mic themselves you can find ways to do
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that so I think it'd be really good to
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maybe put some heat on on the signal
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coming in you know yeah and if they
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record a take of the drummer have them
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come in listen say the well this there's
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just a mic overhead listen how loud your
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hi-hat is or listen out loud your
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cinereous like could you please play
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balance and try to give them their
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headphones so it sounds like they should
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sound and yeah I think that's good
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Andrew Todd's can you name three records
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that change the game in terms of
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production and Sonics in the last decade
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I just no I I don't have an answer for
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that except just that I think some
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people are original and I like them but
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I think everything's so diffused now
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that there's just these pockets of
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people that like certain artists so it
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doesn't seem like there hasn't been the
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new Beatles or anything so I don't know
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if you know maybe there's some records
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you've heard that you really like or but
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not I don't know about game-changer that
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I would point to I I remember like some
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people thought Feist record the remind
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remain a reminder whatever scope that
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that was it changed the way a bunch of
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female artists looked it at how to do
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music you know there's records that
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different people have admired I'm sure
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hip hop records you you know that
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there's guys I there's lots of stuff
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that I like and that you know I love to
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listen to it at home I think I'd have to
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go back farther than the last decade for
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game-changer for me I think when I think
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of a game-changer for me in that in
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modern recording I think of supa dupa
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fly missing misdemeanor alley
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you're saying record my boo do you know
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Dan yeah Angela we just changed the
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whole way but really it was supa dupa
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flight it did it for me I am I got that
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record and played it because we were
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still sounds back I just remember
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playing that there and just thought it
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was so beautiful I just think that's
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it's about as close to a perfect record
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that you can get as the between
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production and Sonics and what the
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artist is you know the identity of the
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artist is just fantastic
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next John Smith Chad on the Finn
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brothers album there's a track where the
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vocals appeared to be elevated above or
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on top of the mix was this the use of
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the K u 100 mic and the ka 100 for those
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who don't know is a binaural microphone
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some people call it a dummy head it was
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designed by a guy named Fritz Kuhns
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cough and it's I'm supposed to give you
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like a realistic representation of a a
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binaural field which is just a binaural
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is how we hear how humans here and I
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don't remember doing vocals on any
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particular song but it there is I think
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there is a track on there I recorded
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almost the whole thing with the by
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neural head and then added some stuff
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but so it could be a the thing about
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being on top of the mix I'm not sure I
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understand what that means and where
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that would be do you mean literally on
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top because that's easy
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anything mono to my ears anything mono
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on headphones goes to the top and
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whether it's by neural or not the hard
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part the tricky bit is to get something
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a sound like it's in front or behind and
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that's where binaural you try to that's
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what you try to work with binaural but
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somewhat level like if the vocal level
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isn't real hot it sounds more on top if
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it's really loud it sounds in front if
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you're talking if he's talking about on
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top of the mix then level wise and
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that's level but because
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mentioning binaural I'm thinking on top
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or in front because yeah something on
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top of the mix is level it would be
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level I'm sorry I'm not sure I
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understand the question entirely but the
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short answer is I don't remember sorry
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they're all smart love your work can you
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explain your basic mixing set up for the
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Sheryl Crow record maybe focus on one
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song in particular yeah I think it's I
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think it's simple it is going back away
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so I don't remember exactly what the
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setup was but at that time if you're
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asking about like what was on the stereo
254
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bus maybe it would have sex we used
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vocal chain I'm not going to remember
256
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specifics a stereo bus at that time was
257
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a al smart see one that was Mitchell's
258
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compressor that we had a limiter and the
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I was using sans amps mixed in for bass
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and maybe kick drum bits of the drums at
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that time I wasn't using level lock on
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the drums was I that would hundred them
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it was just API console it was something
264
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I used to use them a guitar pedal the
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dod analog delay a lot for vocals for
266
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very short vocals what was that there
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was that one song called the book that
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we used this morley pedal I remember
269
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that it's the only specific I remember
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is using this oil candle a to get the
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sound of the acoustic guitars at the
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front they're all warbling a little did
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you recorded that that wasn't him oh no
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that was part of the mix move initial
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mix may be recorded it while we were
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mixing good I am sorry I can't be more
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helpful in that and it was very simple
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it was just a 48 input API desk really
279
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with a an al smart limiter 24 track tape
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24 track tape mixed are we mixed that -
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Sadie right 16 bit 441 Clifton Cox
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hey Chad first off thanks for taking the
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time to answer questions for those of us
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who constantly love to learn me too
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on the Black Keys brothers album it said
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they gave you a simple kick and mono
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overhead track the wandering for years
288
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how you got that mono overhead the sound
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so big wide natural is it a stereo with
290
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tulle reverb tight delays
291
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I can't put my hand on it but whatever
292
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it is sounds great thanks
293
00:13:44,980 --> 00:13:46,540
every song I think is a bit different
294
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but mainly if you hear a spread on there
295
00:13:50,710 --> 00:13:53,170
- stereo it's probably speakerphone and
296
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I don't remember what patch was used or
297
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what ir was used but I used calls living
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room I've used the bathroom there's a
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white tiled bathroom there's a thing
300
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called an actual a at Attili ER I don't
301
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know what is that French Victor might
302
00:14:11,470 --> 00:14:18,040
know what else there was another anyway
303
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Oh girls bedroom was another one so yeah
304
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speakerphone also used H 3000 patches
305
00:14:30,870 --> 00:14:34,390
really all really small stuff that maybe
306
00:14:34,390 --> 00:14:38,830
the the best bit is any of those things
307
00:14:38,830 --> 00:14:40,300
I probably would have rolled off all the
308
00:14:40,300 --> 00:14:43,090
top end it's just so it sounded dull I I
309
00:14:43,090 --> 00:14:47,640
do that a lot for reverbs and rooms like
310
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5k and up just pull it down just you
311
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know maybe not a really sharp slope but
312
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like 12 DB per octave shelf 5k or 8k
313
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just gone and it sounds really nice and
314
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you
315
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Mauricio Mendez a metalhead I love the
316
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sound II records that's how I got to
317
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know you I noticed my favorite records
318
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were made by you
319
00:15:13,900 --> 00:15:17,320
thank you can you tell me some strange
320
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or weird recording techniques you've
321
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come across or invented yourself like
322
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damp going in an aluminum hose and
323
00:15:25,450 --> 00:15:28,380
recording that sound that's a good idea
324
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yeah thank you very much I love your
325
00:15:30,780 --> 00:15:33,330
work and creativity but think that's I
326
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mean that's on the engineering end which
327
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which yeah we were like-minded in that
328
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is that anything we could do to change
329
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the sound I learned from a guy named
330
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Sherman Kane who used to talk about the
331
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plumbing of a microphone and I took it
332
00:15:51,150 --> 00:15:53,490
kind of literally saying that all
333
00:15:53,490 --> 00:15:57,990
microphones were omni and um that you
334
00:15:57,990 --> 00:15:59,730
there was electronic things and
335
00:15:59,730 --> 00:16:01,530
mechanical things that happened to make
336
00:16:01,530 --> 00:16:04,670
to turn a microphone into a cardioid or
337
00:16:04,670 --> 00:16:08,760
bi-directional ER and so I started doing
338
00:16:08,760 --> 00:16:10,560
that myself with Omni microphones is
339
00:16:10,560 --> 00:16:13,290
taking cans and pipes and putting them
340
00:16:13,290 --> 00:16:16,290
in trying to change the EQ curve of the
341
00:16:16,290 --> 00:16:19,260
mic and the get out different weird
342
00:16:19,260 --> 00:16:20,580
polar pattern so that's where that comes
343
00:16:20,580 --> 00:16:24,030
from it's using anything so it's just
344
00:16:24,030 --> 00:16:28,650
unlimited I think unusual what I
345
00:16:28,650 --> 00:16:30,750
remember Mitchell doing in unusual
346
00:16:30,750 --> 00:16:33,360
techniques was was putting together lots
347
00:16:33,360 --> 00:16:36,450
of really different instruments like
348
00:16:36,450 --> 00:16:39,480
you'd have a keyboard part that you
349
00:16:39,480 --> 00:16:41,520
you'd want a note out of but then you'd
350
00:16:41,520 --> 00:16:43,500
get like a Mark's a phone and add that
351
00:16:43,500 --> 00:16:45,270
to it but then what that really filtered
352
00:16:45,270 --> 00:16:48,600
and then that was almost it and then you
353
00:16:48,600 --> 00:16:50,040
go out and do I don't know a percussive
354
00:16:50,040 --> 00:16:53,760
bass note on the b3 and then that was
355
00:16:53,760 --> 00:16:56,570
all mixed together to create one kind of
356
00:16:56,570 --> 00:16:58,650
sound and sometimes it could just be a
357
00:16:58,650 --> 00:17:01,440
stab like up to one lesson George George
358
00:17:01,440 --> 00:17:02,100
Martin
359
00:17:02,100 --> 00:17:04,920
like that's orchestral where you combine
360
00:17:04,920 --> 00:17:07,829
a few inches to create one instrument
361
00:17:07,829 --> 00:17:09,900
and when people double it's better to
362
00:17:09,900 --> 00:17:12,260
try it in octaves or fifths or like
363
00:17:12,260 --> 00:17:15,180
create overtones from something but I
364
00:17:15,180 --> 00:17:16,920
would if I was going to suggest
365
00:17:16,920 --> 00:17:20,310
something for example we entered a
366
00:17:20,310 --> 00:17:22,079
period where I remember we whenever we
367
00:17:22,079 --> 00:17:25,050
recorded drums we tried to change up the
368
00:17:25,050 --> 00:17:28,170
drum kit like instead of the hi-hat set
369
00:17:28,170 --> 00:17:30,770
this up instead of snare you put some
370
00:17:30,770 --> 00:17:33,960
jangles on it or just and then Chad
371
00:17:33,960 --> 00:17:36,210
would experiment with different kinds of
372
00:17:36,210 --> 00:17:39,740
miking distortion and then eventually
373
00:17:39,740 --> 00:17:42,409
that would affect the way the drummer
374
00:17:42,409 --> 00:17:45,480
so if you want to find weird techniques
375
00:17:45,480 --> 00:17:48,570
I would try this I think it's much
376
00:17:48,570 --> 00:17:50,549
easier to come upon something if you
377
00:17:50,549 --> 00:17:53,039
start with something unusual say and
378
00:17:53,039 --> 00:17:56,249
then see how strange and see if in the
379
00:17:56,249 --> 00:17:57,779
process of all of it if you can come up
380
00:17:57,779 --> 00:17:59,940
with something if you're just mixing and
381
00:17:59,940 --> 00:18:01,980
you have a straight drumkit it's harder
382
00:18:01,980 --> 00:18:03,600
I mean you can do stuff but it's not
383
00:18:03,600 --> 00:18:05,220
going to sound all that difference
384
00:18:05,220 --> 00:18:07,379
really needs a really good to start from
385
00:18:07,379 --> 00:18:09,119
the top because it changes everything
386
00:18:09,119 --> 00:18:10,919
way every time you're coming on to
387
00:18:10,919 --> 00:18:13,409
techniques you know you go like oh I see
388
00:18:13,409 --> 00:18:15,149
how we do that with drums but there can
389
00:18:15,149 --> 00:18:17,279
never be a hi-hat you know but you won't
390
00:18:17,279 --> 00:18:19,980
figure that out if you get a drum kit
391
00:18:19,980 --> 00:18:21,509
that you're trying to mix it's already
392
00:18:21,509 --> 00:18:24,570
got all that stuff in so yeah I think
393
00:18:24,570 --> 00:18:26,580
that's probably how a lot of stuff came
394
00:18:26,580 --> 00:18:29,879
about it was like a circular we like set
395
00:18:29,879 --> 00:18:31,019
up the drummer would start to play
396
00:18:31,019 --> 00:18:33,179
something then we change the kit around
397
00:18:33,179 --> 00:18:34,769
and what if we did this and then you'd
398
00:18:34,769 --> 00:18:37,200
be working on stuff and he'd be getting
399
00:18:37,200 --> 00:18:41,070
your ideas from and then he would start
400
00:18:41,070 --> 00:18:42,509
to play differently and then eventually
401
00:18:42,509 --> 00:18:44,429
a really good groove would start to come
402
00:18:44,429 --> 00:18:47,519
out of it so it's if you can I would
403
00:18:47,519 --> 00:18:49,759
suggest it
404
00:18:49,759 --> 00:18:53,309
this is cowsy Smith Mitchel Chad how did
405
00:18:53,309 --> 00:18:55,139
you manage to keep a collaboration going
406
00:18:55,139 --> 00:18:57,629
for so long how did you share the
407
00:18:57,629 --> 00:18:59,730
credits wasn't there times when one
408
00:18:59,730 --> 00:19:01,289
fella D had contributed more to the
409
00:19:01,289 --> 00:19:03,450
record than the other how should one
410
00:19:03,450 --> 00:19:06,509
manage those feelings after long days on
411
00:19:06,509 --> 00:19:11,789
projects I think it comes down to one
412
00:19:11,789 --> 00:19:15,259
essential point music whether you
413
00:19:15,259 --> 00:19:18,450
whether you choose to accept this idea
414
00:19:18,450 --> 00:19:20,909
or not music has a requirement which is
415
00:19:20,909 --> 00:19:24,570
a generous spirit and some people are
416
00:19:24,570 --> 00:19:27,179
greedy some people worry about these
417
00:19:27,179 --> 00:19:33,509
things in my case I felt that as soon as
418
00:19:33,509 --> 00:19:34,980
the Chad and I had been working about
419
00:19:34,980 --> 00:19:36,539
three or four years and I think it was
420
00:19:36,539 --> 00:19:40,409
after Kiko people started asking me to
421
00:19:40,409 --> 00:19:42,149
work with them but they were saying what
422
00:19:42,149 --> 00:19:44,039
we want Chad we want to make sure that
423
00:19:44,039 --> 00:19:47,249
we have Chad as soon as that happened I
424
00:19:47,249 --> 00:19:49,740
felt okay now we're a partnership and so
425
00:19:49,740 --> 00:19:51,090
I just told Chad hey you
426
00:19:51,090 --> 00:19:53,129
we're producing this together now and
427
00:19:53,129 --> 00:19:54,539
one of the reasons why did is because
428
00:19:54,539 --> 00:19:55,600
Chad never asked
429
00:19:55,600 --> 00:19:59,080
and so we never had there was never an
430
00:19:59,080 --> 00:20:01,149
issue it was like he was being generous
431
00:20:01,149 --> 00:20:03,159
with me I tried to be generous with him
432
00:20:03,159 --> 00:20:07,179
and it and we just our collaboration
433
00:20:07,179 --> 00:20:09,100
changed I remember there was periods
434
00:20:09,100 --> 00:20:13,090
where arrangements seemed important and
435
00:20:13,090 --> 00:20:14,679
then there was periods where for a while
436
00:20:14,679 --> 00:20:16,629
or ancients seemed unimportant and it
437
00:20:16,629 --> 00:20:18,669
was more about sound so there was I felt
438
00:20:18,669 --> 00:20:20,470
there was records where Chad had
439
00:20:20,470 --> 00:20:22,269
probably contributed more than I had
440
00:20:22,269 --> 00:20:24,970
what I had to offer wasn't really sought
441
00:20:24,970 --> 00:20:26,769
you know the full degree of what I had
442
00:20:26,769 --> 00:20:29,349
to offer wasn't really sought out so but
443
00:20:29,349 --> 00:20:31,359
didn't matter like who cares I mean I
444
00:20:31,359 --> 00:20:33,279
you know Webb done worked on records
445
00:20:33,279 --> 00:20:35,409
where I've gotten zero credit or it's
446
00:20:35,409 --> 00:20:37,749
it's just about trying to be generous
447
00:20:37,749 --> 00:20:39,849
with people and it all works out for you
448
00:20:39,849 --> 00:20:41,590
huh all right I never thought about it
449
00:20:41,590 --> 00:20:45,519
um we we got on from the beginning and I
450
00:20:45,519 --> 00:20:48,669
don't remember a time where we didn't it
451
00:20:48,669 --> 00:20:52,539
was it was a real great collaboration I
452
00:20:52,539 --> 00:20:55,419
I just remember you say I remember you I
453
00:20:55,419 --> 00:20:58,989
mean a lot of engineers may want they
454
00:20:58,989 --> 00:21:00,399
may say I really want to move into
455
00:21:00,399 --> 00:21:02,710
production so I need production credit
456
00:21:02,710 --> 00:21:05,679
or else I'm leaving and you never asked
457
00:21:05,679 --> 00:21:07,239
you never cared you told me he really
458
00:21:07,239 --> 00:21:08,799
didn't want to produce and then you were
459
00:21:08,799 --> 00:21:10,899
like a reluctant producer band started
460
00:21:10,899 --> 00:21:13,359
they were attracted to the sound of the
461
00:21:13,359 --> 00:21:15,909
records we did and a lot of bands don't
462
00:21:15,909 --> 00:21:18,580
want a producer in the room so Chad
463
00:21:18,580 --> 00:21:20,229
started doing it but kind of reluctantly
464
00:21:20,229 --> 00:21:23,830
so maybe that was part of it that we we
465
00:21:23,830 --> 00:21:25,509
weren't like clawing and scratching our
466
00:21:25,509 --> 00:21:27,669
way up the ladder when we just one was
467
00:21:27,669 --> 00:21:29,470
an offended that we just wanted to make
468
00:21:29,470 --> 00:21:31,179
good records yeah that's all we wanted
469
00:21:31,179 --> 00:21:33,940
to do so don't worry about it just keep
470
00:21:33,940 --> 00:21:36,190
going and and like try to be generous at
471
00:21:36,190 --> 00:21:38,200
people if you work with an artist who
472
00:21:38,200 --> 00:21:40,029
says I really want to be co-producer you
473
00:21:40,029 --> 00:21:42,489
say well I'm doing my job but if you
474
00:21:42,489 --> 00:21:43,899
want if it's important for you to have
475
00:21:43,899 --> 00:21:45,580
your name on there go ahead do it look
476
00:21:45,580 --> 00:21:48,129
and people see the record and they see
477
00:21:48,129 --> 00:21:50,799
you produced it with the artist they're
478
00:21:50,799 --> 00:21:52,330
going to look think that you're the
479
00:21:52,330 --> 00:21:55,749
producer anyway you know that in general
480
00:21:55,749 --> 00:22:01,629
I you just don't worry about it so I'll
481
00:22:01,629 --> 00:22:04,250
be quiet now
482
00:22:04,250 --> 00:22:08,150
Nick Hofstra hi guys you both deserve a
483
00:22:08,150 --> 00:22:10,280
pat on the back and a freer an but we'll
484
00:22:10,280 --> 00:22:11,090
hold you to it
485
00:22:11,090 --> 00:22:14,990
boom yeah and aside from that do you
486
00:22:14,990 --> 00:22:16,930
have any advice for a new studio and
487
00:22:16,930 --> 00:22:20,450
engineers to get higher end projects
488
00:22:20,450 --> 00:22:23,060
coming in assuming the quality is there
489
00:22:23,060 --> 00:22:25,670
like as I am sure it's always been with
490
00:22:25,670 --> 00:22:27,290
both of you how did you move up the
491
00:22:27,290 --> 00:22:28,970
ladder to work with more serious artists
492
00:22:28,970 --> 00:22:30,620
with bigger budgets and aspirations
493
00:22:30,620 --> 00:22:33,170
besides word of mouth which is quite
494
00:22:33,170 --> 00:22:34,970
powerful I think it was word of mouth
495
00:22:34,970 --> 00:22:36,620
that's there isn't there isn't it
496
00:22:36,620 --> 00:22:39,170
besides on that we were lucky early on
497
00:22:39,170 --> 00:22:41,750
we the way you move up that that ladder
498
00:22:41,750 --> 00:22:43,640
if you're looking at it as a ladder is
499
00:22:43,640 --> 00:22:47,090
if you have a successful record and or
500
00:22:47,090 --> 00:22:49,820
one that people talk about and and that
501
00:22:49,820 --> 00:22:52,220
in my mind if you have an underground
502
00:22:52,220 --> 00:22:53,840
record that people talk about and
503
00:22:53,840 --> 00:22:56,360
doesn't sell very much that's as
504
00:22:56,360 --> 00:22:59,000
powerful as a hit record the record I
505
00:22:59,000 --> 00:23:02,390
think we did a Latin playboys record
506
00:23:02,390 --> 00:23:04,460
that nobody ever even knew about but
507
00:23:04,460 --> 00:23:06,560
that brought in more stuff that's been
508
00:23:06,560 --> 00:23:07,910
my career than anything else
509
00:23:07,910 --> 00:23:09,620
still this mentioned it's more the mouth
510
00:23:09,620 --> 00:23:11,900
and people liked it and they like the
511
00:23:11,900 --> 00:23:14,900
fact that we worked on it so yeah
512
00:23:14,900 --> 00:23:17,060
there's yeah there's there's no answer
513
00:23:17,060 --> 00:23:21,170
except if it's a new studio if there's
514
00:23:21,170 --> 00:23:23,630
groups you admire I mean maybe you could
515
00:23:23,630 --> 00:23:26,120
offer them to come in for a free day or
516
00:23:26,120 --> 00:23:27,860
something and just try to do great work
517
00:23:27,860 --> 00:23:30,080
for them or you know I don't know it
518
00:23:30,080 --> 00:23:35,630
just ours was just one way so that's all
519
00:23:35,630 --> 00:23:37,430
we know really yeah we didn't take
520
00:23:37,430 --> 00:23:39,410
meetings with labels and we did not at
521
00:23:39,410 --> 00:23:40,970
work we didn't network we didn't do
522
00:23:40,970 --> 00:23:42,710
meetings we didn't know aggressive
523
00:23:42,710 --> 00:23:45,380
management ever no meetings were taken
524
00:23:45,380 --> 00:23:47,300
on our behalf I don't the aggressive
525
00:23:47,300 --> 00:23:48,620
management thing wasn't really on
526
00:23:48,620 --> 00:23:50,660
purpose was it but then it became on
527
00:23:50,660 --> 00:23:52,880
purpose we we did end up deciding we
528
00:23:52,880 --> 00:23:55,880
didn't want anybody to go after gigs for
529
00:23:55,880 --> 00:23:59,900
us we wanted musicians you know artists
530
00:23:59,900 --> 00:24:02,630
to contact us because they wanted us not
531
00:24:02,630 --> 00:24:05,390
because of label which wouldn't happen
532
00:24:05,390 --> 00:24:07,730
I'll label god forbid one thing else
533
00:24:07,730 --> 00:24:10,370
yeah and then we'd never played that
534
00:24:10,370 --> 00:24:11,870
game and the people that are good at
535
00:24:11,870 --> 00:24:16,460
that game do it but we just I never felt
536
00:24:16,460 --> 00:24:18,080
like I that was missed
537
00:24:18,080 --> 00:24:24,080
so Cheers
538
00:24:24,080 --> 00:24:29,779
that's it thank you I mean I barely
539
00:24:29,779 --> 00:24:35,669
degrees will now live impossibilities
540
00:24:35,679 --> 00:24:42,100
but it is quite good make you stay39107