All language subtitles for Pop Mixing Masterclass with Tony Maserati [Beyoncé, Usher, Jason Mraz, Black Eyed Peas].mp4

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These are the user uploaded subtitles that are being translated: 1 00:00:00,000 --> 00:00:06,940 [Music] 2 00:00:09,110 --> 00:00:20,680 [Music] 3 00:00:18,240 --> 00:00:28,840 my name is Justin Coletti thank you for 4 00:00:20,680 --> 00:00:32,609 coming to mix Cohn is anyone here by 5 00:00:28,840 --> 00:00:32,609 chance here to see Tony Maserati 6 00:00:34,829 --> 00:00:37,690 all right good for a second there I 7 00:00:36,670 --> 00:00:40,420 thought all that was for me apparently 8 00:00:37,690 --> 00:00:42,399 not all right Tony Maserati for those of 9 00:00:40,420 --> 00:00:43,480 you who don't know who he is for I don't 10 00:00:42,399 --> 00:00:46,660 know who you are and why you don't know 11 00:00:43,480 --> 00:00:49,420 who he is but he is a 10 time Grammy 12 00:00:46,660 --> 00:00:51,399 nominated mixer he really came into 13 00:00:49,420 --> 00:00:53,980 notoriety working with some of the 14 00:00:51,399 --> 00:00:55,870 biggest hip-hop artists particularly on 15 00:00:53,980 --> 00:00:58,359 the East Coast Puff Daddy and Queen 16 00:00:55,870 --> 00:01:00,550 Latifah notorious b.i.g and all these 17 00:00:58,359 --> 00:01:02,500 names of East Coast hip-hop he was all 18 00:01:00,550 --> 00:01:05,500 over that scene and since then he's 19 00:01:02,500 --> 00:01:07,780 become just as big if not even bigger in 20 00:01:05,500 --> 00:01:11,140 the world of pop music mixing major 21 00:01:07,780 --> 00:01:14,740 releases from Beyonce major releases 22 00:01:11,140 --> 00:01:17,350 from Jason Mraz black eyed peas uh sure 23 00:01:14,740 --> 00:01:19,570 a I'm gonna leave so many out I'm sure 24 00:01:17,350 --> 00:01:21,189 I'm super excited to have him on he is 25 00:01:19,570 --> 00:01:24,189 gonna take us under the hood of some 26 00:01:21,189 --> 00:01:26,259 real commercial mixes from an artist 27 00:01:24,189 --> 00:01:28,060 client of his named Debbie Nova so big 28 00:01:26,259 --> 00:01:29,500 things that Debbie Nova for letting us 29 00:01:28,060 --> 00:01:32,369 here are some of her tracks can you give 30 00:01:29,500 --> 00:01:32,369 her a round of applause for her 31 00:01:35,720 --> 00:01:39,300 for those of you watching on a video 32 00:01:38,010 --> 00:01:40,950 we'll be sure to link to her stuff if 33 00:01:39,300 --> 00:01:42,630 you want to hear these songs in full but 34 00:01:40,950 --> 00:01:44,490 we'll be going under the hood there's 35 00:01:42,630 --> 00:01:46,830 one last big thing so we have to give 36 00:01:44,490 --> 00:01:48,660 before we can bring Tony on and that is 37 00:01:46,830 --> 00:01:51,720 to our sponsor for this presentation 38 00:01:48,660 --> 00:01:53,640 without whom this event would not be 39 00:01:51,720 --> 00:01:54,840 free to the public like it is so big 40 00:01:53,640 --> 00:01:57,480 thanks for making this for you the 41 00:01:54,840 --> 00:02:03,750 public make DSP thanks to those guys big 42 00:01:57,480 --> 00:02:06,510 round of applause to make the SP when 43 00:02:03,750 --> 00:02:08,190 digital audio is new mcdee SP was well 44 00:02:06,510 --> 00:02:10,619 liked the first brands it actually made 45 00:02:08,190 --> 00:02:13,140 good sounding plugins before the days of 46 00:02:10,619 --> 00:02:14,970 McGee SP there were plugins didn't sound 47 00:02:13,140 --> 00:02:16,920 that great until make DSP came along 48 00:02:14,970 --> 00:02:18,450 now there's a lot of great plug-in 49 00:02:16,920 --> 00:02:20,280 companies Soumik DSP is doing something 50 00:02:18,450 --> 00:02:22,590 else that is extremely unusual 51 00:02:20,280 --> 00:02:24,930 they have unveiled a box here right 52 00:02:22,590 --> 00:02:26,040 before we got started called the APB 16 53 00:02:24,930 --> 00:02:27,450 they actually put a photo of it there 54 00:02:26,040 --> 00:02:30,450 behind me which is kind of neat it's 55 00:02:27,450 --> 00:02:32,280 like an all analog compressor that you 56 00:02:30,450 --> 00:02:34,440 hook up to your computer via Thunderbolt 57 00:02:32,280 --> 00:02:37,290 and you can use 16 channels of analog 58 00:02:34,440 --> 00:02:39,360 compression like their plugins in your 59 00:02:37,290 --> 00:02:40,800 Dalek as if it was a DSP processor if 60 00:02:39,360 --> 00:02:42,450 it's all analog that's just minor 61 00:02:40,800 --> 00:02:46,100 bending can we give an applause for how 62 00:02:42,450 --> 00:02:46,100 mind-bendingly weird and awesome that is 63 00:02:48,950 --> 00:02:53,550 all right enough of me yakking thanks to 64 00:02:52,080 --> 00:02:55,650 all those guys thanks to you for coming 65 00:02:53,550 --> 00:02:59,810 and thanks to Tony Maserati who's gonna 66 00:02:55,650 --> 00:02:59,810 take it away from here thank you Tony 67 00:03:03,140 --> 00:03:09,330 I've never been here before so in fact I 68 00:03:06,630 --> 00:03:12,120 saw the studio for the first time and I 69 00:03:09,330 --> 00:03:14,820 remember my good friend Jimmy Douglas 70 00:03:12,120 --> 00:03:16,800 works here all the time I'd never come 71 00:03:14,820 --> 00:03:19,320 to visit him then again I don't think he 72 00:03:16,800 --> 00:03:21,570 ever came to visit me either but we 73 00:03:19,320 --> 00:03:25,620 always see each other at events this is 74 00:03:21,570 --> 00:03:26,310 an amazing space I appreciate you all 75 00:03:25,620 --> 00:03:31,350 for coming 76 00:03:26,310 --> 00:03:33,210 really this is amazing Wow I guess it'd 77 00:03:31,350 --> 00:03:37,170 be good for me to know a little bit 78 00:03:33,210 --> 00:03:40,650 about who y'all are so just by show of 79 00:03:37,170 --> 00:03:42,830 hands engineers in the room engineer 80 00:03:40,650 --> 00:03:47,820 people okay cool 81 00:03:42,830 --> 00:03:52,830 producers okay kind of both almost about 82 00:03:47,820 --> 00:03:54,450 artists Jesus whoa okay you know 83 00:03:52,830 --> 00:03:57,270 obviously the reason why I asked because 84 00:03:54,450 --> 00:04:01,710 I want to know how how I what kind of 85 00:03:57,270 --> 00:04:03,360 language I should and could use you know 86 00:04:01,710 --> 00:04:06,390 I just released a few records 87 00:04:03,360 --> 00:04:08,570 does anybody know those records should I 88 00:04:06,390 --> 00:04:15,270 talk about those records a little bit 89 00:04:08,570 --> 00:04:17,940 yeah so a little Beyonce stuff the I did 90 00:04:15,270 --> 00:04:21,660 three tracks on the gift that she just 91 00:04:17,940 --> 00:04:24,870 released which was always as always 92 00:04:21,660 --> 00:04:28,410 pretty amazing to work with her and I 93 00:04:24,870 --> 00:04:30,030 think just today or yesterday an artist 94 00:04:28,410 --> 00:04:33,000 named Brice behind just dropped his 95 00:04:30,030 --> 00:04:35,160 album and I had four tracks on that and 96 00:04:33,000 --> 00:04:37,980 also a new artist 97 00:04:35,160 --> 00:04:41,510 Carlos Farah just dropped his single and 98 00:04:37,980 --> 00:04:44,130 I think I had a couple last week as well 99 00:04:41,510 --> 00:04:49,410 one of the things and the reason why I'm 100 00:04:44,130 --> 00:04:52,950 talking about this is because you know a 101 00:04:49,410 --> 00:04:57,120 large part of what I do is paying 102 00:04:52,950 --> 00:04:59,550 attention to what is released and not 103 00:04:57,120 --> 00:05:03,810 only what is released what is being 104 00:04:59,550 --> 00:05:09,990 accepted by an audience right because 105 00:05:03,810 --> 00:05:13,419 not only do I work for B or Brice or 106 00:05:09,990 --> 00:05:17,289 Carlos I work for 107 00:05:13,419 --> 00:05:19,150 the audience the people who are actually 108 00:05:17,289 --> 00:05:21,729 paying attention to the work that I do 109 00:05:19,150 --> 00:05:25,659 and in some cases they're paying 110 00:05:21,729 --> 00:05:29,080 attention more than the executives and 111 00:05:25,659 --> 00:05:31,120 and that that's how it should be the 112 00:05:29,080 --> 00:05:33,789 audience is the one who are who are 113 00:05:31,120 --> 00:05:35,830 really telling me whether or not I'm 114 00:05:33,789 --> 00:05:38,979 doing a good job they're the ones 115 00:05:35,830 --> 00:05:41,770 keeping me in the sea I think this is 116 00:05:38,979 --> 00:05:44,939 one of the things that that whenever I'm 117 00:05:41,770 --> 00:05:49,479 speaking to an audience of younger 118 00:05:44,939 --> 00:05:52,120 producer engineers and artists they they 119 00:05:49,479 --> 00:05:55,419 feel like there's a disconnect you know 120 00:05:52,120 --> 00:05:58,240 they think that there is some magic wand 121 00:05:55,419 --> 00:06:01,090 that I'm putting over the music and and 122 00:05:58,240 --> 00:06:05,199 it becomes this mix and immediately 123 00:06:01,090 --> 00:06:09,699 people love it I have had lots of flops 124 00:06:05,199 --> 00:06:12,370 and and I think that the average for any 125 00:06:09,699 --> 00:06:19,000 professional who has done it as long as 126 00:06:12,370 --> 00:06:22,539 I have is that is probably either 50/50 127 00:06:19,000 --> 00:06:25,659 or you know 6040 if you've lasted as 128 00:06:22,539 --> 00:06:27,580 long as me maybe it there are a lot of 129 00:06:25,659 --> 00:06:29,740 records that come out that y'all don't 130 00:06:27,580 --> 00:06:32,379 know anything about and some of them I 131 00:06:29,740 --> 00:06:35,830 thought were amazing records that I did 132 00:06:32,379 --> 00:06:38,379 my best work on and and some of them 133 00:06:35,830 --> 00:06:42,879 some of the biggest hits I've done have 134 00:06:38,379 --> 00:06:45,250 been records that didn't really think 135 00:06:42,879 --> 00:06:48,189 we're gonna do anything there is a 136 00:06:45,250 --> 00:06:52,180 record in particular I don't even 137 00:06:48,189 --> 00:06:54,909 remember the name of the group but the 138 00:06:52,180 --> 00:06:58,419 the I can never forget the song and it's 139 00:06:54,909 --> 00:07:01,569 called candy rain and and Heavy D 140 00:06:58,419 --> 00:07:03,490 produced it and and he was he's an 141 00:07:01,569 --> 00:07:06,310 amazing guy he was an amazing guy and 142 00:07:03,490 --> 00:07:10,240 and I swear he played me that song and I 143 00:07:06,310 --> 00:07:12,610 was like I hate this song I can do I 144 00:07:10,240 --> 00:07:14,710 what am I supposed to do with this and 145 00:07:12,610 --> 00:07:18,310 he's like dude just do your thing and 146 00:07:14,710 --> 00:07:21,399 I'm like I gotta can I you know so I 147 00:07:18,310 --> 00:07:23,470 would mix it in pieces and just the keys 148 00:07:21,399 --> 00:07:25,180 and just the drums and 149 00:07:23,470 --> 00:07:27,190 and then maybe I'd move on to the 150 00:07:25,180 --> 00:07:30,130 background vocals and that sort of thing 151 00:07:27,190 --> 00:07:32,470 but of course it was a gigantic record 152 00:07:30,130 --> 00:07:39,250 for for Hef and his production company 153 00:07:32,470 --> 00:07:42,610 and and the band thank you so for real 154 00:07:39,250 --> 00:07:44,440 that's right yeah and it was and it was 155 00:07:42,610 --> 00:07:47,860 great and of course I'm happy for them 156 00:07:44,440 --> 00:07:49,750 I'm happy that I was involved but I'll 157 00:07:47,860 --> 00:07:54,010 never understand how that record did as 158 00:07:49,750 --> 00:07:55,390 well as it did so I think it goes both 159 00:07:54,010 --> 00:07:57,610 ways there are a lot of Records I've 160 00:07:55,390 --> 00:08:00,040 done that I thought wow this is this 161 00:07:57,610 --> 00:08:01,840 people are gonna get this you know and 162 00:08:00,040 --> 00:08:04,600 put my heart and soul into it not that I 163 00:08:01,840 --> 00:08:07,180 didn't for so for real so I think that 164 00:08:04,600 --> 00:08:10,360 there is there's a really important 165 00:08:07,180 --> 00:08:14,140 element here that has has been part of 166 00:08:10,360 --> 00:08:16,900 my life and that is my my best to pay 167 00:08:14,140 --> 00:08:18,910 attention to the audience and of course 168 00:08:16,900 --> 00:08:22,650 I have a lot of help with that the 169 00:08:18,910 --> 00:08:25,750 producers I'm working with the artists I 170 00:08:22,650 --> 00:08:30,040 get the ones that I get a chance to to 171 00:08:25,750 --> 00:08:32,530 be around and and certainly the younger 172 00:08:30,040 --> 00:08:38,050 members of my my engineering team as 173 00:08:32,530 --> 00:08:39,969 well and I do my best to stay on top of 174 00:08:38,050 --> 00:08:43,330 what's being released it's a little 175 00:08:39,969 --> 00:08:46,780 harder now as you all know it's I mean 176 00:08:43,330 --> 00:08:49,930 the amount of releases per week is is 177 00:08:46,780 --> 00:08:52,960 probably 10 times what it was 15 years 178 00:08:49,930 --> 00:08:56,110 ago 20 years ago back then we knew 179 00:08:52,960 --> 00:08:59,320 exactly who was being released you know 180 00:08:56,110 --> 00:09:02,050 three months in advance so releases 181 00:08:59,320 --> 00:09:05,280 could be scheduled around other artists 182 00:09:02,050 --> 00:09:08,830 who were competitive and nowadays that 183 00:09:05,280 --> 00:09:12,930 doesn't happen the B record that we just 184 00:09:08,830 --> 00:09:16,720 did was released two days maybe even 185 00:09:12,930 --> 00:09:19,240 hours after I finished and I know the 186 00:09:16,720 --> 00:09:23,200 Carter's record though that we did last 187 00:09:19,240 --> 00:09:25,210 year I I think my assistant was 188 00:09:23,200 --> 00:09:27,760 whispering in my ear you have to print 189 00:09:25,210 --> 00:09:30,880 you have to print and literally it came 190 00:09:27,760 --> 00:09:33,610 out that night so things are much 191 00:09:30,880 --> 00:09:35,080 different nowadays and I think that one 192 00:09:33,610 --> 00:09:39,519 of the things that I'm 193 00:09:35,080 --> 00:09:44,140 lucky enough to have is is my clients 194 00:09:39,519 --> 00:09:45,790 and my my artists believe in the fact 195 00:09:44,140 --> 00:09:49,089 that I am paying attention to the 196 00:09:45,790 --> 00:09:52,450 audience and I am also obviously paying 197 00:09:49,089 --> 00:09:54,550 attention to their creativity I think 198 00:09:52,450 --> 00:09:57,010 today this is this is kind of what I 199 00:09:54,550 --> 00:09:59,980 wanted to get into a little bit with 200 00:09:57,010 --> 00:10:03,160 with some of the demonstration I'll do 201 00:09:59,980 --> 00:10:06,790 with Debbie's record debbie is as an old 202 00:10:03,160 --> 00:10:09,370 friend a client an artist she started 203 00:10:06,790 --> 00:10:12,790 out with doing her own music she was on 204 00:10:09,370 --> 00:10:16,089 Sony us and she was singing in English 205 00:10:12,790 --> 00:10:19,329 and she was working with Ricky Martin 206 00:10:16,089 --> 00:10:23,110 and a variety of other Latin artists 207 00:10:19,329 --> 00:10:26,110 she's from Costa Rica and I worked on a 208 00:10:23,110 --> 00:10:30,279 couple records with her and she came to 209 00:10:26,110 --> 00:10:32,649 me for this new record because we know 210 00:10:30,279 --> 00:10:36,310 each other and she knows that I still do 211 00:10:32,649 --> 00:10:38,529 what I do and you know she knew that she 212 00:10:36,310 --> 00:10:41,200 needed a proper mix I think she had 213 00:10:38,529 --> 00:10:45,070 mixed it in Mexico and she didn't like 214 00:10:41,200 --> 00:10:49,540 what what she ended up with I have been 215 00:10:45,070 --> 00:10:52,240 very lucky in that you know have a lot 216 00:10:49,540 --> 00:10:55,750 of clients who have been with me for a 217 00:10:52,240 --> 00:10:57,579 long time and one of the things that 218 00:10:55,750 --> 00:11:03,910 I'll talk about also quite a lot today 219 00:10:57,579 --> 00:11:05,560 is the idea of this staying in touch not 220 00:11:03,910 --> 00:11:07,660 staying in touch with Debbie because I 221 00:11:05,560 --> 00:11:10,510 hadn't talked to her in three years or 222 00:11:07,660 --> 00:11:13,630 four years but staying in touch with the 223 00:11:10,510 --> 00:11:15,820 audience and in some ways it's more 224 00:11:13,630 --> 00:11:18,850 important for me to do that than it is 225 00:11:15,820 --> 00:11:21,430 to make sure that that Debbie still has 226 00:11:18,850 --> 00:11:24,610 my phone number one because it's easy to 227 00:11:21,430 --> 00:11:25,830 get a hold of me and and social media 228 00:11:24,610 --> 00:11:28,050 and 229 00:11:25,830 --> 00:11:31,950 and the digital world has made that easy 230 00:11:28,050 --> 00:11:34,580 but also because the audience is is 231 00:11:31,950 --> 00:11:37,950 really who I'm playing to right 232 00:11:34,580 --> 00:11:40,290 it's who the artist is playing to it's 233 00:11:37,950 --> 00:11:42,720 who the producer is playing to it's who 234 00:11:40,290 --> 00:11:46,340 the record company is playing to it 235 00:11:42,720 --> 00:11:49,020 really is is and especially nowadays is 236 00:11:46,340 --> 00:11:52,140 everything the audience and the audience 237 00:11:49,020 --> 00:11:55,170 is fluid right the audience is changing 238 00:11:52,140 --> 00:11:58,830 at all times what they're interested in 239 00:11:55,170 --> 00:12:02,160 what they pay attention to it used to be 240 00:11:58,830 --> 00:12:06,330 that I could get away with using a kick 241 00:12:02,160 --> 00:12:09,420 drum for six months a particular 242 00:12:06,330 --> 00:12:12,240 sounding kick drum say or a bank of 243 00:12:09,420 --> 00:12:14,850 samples that I may have worked on and 244 00:12:12,240 --> 00:12:19,140 created myself or maybe shared with my 245 00:12:14,850 --> 00:12:22,230 my producer friends you know that 246 00:12:19,140 --> 00:12:26,760 doesn't work anymore things move so fast 247 00:12:22,230 --> 00:12:27,180 now people can tell if it's six weeks 248 00:12:26,760 --> 00:12:29,730 old 249 00:12:27,180 --> 00:12:35,070 forget about six months old you know the 250 00:12:29,730 --> 00:12:37,800 Sonics of music moves extremely fast how 251 00:12:35,070 --> 00:12:40,020 many I mean I'm assuming all of you you 252 00:12:37,800 --> 00:12:42,930 know get your get your plugins get your 253 00:12:40,020 --> 00:12:46,260 software online how often is that stuff 254 00:12:42,930 --> 00:12:48,840 update it's updated what every couple 255 00:12:46,260 --> 00:12:54,840 weeks there's a new update of something 256 00:12:48,840 --> 00:12:57,090 whether it's a whether it's in OS or you 257 00:12:54,840 --> 00:13:00,630 know you know people are making their 258 00:12:57,090 --> 00:13:03,480 their software more compatible with with 259 00:13:00,630 --> 00:13:05,850 the new computers or the new drivers or 260 00:13:03,480 --> 00:13:09,470 whatever it is but the same goes for 261 00:13:05,850 --> 00:13:13,670 music right the sound itself is changing 262 00:13:09,470 --> 00:13:17,220 so that means discovering plugins 263 00:13:13,670 --> 00:13:20,180 discovering technology now I actually 264 00:13:17,220 --> 00:13:24,240 have to spend time discovering 265 00:13:20,180 --> 00:13:25,620 technology which brings me to the point 266 00:13:24,240 --> 00:13:29,880 I was trying to make which took me so 267 00:13:25,620 --> 00:13:33,870 long to get there and and that is it's 268 00:13:29,880 --> 00:13:37,310 studying and practice and I don't know 269 00:13:33,870 --> 00:13:39,439 I'm assuming a fair bit of this crowd 270 00:13:37,310 --> 00:13:41,689 is professional and your music is 271 00:13:39,439 --> 00:13:47,029 released raise your hand if you have 272 00:13:41,689 --> 00:13:49,759 your music released okay half I'd say so 273 00:13:47,029 --> 00:13:52,519 your music you create music or you you 274 00:13:49,759 --> 00:13:58,730 engineer music you write music and it 275 00:13:52,519 --> 00:14:00,769 gets released well you the rest of you 276 00:13:58,730 --> 00:14:04,370 are actually all of you including myself 277 00:14:00,769 --> 00:14:07,999 I spend you should spend a lot of time 278 00:14:04,370 --> 00:14:11,990 practicing and a lot of time listening 279 00:14:07,999 --> 00:14:16,040 and a lot of time paying attention to 280 00:14:11,990 --> 00:14:19,370 what new technologies have come out this 281 00:14:16,040 --> 00:14:21,860 I can't tell you how important this is 282 00:14:19,370 --> 00:14:27,139 from the beginning stages of my career 283 00:14:21,860 --> 00:14:30,019 to just afternoon you know and what I 284 00:14:27,139 --> 00:14:35,149 learned talking to Colin upstairs about 285 00:14:30,019 --> 00:14:38,740 the the a PV box you know that that sort 286 00:14:35,149 --> 00:14:43,939 of level of you know curiosity an 287 00:14:38,740 --> 00:14:49,059 interest both in the technology in the 288 00:14:43,939 --> 00:14:53,629 craft itself and and in the musicality 289 00:14:49,059 --> 00:14:56,720 the way that you know what's his name 290 00:14:53,629 --> 00:14:59,509 finneus from Billy eyelash Billy's 291 00:14:56,720 --> 00:15:02,089 brother right the way that we've all 292 00:14:59,509 --> 00:15:05,240 we've all been enthralled with what he 293 00:15:02,089 --> 00:15:07,309 did to the 808 is anybody not know what 294 00:15:05,240 --> 00:15:08,120 I'm talking about you don't know what 295 00:15:07,309 --> 00:15:10,309 I'm talking about 296 00:15:08,120 --> 00:15:13,129 don't know what I'm talking about okay 297 00:15:10,309 --> 00:15:15,920 so you got it you got a check out this 298 00:15:13,129 --> 00:15:17,660 Billy Eilish record of course and and 299 00:15:15,920 --> 00:15:21,920 Phineas her brother was that his name 300 00:15:17,660 --> 00:15:25,579 Phineas right yeah so but what he did to 301 00:15:21,920 --> 00:15:27,740 the 808 just seems to be the thing that 302 00:15:25,579 --> 00:15:28,160 everyone is talking about how did he do 303 00:15:27,740 --> 00:15:30,110 this 304 00:15:28,160 --> 00:15:32,990 what did he do what was the impetus to 305 00:15:30,110 --> 00:15:35,269 this was it a mistake that he then said 306 00:15:32,990 --> 00:15:38,300 oh that's super cool I'm gonna use this 307 00:15:35,269 --> 00:15:41,540 but he completely distorted it but it 308 00:15:38,300 --> 00:15:43,699 doesn't sound unpleasantly distorted it 309 00:15:41,540 --> 00:15:49,129 actually becomes part of the sonic 310 00:15:43,699 --> 00:15:49,779 quality and also part of it part of the 311 00:15:49,129 --> 00:15:52,930 mood of the 312 00:15:49,779 --> 00:15:57,100 song it's which is you know this is 313 00:15:52,930 --> 00:15:59,939 brilliance this is what you know musical 314 00:15:57,100 --> 00:16:03,279 brilliance is all about it's about 315 00:15:59,939 --> 00:16:06,029 experimentation it's about keeping 316 00:16:03,279 --> 00:16:09,970 things interesting in any way possible 317 00:16:06,029 --> 00:16:16,269 you know when I first started we spent a 318 00:16:09,970 --> 00:16:18,610 lot of time learning how to use tape of 319 00:16:16,269 --> 00:16:21,249 course those days are long gone I am 320 00:16:18,610 --> 00:16:23,819 happy that they are long gone because I 321 00:16:21,249 --> 00:16:27,249 will never work on tape again thank you 322 00:16:23,819 --> 00:16:32,350 but I'm certainly enthralled by a box 323 00:16:27,249 --> 00:16:37,350 like this that allows me to have control 324 00:16:32,350 --> 00:16:42,899 over an analog circuit from my DAW 325 00:16:37,350 --> 00:16:45,579 without having hardware IO involved I 326 00:16:42,899 --> 00:16:48,249 don't know if any of you have followed 327 00:16:45,579 --> 00:16:52,149 what I do but I do a thing called hybrid 328 00:16:48,249 --> 00:16:55,509 mixing so which means that I I have a 329 00:16:52,149 --> 00:16:59,170 racks of analog equipment they're hooked 330 00:16:55,509 --> 00:17:03,870 in to my system through an interface 331 00:16:59,170 --> 00:17:07,500 I use an HD IO from avid so I'll grab 332 00:17:03,870 --> 00:17:10,870 33609 Neve compressor analog compressor 333 00:17:07,500 --> 00:17:13,179 through a plug-in insert obviously I 334 00:17:10,870 --> 00:17:16,600 don't have anything I don't have any 335 00:17:13,179 --> 00:17:21,880 analog gear here but does this screen 336 00:17:16,600 --> 00:17:24,970 show up over there so you can see that 337 00:17:21,880 --> 00:17:28,840 one of the things that I have plugged in 338 00:17:24,970 --> 00:17:30,700 here is insert seven and eight and I 339 00:17:28,840 --> 00:17:32,679 also use insert three and four not that 340 00:17:30,700 --> 00:17:37,179 we can use them because they don't exist 341 00:17:32,679 --> 00:17:40,570 here but in my system those are analog 342 00:17:37,179 --> 00:17:44,590 compressors so I can instantiate analog 343 00:17:40,570 --> 00:17:47,500 compression or EQ wherever there's a 344 00:17:44,590 --> 00:17:52,750 plug-in point and then it I've set up my 345 00:17:47,500 --> 00:17:59,980 i/o system so that I have a setup of 346 00:17:52,750 --> 00:18:02,890 hardware inserts in my i/o setup this 347 00:17:59,980 --> 00:18:03,460 allows me to get some analog compression 348 00:18:02,890 --> 00:18:07,140 some 349 00:18:03,460 --> 00:18:10,230 equalization which I really still enjoy 350 00:18:07,140 --> 00:18:13,630 within my the framework of my digital 351 00:18:10,230 --> 00:18:17,230 mixing system right because I still do 352 00:18:13,630 --> 00:18:18,910 all my automation and all my my mixing 353 00:18:17,230 --> 00:18:21,450 within the DAW 354 00:18:18,910 --> 00:18:25,060 although sometimes I actually go 355 00:18:21,450 --> 00:18:30,010 external with the summing and I do that 356 00:18:25,060 --> 00:18:34,720 by way of my auxes so I can essentially 357 00:18:30,010 --> 00:18:39,150 mix in the Box like this and have my 358 00:18:34,720 --> 00:18:42,280 oxes go to what I'm calling mix buss and 359 00:18:39,150 --> 00:18:46,300 that mix bus shows up here as an input 360 00:18:42,280 --> 00:18:51,280 and that's basically my internal mixing 361 00:18:46,300 --> 00:18:56,980 system right but if I want to sum then I 362 00:18:51,280 --> 00:18:59,950 just select my converter my in my case 363 00:18:56,980 --> 00:19:03,090 it's a it's a Lavery I would select that 364 00:18:59,950 --> 00:19:07,570 and then I would send each one of these 365 00:19:03,090 --> 00:19:11,770 two I have a little Neve sidecar 366 00:19:07,570 --> 00:19:18,550 I have an e/m I'm Chandler mini mixer I 367 00:19:11,770 --> 00:19:20,800 have a fulcrum mixer a passive box so my 368 00:19:18,550 --> 00:19:24,430 system is really fluid I can move around 369 00:19:20,800 --> 00:19:27,570 and and if I decide that the mix would 370 00:19:24,430 --> 00:19:29,470 sound better some through an analog 371 00:19:27,570 --> 00:19:31,060 amplifier right because that's what 372 00:19:29,470 --> 00:19:35,230 we're talking about here right 373 00:19:31,060 --> 00:19:38,590 you understand the difference because if 374 00:19:35,230 --> 00:19:41,970 I'm mixing in the Box it's all some 375 00:19:38,590 --> 00:19:45,670 digitally and that's the difference 376 00:19:41,970 --> 00:19:48,310 rather than sending it to my Neve which 377 00:19:45,670 --> 00:19:51,450 of course goes through my converter and 378 00:19:48,310 --> 00:19:54,940 then goes through the st. Ives 379 00:19:51,450 --> 00:19:59,110 transformers to the input of my Neve 380 00:19:54,940 --> 00:20:02,620 console or the transformers that are in 381 00:19:59,110 --> 00:20:05,950 the EMI Chandler mini mixer so I get 382 00:20:02,620 --> 00:20:09,930 that sound and then that is summed and 383 00:20:05,950 --> 00:20:13,600 then sent back digitally via my Lavery 384 00:20:09,930 --> 00:20:15,840 the flexibility that I get from that is 385 00:20:13,600 --> 00:20:18,960 what I really like 386 00:20:15,840 --> 00:20:21,930 my friend Stu white who does most of the 387 00:20:18,960 --> 00:20:24,390 Beyonce stuff I said to him oh man 388 00:20:21,930 --> 00:20:26,370 you've got to check out this APB box and 389 00:20:24,390 --> 00:20:28,620 you know maybe you should we should send 390 00:20:26,370 --> 00:20:31,650 some of your mixes through my analog set 391 00:20:28,620 --> 00:20:34,050 up and check it out and see if it makes 392 00:20:31,650 --> 00:20:37,110 it sound better and he's like no way man 393 00:20:34,050 --> 00:20:40,260 I'm keepin my stuff all in the box you 394 00:20:37,110 --> 00:20:43,790 know if if if Chad Blake can do it I'm 395 00:20:40,260 --> 00:20:45,780 gonna do it and he makes a good point 396 00:20:43,790 --> 00:20:49,140 because Chad Blake 397 00:20:45,780 --> 00:20:53,730 mixes all in the box but Chad Blake is 398 00:20:49,140 --> 00:20:55,590 Chad Blake he's just amazing and yeah he 399 00:20:53,730 --> 00:20:57,300 meant he mixes all in the box and I 400 00:20:55,590 --> 00:20:57,900 don't know how he does it but it sounds 401 00:20:57,300 --> 00:21:02,130 amazing 402 00:20:57,900 --> 00:21:04,590 I mix in the box quite often but a lot 403 00:21:02,130 --> 00:21:07,950 of times what I'll do is I'll mix like 404 00:21:04,590 --> 00:21:10,410 on my laptop in fact this week I'm I'm 405 00:21:07,950 --> 00:21:13,680 gonna be away from my studio so I'll mix 406 00:21:10,410 --> 00:21:18,780 in my laptop and then I'll send my file 407 00:21:13,680 --> 00:21:20,550 back to my assistant in LA you know give 408 00:21:18,780 --> 00:21:22,230 him instruction on where to send things 409 00:21:20,550 --> 00:21:23,820 and he'll put it through the analog gear 410 00:21:22,230 --> 00:21:26,280 and we'll listen to that and see if 411 00:21:23,820 --> 00:21:28,500 that's better or worse and see if it 412 00:21:26,280 --> 00:21:32,760 makes it you know a bit fuller a bit 413 00:21:28,500 --> 00:21:34,850 rounder and I find that quite often the 414 00:21:32,760 --> 00:21:37,620 analog setup really does help with 415 00:21:34,850 --> 00:21:41,580 making it a bit wider giving me a bit 416 00:21:37,620 --> 00:21:47,760 more depth in the mix and I really enjoy 417 00:21:41,580 --> 00:21:52,590 that sonically the B stuff actually you 418 00:21:47,760 --> 00:21:56,610 know her stuff is is really put together 419 00:21:52,590 --> 00:22:01,050 well by Stewart so when he sends me a 420 00:21:56,610 --> 00:22:06,380 file I there isn't a lot I can do to 421 00:22:01,050 --> 00:22:11,280 that file because one B works and does 422 00:22:06,380 --> 00:22:16,710 updates up until minutes before it's 423 00:22:11,280 --> 00:22:20,250 released so I can't really change too 424 00:22:16,710 --> 00:22:23,220 much because stew might need to print 425 00:22:20,250 --> 00:22:26,550 something new and then send that to me 426 00:22:23,220 --> 00:22:27,990 and it goes on like that so it's really 427 00:22:26,550 --> 00:22:29,450 important for me to kind of keep his 428 00:22:27,990 --> 00:22:32,220 construct to get 429 00:22:29,450 --> 00:22:36,000 so I try to retrofit it into my 430 00:22:32,220 --> 00:22:37,680 structure but I can't always do that but 431 00:22:36,000 --> 00:22:41,910 in the case of the new record 432 00:22:37,680 --> 00:22:45,330 I really just chose the points like he 433 00:22:41,910 --> 00:22:47,760 had sort of a vocal and all vocal sub 434 00:22:45,330 --> 00:22:50,010 mix and I said well okay that's not 435 00:22:47,760 --> 00:22:54,210 gonna work for me let me duplicate that 436 00:22:50,010 --> 00:22:57,690 and then send her lead vocals out 437 00:22:54,210 --> 00:22:59,280 through the Chandler mini mixer send the 438 00:22:57,690 --> 00:23:02,190 backgrounds out through the Chandler 439 00:22:59,280 --> 00:23:05,520 mini mixer and then he's got like an all 440 00:23:02,190 --> 00:23:08,120 music sub mix as well okay that's not 441 00:23:05,520 --> 00:23:11,190 going to work let me duplicate that and 442 00:23:08,120 --> 00:23:14,010 then just send the drums to the new one 443 00:23:11,190 --> 00:23:17,190 and send the drums out to the Neve and 444 00:23:14,010 --> 00:23:19,620 you get my point so I'm choosing picking 445 00:23:17,190 --> 00:23:23,790 and choosing the the the points at which 446 00:23:19,620 --> 00:23:27,710 I'm changing his setup and then I'm 447 00:23:23,790 --> 00:23:30,090 sending it to my you know choices and 448 00:23:27,710 --> 00:23:35,640 sometimes those choices are just based 449 00:23:30,090 --> 00:23:39,240 on the Transformers they're not even I'm 450 00:23:35,640 --> 00:23:40,740 not even going to change the EQ I'm just 451 00:23:39,240 --> 00:23:45,060 gonna listen to it through the 452 00:23:40,740 --> 00:23:47,760 Transformers and and then through I've 453 00:23:45,060 --> 00:23:50,820 got a pair of p76 454 00:23:47,760 --> 00:23:53,430 amplifiers which have tubes in them so 455 00:23:50,820 --> 00:23:59,520 I'm going to listen to that so you get 456 00:23:53,430 --> 00:24:03,780 my point that quite often if if y'all 457 00:23:59,520 --> 00:24:08,520 are mixers you'll know you get a file 458 00:24:03,780 --> 00:24:11,730 that the producer has spent days maybe 459 00:24:08,520 --> 00:24:17,730 even months working on and that might be 460 00:24:11,730 --> 00:24:21,810 in what he considers to be a mix so is 461 00:24:17,730 --> 00:24:26,100 it your job to break that down and print 462 00:24:21,810 --> 00:24:29,850 stems and and then mix it or is it your 463 00:24:26,100 --> 00:24:31,650 job to sort of make use of his ideas I 464 00:24:29,850 --> 00:24:35,370 kind of choose the latter 465 00:24:31,650 --> 00:24:38,370 I like doing it that way because then I 466 00:24:35,370 --> 00:24:42,050 get to sort of dissect why and what he 467 00:24:38,370 --> 00:24:45,800 did or she and try to make it 468 00:24:42,050 --> 00:24:49,310 better and I do this quite often 469 00:24:45,800 --> 00:24:57,080 actually I guess that's an interesting 470 00:24:49,310 --> 00:25:00,500 segue in the idea of this APB that Colin 471 00:24:57,080 --> 00:25:02,150 made at McGee SP I have any have have 472 00:25:00,500 --> 00:25:07,070 you guys check this thing out 473 00:25:02,150 --> 00:25:11,690 yeah a couple couple folks so this box 474 00:25:07,070 --> 00:25:14,680 is is this green box here and it's 475 00:25:11,690 --> 00:25:19,640 connected with just Thunderball right 476 00:25:14,680 --> 00:25:22,550 can I can I now save and automate a 477 00:25:19,640 --> 00:25:27,230 piece of analog equipment from within my 478 00:25:22,550 --> 00:25:34,220 DAW now I can and and Colin has made a 479 00:25:27,230 --> 00:25:37,220 box this simple you know 1u box that's 480 00:25:34,220 --> 00:25:43,220 pretty light it's got 16 channels of 481 00:25:37,220 --> 00:25:49,970 hardware compression in it and you know 482 00:25:43,220 --> 00:25:52,400 I think we can possibly get into more 483 00:25:49,970 --> 00:25:54,350 about how that works but I imagine that 484 00:25:52,400 --> 00:25:57,110 Colin's website probably has a lot more 485 00:25:54,350 --> 00:26:00,380 information than I can disseminate right 486 00:25:57,110 --> 00:26:05,300 now but this is the future this is the 487 00:26:00,380 --> 00:26:08,420 way for me again I like that I like the 488 00:26:05,300 --> 00:26:10,510 sound of an analog compressor I'm hoping 489 00:26:08,420 --> 00:26:13,640 that eventually Colin will get into 490 00:26:10,510 --> 00:26:17,060 equalization saturation and a few other 491 00:26:13,640 --> 00:26:20,450 things but right now this is the way you 492 00:26:17,060 --> 00:26:25,280 can control and automate an analog 493 00:26:20,450 --> 00:26:27,770 device within your dog that's not doable 494 00:26:25,280 --> 00:26:30,050 in any other way so how would I 495 00:26:27,770 --> 00:26:32,330 characterize the type of compression in 496 00:26:30,050 --> 00:26:34,970 this box it's actually really 497 00:26:32,330 --> 00:26:37,940 interesting because and you can imagine 498 00:26:34,970 --> 00:26:40,580 this is what's necessary what Colin did 499 00:26:37,940 --> 00:26:44,660 was he made a very very high quality box 500 00:26:40,580 --> 00:26:48,790 so it's got 32 bit conversion internally 501 00:26:44,660 --> 00:26:53,300 32 bit conversion and in high quality 502 00:26:48,790 --> 00:26:54,810 components and then he manipulates them 503 00:26:53,300 --> 00:26:59,430 through software to 504 00:26:54,810 --> 00:27:02,100 things that emulate our favorite 505 00:26:59,430 --> 00:27:04,650 compressors in this case this is 506 00:27:02,100 --> 00:27:07,800 probably emulating something that is 507 00:27:04,650 --> 00:27:10,560 similar to a Fairchild right because of 508 00:27:07,800 --> 00:27:13,680 its name I'm only assuming does it sound 509 00:27:10,560 --> 00:27:15,600 like a Fairchild no he's not suggesting 510 00:27:13,680 --> 00:27:17,490 that it sounds like a Fairchild thus it 511 00:27:15,600 --> 00:27:21,750 doesn't have the exact same logo and 512 00:27:17,490 --> 00:27:26,040 name but he because he's created a 513 00:27:21,750 --> 00:27:27,840 system within the analog circuitry there 514 00:27:26,040 --> 00:27:31,260 are points within that circuitry where 515 00:27:27,840 --> 00:27:35,160 he is calling upon particular bits of 516 00:27:31,260 --> 00:27:38,460 the circuitry to mimic the attack and 517 00:27:35,160 --> 00:27:41,610 release time of a particular kind of 518 00:27:38,460 --> 00:27:44,160 compressor and of course the the sky's 519 00:27:41,610 --> 00:27:48,300 the limit on what other programmers 520 00:27:44,160 --> 00:27:52,320 would do with this type of box so I 521 00:27:48,300 --> 00:27:54,840 think that the future is in what can a 522 00:27:52,320 --> 00:27:57,360 programmer do with this now you know and 523 00:27:54,840 --> 00:27:59,790 that's kind of super interesting to me 524 00:27:57,360 --> 00:28:03,060 because colin has created a really high 525 00:27:59,790 --> 00:28:06,600 quality analog circuitry that is 526 00:28:03,060 --> 00:28:09,110 digitally controlled so so the question 527 00:28:06,600 --> 00:28:12,180 is is there a need for analog equipment 528 00:28:09,110 --> 00:28:15,800 you know what that's a choice it really 529 00:28:12,180 --> 00:28:19,650 is it's it's a taste it's a choice I 530 00:28:15,800 --> 00:28:23,340 believe I work better within the 531 00:28:19,650 --> 00:28:25,350 framework of of what I do and that is 532 00:28:23,340 --> 00:28:27,870 incorporating both the digital and the 533 00:28:25,350 --> 00:28:31,890 analog together as I said before I'm not 534 00:28:27,870 --> 00:28:36,690 interested in in going back to analog 535 00:28:31,890 --> 00:28:44,790 tape that's for damn sure but I do I do 536 00:28:36,690 --> 00:28:47,280 like the sound I mean listen to i mix 537 00:28:44,790 --> 00:28:52,620 three songs today or three songs that 538 00:28:47,280 --> 00:28:55,370 got released for be those three songs I 539 00:28:52,620 --> 00:28:59,970 I can't tell you what the the Chandler 540 00:28:55,370 --> 00:29:03,330 rs.12 for did it made it it made the 541 00:28:59,970 --> 00:29:08,010 sound of her voice it when I listen to 542 00:29:03,330 --> 00:29:11,820 those records I hear that rs.12 four and 543 00:29:08,010 --> 00:29:16,620 I don't know that that is something that 544 00:29:11,820 --> 00:29:18,690 I can get yet from blocks maybe maybe 545 00:29:16,620 --> 00:29:22,380 somebody maybe you know Chandler's gonna 546 00:29:18,690 --> 00:29:27,059 license something and and somebody will 547 00:29:22,380 --> 00:29:29,340 come out with it but I tried trust me 548 00:29:27,059 --> 00:29:33,990 because I only have two and I wish I had 549 00:29:29,340 --> 00:29:36,540 four you know but if I had if I had four 550 00:29:33,990 --> 00:29:38,910 I would use for that's how good the box 551 00:29:36,540 --> 00:29:41,450 is that's what it does for my life so is 552 00:29:38,910 --> 00:29:45,679 that something I can get from a plug-in 553 00:29:41,450 --> 00:29:48,660 maybe if anybody knows Tchad Blake knows 554 00:29:45,679 --> 00:29:49,140 but not me because I haven't found it 555 00:29:48,660 --> 00:29:51,990 yet 556 00:29:49,140 --> 00:29:55,049 I often come to these events without a 557 00:29:51,990 --> 00:29:57,450 clue of what I'm going to do and this 558 00:29:55,049 --> 00:30:00,960 this is no difference because I was 559 00:29:57,450 --> 00:30:03,480 working too in fact I arrived here late 560 00:30:00,960 --> 00:30:06,570 last night and as soon as I got here I 561 00:30:03,480 --> 00:30:08,549 got a message from a producer and and he 562 00:30:06,570 --> 00:30:12,540 said yeah what happened to the panning 563 00:30:08,549 --> 00:30:15,419 on that vocal ad-lib and and of course I 564 00:30:12,540 --> 00:30:18,120 was like what panning and my assistant 565 00:30:15,419 --> 00:30:21,120 had deleted some panning of a particular 566 00:30:18,120 --> 00:30:24,240 vocal ad-lib and and so I was working 567 00:30:21,120 --> 00:30:27,570 until 2:00 a.m. I wasn't saying that as 568 00:30:24,240 --> 00:30:30,900 an excuse that I am I am NOT going to 569 00:30:27,570 --> 00:30:34,380 you know be as impressive with my mixing 570 00:30:30,900 --> 00:30:37,020 today I meant it more to the point of I 571 00:30:34,380 --> 00:30:40,710 think that I'm probably much like y'all 572 00:30:37,020 --> 00:30:45,570 and that is I got my head in this in 573 00:30:40,710 --> 00:30:51,540 this thing every day for 15 hours a day 574 00:30:45,570 --> 00:30:54,860 and as much as possible I try to plan 575 00:30:51,540 --> 00:30:58,770 out moments of where I'm going to 576 00:30:54,860 --> 00:31:02,280 explore new plugins or listen to new 577 00:30:58,770 --> 00:31:08,510 released music or have a discussion with 578 00:31:02,280 --> 00:31:11,580 my my friends about what direction our 579 00:31:08,510 --> 00:31:14,669 engineering industry is going and and 580 00:31:11,580 --> 00:31:17,880 how can I keep up so I think that that 581 00:31:14,669 --> 00:31:19,020 is something that in as much as I can 582 00:31:17,880 --> 00:31:20,780 sit here and trying to demonstrate 583 00:31:19,020 --> 00:31:25,370 things that I do 584 00:31:20,780 --> 00:31:28,040 I think that this is so important 585 00:31:25,370 --> 00:31:30,110 obviously coming here and talking to me 586 00:31:28,040 --> 00:31:34,190 hopefully you're gonna walk away even 587 00:31:30,110 --> 00:31:38,090 with this the smallest tidbit of 588 00:31:34,190 --> 00:31:41,450 information that you can then go home or 589 00:31:38,090 --> 00:31:44,450 to your studio and and try and utilize 590 00:31:41,450 --> 00:31:47,630 and practice it and try to figure out 591 00:31:44,450 --> 00:31:49,610 how can I make use of this info I can't 592 00:31:47,630 --> 00:31:53,240 stress enough how important it is for 593 00:31:49,610 --> 00:31:57,350 you to find and allocate time for 594 00:31:53,240 --> 00:32:00,490 yourself to practice and by practice I 595 00:31:57,350 --> 00:32:04,280 mean practice with your system but also 596 00:32:00,490 --> 00:32:07,400 experiment and listen to music and and 597 00:32:04,280 --> 00:32:10,730 read information about you know your 598 00:32:07,400 --> 00:32:13,130 colleagues and mine as to how they do 599 00:32:10,730 --> 00:32:16,250 things and see if there are ways for you 600 00:32:13,130 --> 00:32:21,260 to incorporate that into your work so 601 00:32:16,250 --> 00:32:23,750 Debbie is an awesome writer and one of 602 00:32:21,260 --> 00:32:26,030 the reasons why I am working with her is 603 00:32:23,750 --> 00:32:30,140 because of that and not only is she an 604 00:32:26,030 --> 00:32:35,210 awesome writer she is an amazing singer 605 00:32:30,140 --> 00:32:39,320 and musician I work on a lot of music 606 00:32:35,210 --> 00:32:41,060 and and I think that one of the reasons 607 00:32:39,320 --> 00:32:44,930 why I wanted to bring Debbie's music in 608 00:32:41,060 --> 00:32:47,870 here to demonstrate is because it came 609 00:32:44,930 --> 00:32:52,640 to me at a place that I felt I really 610 00:32:47,870 --> 00:32:55,460 could do a lot to it to bring out what 611 00:32:52,640 --> 00:32:57,950 what hopefully she was looking for this 612 00:32:55,460 --> 00:33:01,940 record is not out it probably won't come 613 00:32:57,950 --> 00:33:04,850 out for I don't know a few months she 614 00:33:01,940 --> 00:33:08,870 has she's really nice and letting me use 615 00:33:04,850 --> 00:33:11,840 her file she co-produced the record as I 616 00:33:08,870 --> 00:33:14,690 said and performs on it one of the 617 00:33:11,840 --> 00:33:19,090 things that I do immediately when I get 618 00:33:14,690 --> 00:33:24,110 a record is my team they'll basically 619 00:33:19,090 --> 00:33:28,190 get a file from the producer and then 620 00:33:24,110 --> 00:33:32,120 they'll they'll put my template and by 621 00:33:28,190 --> 00:33:36,110 template I mean my IO setup 622 00:33:32,120 --> 00:33:38,270 also a bunch of auxes that I that I keep 623 00:33:36,110 --> 00:33:41,510 in my template and you'll notice down 624 00:33:38,270 --> 00:33:44,720 below here I've got a bunch of auxes 625 00:33:41,510 --> 00:33:47,930 that are inactive and those are part of 626 00:33:44,720 --> 00:33:48,410 my template and so whenever I have an 627 00:33:47,930 --> 00:33:51,860 idea 628 00:33:48,410 --> 00:33:54,890 I grab something on my template and I 629 00:33:51,860 --> 00:33:56,780 turn it on and I use that thing and 630 00:33:54,890 --> 00:34:00,830 sometimes I edit it sometimes I don't 631 00:33:56,780 --> 00:34:03,980 edit it sometimes I have holes in my 632 00:34:00,830 --> 00:34:06,920 template so here you see something 633 00:34:03,980 --> 00:34:08,720 called extra mono delay and that just 634 00:34:06,920 --> 00:34:11,180 means it's blank when I open up my 635 00:34:08,720 --> 00:34:14,930 session and I throw something on there 636 00:34:11,180 --> 00:34:17,540 that I like and I use that and I have 637 00:34:14,930 --> 00:34:20,990 extra delay which is a stereo delay and 638 00:34:17,540 --> 00:34:23,110 I use that extra reverb and basically 639 00:34:20,990 --> 00:34:26,540 there's a bunch of stuff that I use 640 00:34:23,110 --> 00:34:30,170 here's one of that I call extra verb and 641 00:34:26,540 --> 00:34:33,350 I'll just grab something that I like and 642 00:34:30,170 --> 00:34:35,330 I throw that on and and start to work 643 00:34:33,350 --> 00:34:37,340 with that in this case I'm going to put 644 00:34:35,330 --> 00:34:39,710 that guy on how many of you use the 645 00:34:37,340 --> 00:34:42,620 template anybody anybody use the 646 00:34:39,710 --> 00:34:45,410 template okay so you use the template 647 00:34:42,620 --> 00:34:49,040 that's good I find it it allows me to 648 00:34:45,410 --> 00:34:50,780 work fast so generally what I do is I 649 00:34:49,040 --> 00:34:53,450 spend quite a lot of time just listening 650 00:34:50,780 --> 00:34:56,960 to the record and listening to the 651 00:34:53,450 --> 00:35:00,640 tracks I try to spend as little time in 652 00:34:56,960 --> 00:35:00,640 front of the speakers as possible 653 00:35:03,290 --> 00:35:13,550 and then I make mental notes and and 654 00:35:09,290 --> 00:35:19,250 those mental notes can be regarding the 655 00:35:13,550 --> 00:35:23,330 mood that the song puts me in it could 656 00:35:19,250 --> 00:35:26,240 be mental notes about a chain that I 657 00:35:23,330 --> 00:35:30,470 want to create and I want to work out 658 00:35:26,240 --> 00:35:35,090 later but I find that being able to 659 00:35:30,470 --> 00:35:41,320 visualize the sound that I want and by 660 00:35:35,090 --> 00:35:44,780 visualize I mean that could be the room 661 00:35:41,320 --> 00:35:47,300 right so maybe if I'm thinking about 662 00:35:44,780 --> 00:35:50,450 what room do I want that snare drum to 663 00:35:47,300 --> 00:35:53,870 be in I'm thinking about are the walls 664 00:35:50,450 --> 00:35:58,100 made of wood where are the walls made of 665 00:35:53,870 --> 00:36:05,420 plaster is the ceiling high or low is 666 00:35:58,100 --> 00:36:07,160 there wood on the floor right these are 667 00:36:05,420 --> 00:36:13,910 these are the kinds of things that are 668 00:36:07,160 --> 00:36:16,910 that I'm hearing in my head I'm not 669 00:36:13,910 --> 00:36:23,690 thinking about a plug-in right I'm 670 00:36:16,910 --> 00:36:29,960 thinking about what kind of wood and and 671 00:36:23,690 --> 00:36:35,570 I'm also thinking about what is the 672 00:36:29,960 --> 00:36:40,460 finish on the wood right is there any 673 00:36:35,570 --> 00:36:41,990 fabric involved in this room right how 674 00:36:40,460 --> 00:36:44,780 big is the room because that's going to 675 00:36:41,990 --> 00:36:48,170 tell me how my delay is gonna work is 676 00:36:44,780 --> 00:36:51,170 there a delay and then of course I can 677 00:36:48,170 --> 00:36:53,330 start to think about where am I placing 678 00:36:51,170 --> 00:36:56,450 the microphones I'm sure most of you 679 00:36:53,330 --> 00:36:59,440 have tried out the UAD Ocean Way plug-in 680 00:36:56,450 --> 00:37:02,150 where you get to move the microphone 681 00:36:59,440 --> 00:37:04,850 around have you guys seen this plugin 682 00:37:02,150 --> 00:37:07,640 anybody not seen it anybody not seen 683 00:37:04,850 --> 00:37:09,910 this plug-in okay so you gotta you gotta 684 00:37:07,640 --> 00:37:12,339 check it out you probably find a demo on 685 00:37:09,910 --> 00:37:17,170 or whatever but it's a really smart 686 00:37:12,339 --> 00:37:21,309 interesting plugin that is is emulating 687 00:37:17,170 --> 00:37:24,460 this ocean waste space and then moving 688 00:37:21,309 --> 00:37:27,579 allowing you to choose the microphone 689 00:37:24,460 --> 00:37:30,640 and move the microphone within that 690 00:37:27,579 --> 00:37:32,289 space which i think is super cool I 691 00:37:30,640 --> 00:37:35,289 remember when they were developing it 692 00:37:32,289 --> 00:37:39,250 and the engineer was asking me what I 693 00:37:35,289 --> 00:37:42,400 thought might be what what might make it 694 00:37:39,250 --> 00:37:46,539 more interesting and I think they did a 695 00:37:42,400 --> 00:37:48,520 terrific job at creating that but that's 696 00:37:46,539 --> 00:37:51,339 a lot of the process that I'm thinking 697 00:37:48,520 --> 00:37:54,130 so when I'm listening down to the track 698 00:37:51,339 --> 00:37:56,530 over and over again I'm thinking about 699 00:37:54,130 --> 00:38:00,369 those things how do I want this snare to 700 00:37:56,530 --> 00:38:02,470 sound where do I want it to sit or vote 701 00:38:00,369 --> 00:38:03,940 where do I want the vocal to be and then 702 00:38:02,470 --> 00:38:06,240 of course I start to think about the 703 00:38:03,940 --> 00:38:10,780 arrangement as well all right I'm 704 00:38:06,240 --> 00:38:13,210 starting to think you know does does the 705 00:38:10,780 --> 00:38:17,349 vocal need to be dry in the beginning 706 00:38:13,210 --> 00:38:19,480 and then get bigger at the end or you 707 00:38:17,349 --> 00:38:22,210 know do I start her off immediately in a 708 00:38:19,480 --> 00:38:25,119 big room because that changes the mood 709 00:38:22,210 --> 00:38:29,319 immediately right in in the case of this 710 00:38:25,119 --> 00:38:33,430 mix I started off quite dry but I'd like 711 00:38:29,319 --> 00:38:35,710 to actually mess around with okay so we 712 00:38:33,430 --> 00:38:38,319 put that on here should we listen to 713 00:38:35,710 --> 00:38:40,740 this thing because you guys haven't 714 00:38:38,319 --> 00:38:46,619 heard this thing yet right 715 00:38:40,740 --> 00:38:46,619 [Music] 716 00:38:51,090 --> 00:39:09,670 [Music] 717 00:39:01,300 --> 00:39:11,710 oh well okay I don't know if you can 718 00:39:09,670 --> 00:39:23,200 hear put in my headphones I can actually 719 00:39:11,710 --> 00:39:24,610 hear the difference they're kind of 720 00:39:23,200 --> 00:39:27,070 lifts up the low end in a really 721 00:39:24,610 --> 00:39:34,960 interesting way let's throw another one 722 00:39:27,070 --> 00:39:37,360 on just for for the hell of it yeah this 723 00:39:34,960 --> 00:39:40,620 one's kind of interesting I use this one 724 00:39:37,360 --> 00:39:40,620 on vocal all the time actually 725 00:39:40,870 --> 00:39:45,610 [Music] 726 00:39:46,440 --> 00:39:52,119 but why don't we just put it on her 727 00:39:48,460 --> 00:39:54,849 vocal so I've got this guy on her vocal 728 00:39:52,119 --> 00:39:58,150 already cuz that's what I used in the 729 00:39:54,849 --> 00:40:10,109 mix so let's just a B and listen to it a 730 00:39:58,150 --> 00:40:15,630 little bit you know make its container 731 00:40:10,109 --> 00:40:31,060 go get us notice siendo color 732 00:40:15,630 --> 00:40:33,579 swing your guess the weight cattle ahead 733 00:40:31,060 --> 00:40:38,880 look at Auclair head low cattle cleared 734 00:40:33,579 --> 00:40:41,440 lo que estás aquí que estas aqui 735 00:40:38,880 --> 00:40:42,820 it does a nice job I don't know if you 736 00:40:41,440 --> 00:40:52,810 guys can hear it but in my phones I'm 737 00:40:42,820 --> 00:40:56,349 like wow that sounds great but so so I 738 00:40:52,810 --> 00:40:59,079 mean again you got to dig into this this 739 00:40:56,349 --> 00:41:00,520 box yeah I think it's super cool I've 740 00:40:59,079 --> 00:41:05,230 been using it for six weeks 741 00:41:00,520 --> 00:41:07,540 I'm loving it kahlan's little small 742 00:41:05,230 --> 00:41:09,430 session that he did upstairs really kind 743 00:41:07,540 --> 00:41:11,650 of blew my mind I got more information 744 00:41:09,430 --> 00:41:13,990 on it now and know a little bit more 745 00:41:11,650 --> 00:41:15,609 about what it does I also used it on a 746 00:41:13,990 --> 00:41:19,030 mix bus which I thought was really cool 747 00:41:15,609 --> 00:41:20,980 and we can mess with that later but for 748 00:41:19,030 --> 00:41:25,210 now I'm just going to leave this I do 749 00:41:20,980 --> 00:41:28,390 want to mess with the reverb thing that 750 00:41:25,210 --> 00:41:30,579 I put out there and I think I put it on 751 00:41:28,390 --> 00:41:36,190 extra verb I'm going to turn the other 752 00:41:30,579 --> 00:41:40,319 stuff off because as we were as I was 753 00:41:36,190 --> 00:41:44,460 playing the track I realized that that 754 00:41:40,319 --> 00:41:48,609 that one approach that I may have missed 755 00:41:44,460 --> 00:41:52,030 when I mixed this record was there 756 00:41:48,609 --> 00:41:54,839 there's a real sadness that's in the 757 00:41:52,030 --> 00:42:00,239 track that I'm not sure I am 758 00:41:54,839 --> 00:42:02,339 I'm accentuating in her vocal sound of 759 00:42:00,239 --> 00:42:04,559 course this is there are so many 760 00:42:02,339 --> 00:42:05,849 different directions we can go but I 761 00:42:04,559 --> 00:42:09,029 want to I want to try to mess around 762 00:42:05,849 --> 00:42:12,749 with where this goes 763 00:42:09,029 --> 00:42:16,439 if I just mess with this idea that came 764 00:42:12,749 --> 00:42:20,209 in my head whatever that ends up being I 765 00:42:16,439 --> 00:42:24,569 don't know I always start off with a 766 00:42:20,209 --> 00:42:27,539 with a preset because I don't know why I 767 00:42:24,569 --> 00:42:32,390 just like to maybe I like seeing a name 768 00:42:27,539 --> 00:42:32,390 but I'm going to start with this guy 769 00:42:33,650 --> 00:42:55,000 [Music] 770 00:42:56,299 --> 00:43:05,609 again going back to what I was talking 771 00:43:02,219 --> 00:43:09,509 about earlier regarding in my head I'm 772 00:43:05,609 --> 00:43:15,569 visualizing what I want this to sound 773 00:43:09,509 --> 00:43:17,969 like so I'm visualizing space the size 774 00:43:15,569 --> 00:43:20,539 of the space the kinds of floor the 775 00:43:17,969 --> 00:43:23,039 materials involved in that space I 776 00:43:20,539 --> 00:43:24,929 brought up this plugin because I thought 777 00:43:23,039 --> 00:43:29,219 this is a really interesting way that 778 00:43:24,929 --> 00:43:31,289 they've created this plugin by allowing 779 00:43:29,219 --> 00:43:34,859 you to determine what the materials 780 00:43:31,289 --> 00:43:35,729 involved in the space are I just love 781 00:43:34,859 --> 00:43:38,009 that idea 782 00:43:35,729 --> 00:43:39,599 and that kind of works with the way my 783 00:43:38,009 --> 00:43:43,679 brain works when I'm thinking about 784 00:43:39,599 --> 00:43:48,419 space but in this case I want to see if 785 00:43:43,679 --> 00:43:50,640 I can make her sound lonely okay that's 786 00:43:48,419 --> 00:43:54,029 the that's the best way that I can 787 00:43:50,640 --> 00:43:55,710 describe the sound in my head 788 00:43:54,029 --> 00:43:58,380 and 789 00:43:55,710 --> 00:44:00,720 so I don't know if I can do that but uh 790 00:43:58,380 --> 00:44:03,410 you know having a big open space maybe 791 00:44:00,720 --> 00:44:28,970 that's going to help 792 00:44:03,410 --> 00:44:28,970 [Music] 793 00:44:32,270 --> 00:44:40,070 [Music] 794 00:44:43,330 --> 00:44:51,020 [Music] 795 00:44:53,230 --> 00:44:58,880 [Music] 796 00:44:55,190 --> 00:44:58,880 as a key 797 00:45:05,859 --> 00:45:13,270 you know my girl fiercer me but eyes 798 00:45:10,550 --> 00:45:13,270 hold up 799 00:45:20,550 --> 00:45:30,940 you know Meg enough we're sunny but I 800 00:45:24,880 --> 00:45:34,220 told her thing go get some candy 801 00:45:30,940 --> 00:45:37,240 [Music] 802 00:45:34,220 --> 00:45:42,290 so quite often I spend a lot of time 803 00:45:37,240 --> 00:45:45,470 doing what I call a broad strokes and 804 00:45:42,290 --> 00:45:49,790 that's because I'm not trying to succeed 805 00:45:45,470 --> 00:45:55,160 at anything I'm really simply trying to 806 00:45:49,790 --> 00:45:58,850 get the idea in my head out that's it 807 00:45:55,160 --> 00:46:02,420 I'm not trying to finish the whole 808 00:45:58,850 --> 00:46:09,310 detail I'm simply trying to get the idea 809 00:46:02,420 --> 00:46:14,090 out and every stroke that I make is 810 00:46:09,310 --> 00:46:41,800 telling me that's part of the sound that 811 00:46:14,090 --> 00:46:45,440 I'm looking for or not really just like 812 00:46:41,800 --> 00:46:49,160 sending anything in pre it goes against 813 00:46:45,440 --> 00:46:52,540 everything I believe in it also makes 814 00:46:49,160 --> 00:46:52,540 printing stems a real 815 00:46:54,540 --> 00:47:07,100 [Music] 816 00:47:12,650 --> 00:47:55,889 [Music] 817 00:48:03,850 --> 00:48:06,889 [Music] 818 00:48:10,390 --> 00:48:20,080 [Music] 819 00:48:16,390 --> 00:48:20,080 removal Sunday 820 00:48:23,770 --> 00:48:33,790 [Music] 821 00:48:35,450 --> 00:48:53,740 okay so the idea of envisioning the 822 00:48:46,670 --> 00:48:58,010 sound in your head comes from the mood 823 00:48:53,740 --> 00:49:01,040 right it's it's the feeling there was a 824 00:48:58,010 --> 00:49:06,160 record on the carters a song on the 825 00:49:01,040 --> 00:49:06,160 carters record that I did last year and 826 00:49:07,420 --> 00:49:11,990 there was a process involved in this in 827 00:49:10,430 --> 00:49:14,750 the production of that record they were 828 00:49:11,990 --> 00:49:16,970 quite a there's four engineers involved 829 00:49:14,750 --> 00:49:19,460 there's a lot of work that went into 830 00:49:16,970 --> 00:49:22,390 involved in the record in a very short 831 00:49:19,460 --> 00:49:27,290 period of time and we were all in London 832 00:49:22,390 --> 00:49:29,890 guru was mixing a song well then he was 833 00:49:27,290 --> 00:49:34,240 actually recording and mixing a song 834 00:49:29,890 --> 00:49:37,730 that it ended up be had put her her 835 00:49:34,240 --> 00:49:40,760 vocals on late and he had very little 836 00:49:37,730 --> 00:49:44,180 time to to mix it and I had heard the 837 00:49:40,760 --> 00:49:46,040 song early on when I first arrived in 838 00:49:44,180 --> 00:49:47,059 London he had already been working on it 839 00:49:46,040 --> 00:49:50,780 for weeks 840 00:49:47,059 --> 00:49:53,630 recording and and and arranging and 841 00:49:50,780 --> 00:49:57,140 doing all sorts of things guru does 842 00:49:53,630 --> 00:50:00,799 quite a lot for 4j and I had heard the 843 00:49:57,140 --> 00:50:03,170 song and of course I was like oh I want 844 00:50:00,799 --> 00:50:05,299 to mix this song you know but I didn't 845 00:50:03,170 --> 00:50:06,680 say anything and in the end he didn't 846 00:50:05,299 --> 00:50:09,230 have the time to finish it 847 00:50:06,680 --> 00:50:12,770 and but they gave it to me and I only 848 00:50:09,230 --> 00:50:14,740 had like literally four hours I think 849 00:50:12,770 --> 00:50:17,930 for me to do that 850 00:50:14,740 --> 00:50:19,490 but during during the week that I was 851 00:50:17,930 --> 00:50:21,530 there maybe two weeks I don't even 852 00:50:19,490 --> 00:50:25,069 remember how long it was because it's 853 00:50:21,530 --> 00:50:28,599 all a blur but I had mixed the whole 854 00:50:25,069 --> 00:50:34,150 record in my head every sound every 855 00:50:28,599 --> 00:50:37,520 track I had mixed in my head and I 856 00:50:34,150 --> 00:50:40,880 practiced this technique when I was an 857 00:50:37,520 --> 00:50:42,589 assistant engineer I I know that we 858 00:50:40,880 --> 00:50:43,569 don't really have that process anymore 859 00:50:42,589 --> 00:50:47,130 in the business 860 00:50:43,569 --> 00:50:51,849 where there's an assistant and and a 861 00:50:47,130 --> 00:50:56,680 master engineer that you learn from but 862 00:50:51,849 --> 00:50:59,499 that's how I came up and and I'm not 863 00:50:56,680 --> 00:51:02,979 saying that it was a it was a epiphany 864 00:50:59,499 --> 00:51:08,079 or anything I just hated you know I had 865 00:51:02,979 --> 00:51:12,479 to sit in the room and I hated it so I 866 00:51:08,079 --> 00:51:17,589 would just mix in my head so the this 867 00:51:12,479 --> 00:51:20,349 engineer is his name is um his name is 868 00:51:17,589 --> 00:51:25,059 doc Daugherty and he used to smoke 869 00:51:20,349 --> 00:51:28,180 Winston's and drink drink beer while he 870 00:51:25,059 --> 00:51:31,749 while he mixed and so my job was pretty 871 00:51:28,180 --> 00:51:34,150 much just doing patches writing down you 872 00:51:31,749 --> 00:51:36,579 know settings on the equipment and going 873 00:51:34,150 --> 00:51:39,369 out and getting him Winston's and beer 874 00:51:36,579 --> 00:51:42,400 and that was my job so you can imagine 875 00:51:39,369 --> 00:51:45,880 how bored I was every time I had to 876 00:51:42,400 --> 00:51:50,229 assist doc which was all the time and he 877 00:51:45,880 --> 00:51:51,549 was really an amazing mixer I in fact to 878 00:51:50,229 --> 00:51:58,479 this day I don't know how he did what he 879 00:51:51,549 --> 00:52:00,519 did but as it stands I'm not sure I ever 880 00:51:58,479 --> 00:52:01,059 spent the time to figure out how he did 881 00:52:00,519 --> 00:52:04,809 what he did 882 00:52:01,059 --> 00:52:06,849 because I was bored and I would just 883 00:52:04,809 --> 00:52:10,059 spend my time sitting in the back of the 884 00:52:06,849 --> 00:52:12,940 room going okay I'm gonna put the snare 885 00:52:10,059 --> 00:52:15,910 through this reverb and I'm gonna set 886 00:52:12,940 --> 00:52:18,910 this and I'm gonna do that and then I'm 887 00:52:15,910 --> 00:52:23,079 gonna send it through you know this 888 00:52:18,910 --> 00:52:25,749 guitar pedal and it's gonna do this for 889 00:52:23,079 --> 00:52:28,209 this one spot you know what I mean and I 890 00:52:25,749 --> 00:52:29,969 would do that in my head all the time to 891 00:52:28,209 --> 00:52:33,339 the point where I started writing down 892 00:52:29,969 --> 00:52:36,609 what I was going to do and that included 893 00:52:33,339 --> 00:52:40,469 the patching the patch cable the length 894 00:52:36,609 --> 00:52:42,940 of cable the kind of cable balanced 895 00:52:40,469 --> 00:52:46,390 unbalanced everything about it 896 00:52:42,940 --> 00:52:50,529 I would patch it in my head because it 897 00:52:46,390 --> 00:52:53,410 was so boring to sit there and just doc 898 00:52:50,529 --> 00:52:55,900 would work on the snare for two hours 899 00:52:53,410 --> 00:52:58,329 and I just couldn't 900 00:52:55,900 --> 00:53:00,430 standed after a while there was one 901 00:52:58,329 --> 00:53:02,470 point I said the duck are you really 902 00:53:00,430 --> 00:53:05,140 gonna work on that snare some more and 903 00:53:02,470 --> 00:53:12,099 he just said go out and get me a pack of 904 00:53:05,140 --> 00:53:16,210 Winston's I swear to God and and he 905 00:53:12,099 --> 00:53:20,710 didn't say they he was you know this guy 906 00:53:16,210 --> 00:53:23,200 this guy was like um Clint Eastwood that 907 00:53:20,710 --> 00:53:26,319 was his persona but it was really him 908 00:53:23,200 --> 00:53:28,660 you know so he wouldn't say to me shut 909 00:53:26,319 --> 00:53:30,609 up you idiot he would just say go out 910 00:53:28,660 --> 00:53:37,180 and get me another pack of whinnies and 911 00:53:30,609 --> 00:53:41,579 that was means don't be a dumbass but it 912 00:53:37,180 --> 00:53:45,160 really helped me to home that idea of 913 00:53:41,579 --> 00:53:49,510 mixing in my head so as I'm sitting here 914 00:53:45,160 --> 00:53:51,670 and I'm poking away at this at this idea 915 00:53:49,510 --> 00:53:54,309 that I've got in my head about creating 916 00:53:51,670 --> 00:53:56,650 a lonely sound for her I'm realizing 917 00:53:54,309 --> 00:53:58,359 okay great this is going to be good but 918 00:53:56,650 --> 00:54:03,099 it's not going to work for the whole 919 00:53:58,359 --> 00:54:04,900 song of course so how and it's not going 920 00:54:03,099 --> 00:54:07,890 to work with the current arrangement of 921 00:54:04,900 --> 00:54:09,069 the song so then my head starts to go - 922 00:54:07,890 --> 00:54:11,200 okay 923 00:54:09,069 --> 00:54:13,599 do I change the arrangement and just 924 00:54:11,200 --> 00:54:16,869 move it down to like you know section 925 00:54:13,599 --> 00:54:19,539 maybe it's just going to be the roads or 926 00:54:16,869 --> 00:54:24,010 the guitar which I'm going to maybe put 927 00:54:19,539 --> 00:54:28,720 in this the same space as her and then 928 00:54:24,010 --> 00:54:30,190 I'm gonna bring that back okay all of 929 00:54:28,720 --> 00:54:33,640 these details you should be able to do 930 00:54:30,190 --> 00:54:36,309 in your head all the settings that that 931 00:54:33,640 --> 00:54:37,720 you change in the box you should be able 932 00:54:36,309 --> 00:54:40,930 to see them 933 00:54:37,720 --> 00:54:42,190 in your mind you should be able to do 934 00:54:40,930 --> 00:54:45,250 this all in your head 935 00:54:42,190 --> 00:54:48,010 just by coming up with a simple idea a 936 00:54:45,250 --> 00:54:50,079 simple sound you should have all of 937 00:54:48,010 --> 00:54:52,630 these settings and the way to get there 938 00:54:50,079 --> 00:54:56,440 is with practice and that's what I did 939 00:54:52,630 --> 00:54:58,510 so after doc left the studio and he 940 00:54:56,440 --> 00:55:01,529 would say okay make sure the recall is 941 00:54:58,510 --> 00:55:05,920 right then I would stay all night and 942 00:55:01,529 --> 00:55:08,980 get my mix on the board the one that was 943 00:55:05,920 --> 00:55:11,740 in my head that I had written down the 944 00:55:08,980 --> 00:55:16,029 things that I had in my my head and in 945 00:55:11,740 --> 00:55:19,630 my ear I would I would do and try to get 946 00:55:16,029 --> 00:55:22,329 to and that was my practice so it spend 947 00:55:19,630 --> 00:55:26,400 a lot of time practicing and trying to 948 00:55:22,329 --> 00:55:31,900 get those ideas out so I can't really 949 00:55:26,400 --> 00:55:34,930 speak more importantly about about how 950 00:55:31,900 --> 00:55:38,859 practice is really important how 951 00:55:34,930 --> 00:55:44,020 listening to other music and I used to 952 00:55:38,859 --> 00:55:47,170 listen to mixes by whoever you know was 953 00:55:44,020 --> 00:55:50,710 out and my favorite mixers and I would 954 00:55:47,170 --> 00:55:54,400 write down what I thought they did down 955 00:55:50,710 --> 00:55:57,339 to the cable down to the kind of guitar 956 00:55:54,400 --> 00:56:01,900 strings everything I would write down 957 00:55:57,339 --> 00:56:04,839 now none of that was probably true what 958 00:56:01,900 --> 00:56:09,880 I wrote to him but what it did was it 959 00:56:04,839 --> 00:56:12,010 trained my ear to say oh I want the 960 00:56:09,880 --> 00:56:16,660 sound that Bob Claire Mountain got on 961 00:56:12,010 --> 00:56:20,200 this INXS record on the kick drum and 962 00:56:16,660 --> 00:56:24,010 I'm sure Bob didn't do anything that was 963 00:56:20,200 --> 00:56:27,339 in my head I didn't get it right but I 964 00:56:24,010 --> 00:56:30,279 had an idea and that's how those ideas 965 00:56:27,339 --> 00:56:36,220 get created they don't get created by 966 00:56:30,279 --> 00:56:38,260 floundering around on your dog they get 967 00:56:36,220 --> 00:56:41,049 created by coming up with an idea in 968 00:56:38,260 --> 00:56:43,539 your head and that was my original point 969 00:56:41,049 --> 00:56:46,420 when I said I spend a lot of time 970 00:56:43,539 --> 00:56:49,270 listening so I'll sit there and listen 971 00:56:46,420 --> 00:56:50,799 and I'll look at my second and I'll say 972 00:56:49,270 --> 00:56:53,410 what does this remind you of 973 00:56:50,799 --> 00:56:55,210 and then we'll listen to that song and 974 00:56:53,410 --> 00:56:57,490 I'll think what does this remind me of 975 00:56:55,210 --> 00:57:00,819 and I'll listen to that song you know 976 00:56:57,490 --> 00:57:02,770 maybe I'll grab a delay setting from 977 00:57:00,819 --> 00:57:06,700 that song or maybe I'll come up with a 978 00:57:02,770 --> 00:57:09,549 kick drum sound for the bridge that is 979 00:57:06,700 --> 00:57:11,920 similar to this other song or whatever 980 00:57:09,549 --> 00:57:15,460 it is I might utilize those references 981 00:57:11,920 --> 00:57:18,130 in the same way that a poet or a visual 982 00:57:15,460 --> 00:57:20,410 artist will utilize references to 983 00:57:18,130 --> 00:57:23,080 something else right you 984 00:57:20,410 --> 00:57:32,860 understand what I'm going anybody have a 985 00:57:23,080 --> 00:57:35,380 question about that yeah do you not 986 00:57:32,860 --> 00:57:37,450 understand this do you speak Spanish you 987 00:57:35,380 --> 00:57:39,120 speak Spanish how many of you do not 988 00:57:37,450 --> 00:57:42,250 speak Spanish 989 00:57:39,120 --> 00:57:45,850 does anybody unclear about the mood of 990 00:57:42,250 --> 00:57:54,070 this song you're unclear what do you 991 00:57:45,850 --> 00:57:57,750 think the mood of the song is does 992 00:57:54,070 --> 00:58:01,090 everybody else agree we all agree she 993 00:57:57,750 --> 00:58:04,570 sets the mood I don't need to know the 994 00:58:01,090 --> 00:58:11,430 exact lyrics I work on kpop I don't know 995 00:58:04,570 --> 00:58:11,430 what they're saying I don't 996 00:58:12,390 --> 00:58:18,000 I don't I don't need to know exactly 997 00:58:15,900 --> 00:58:20,039 what she's saying and I and I do of 998 00:58:18,000 --> 00:58:22,859 course I asked her what is this song 999 00:58:20,039 --> 00:58:25,349 about and she'll explain to me but in 1000 00:58:22,859 --> 00:58:27,510 the end she only needs to make sure I 1001 00:58:25,349 --> 00:58:30,390 know if I'm going the wrong direction 1002 00:58:27,510 --> 00:58:32,309 right because if I go in the wrong 1003 00:58:30,390 --> 00:58:35,400 direction she'll immediately say what 1004 00:58:32,309 --> 00:58:37,349 the hell are you doing but if I go in 1005 00:58:35,400 --> 00:58:40,859 the right direction she's already told 1006 00:58:37,349 --> 00:58:43,890 me what the direction is I mean we all 1007 00:58:40,859 --> 00:58:45,839 anybody who's worked in music knows you 1008 00:58:43,890 --> 00:58:50,549 listen to the vocalist if she doesn't 1009 00:58:45,839 --> 00:58:52,559 tell you where he in the the way they 1010 00:58:50,549 --> 00:58:55,109 perform it if they don't tell you what 1011 00:58:52,559 --> 00:58:59,130 that song is about then they're just not 1012 00:58:55,109 --> 00:59:01,140 good that's that's it bottom line I mean 1013 00:58:59,130 --> 00:59:03,839 if if we're working on pop music and a 1014 00:59:01,140 --> 00:59:09,809 vocalist doesn't explain by their 1015 00:59:03,839 --> 00:59:15,000 performance what the song is about like 1016 00:59:09,809 --> 00:59:20,039 candy rain I just didn't know what that 1017 00:59:15,000 --> 00:59:24,359 song was about to this day I'm not sure 1018 00:59:20,039 --> 00:59:25,519 I know what that song is about but you 1019 00:59:24,359 --> 00:59:28,519 get my point 1020 00:59:25,519 --> 00:59:28,519 yeah 1021 00:59:30,130 --> 00:59:33,399 [Music] 1022 00:59:41,839 --> 00:59:56,910 to hearing what what's doing you know I 1023 00:59:54,359 --> 00:59:59,609 remember I play guitar and I went to 1024 00:59:56,910 --> 01:00:05,339 Berkeley and the teachers at Berkeley 1025 00:59:59,609 --> 01:00:07,049 were amazing musicians and in those days 1026 01:00:05,339 --> 01:00:08,190 at Berkeley you had to play an 1027 01:00:07,049 --> 01:00:12,720 instrument I don't know if you do 1028 01:00:08,190 --> 01:00:17,039 anymore and I really sucked and the and 1029 01:00:12,720 --> 01:00:19,499 the teachers were really good and I 1030 01:00:17,039 --> 01:00:22,410 remember the teachers saying to me 1031 01:00:19,499 --> 01:00:26,989 why are you playing and I'd be like well 1032 01:00:22,410 --> 01:00:31,289 it's my turn or something it's my spot 1033 01:00:26,989 --> 01:00:34,970 and he's like no you don't have a clue 1034 01:00:31,289 --> 01:00:45,960 what you're doing or why you're doing it 1035 01:00:34,970 --> 01:00:49,349 so to to dissect what you want to do you 1036 01:00:45,960 --> 01:00:51,869 have to train your ear and by training 1037 01:00:49,349 --> 01:00:55,049 your ear as an engineer I mean you have 1038 01:00:51,869 --> 01:01:02,640 to train your ear to know different 1039 01:00:55,049 --> 01:01:06,109 sounds right so if you're a beginner you 1040 01:01:02,640 --> 01:01:09,599 should not be mixing you should be 1041 01:01:06,109 --> 01:01:13,920 training your ear you should be spending 1042 01:01:09,599 --> 01:01:16,499 time with every plug-in you can find 1043 01:01:13,920 --> 01:01:19,200 with every piece of hardware you can 1044 01:01:16,499 --> 01:01:21,319 find that is emulated as a plug-in and 1045 01:01:19,200 --> 01:01:24,539 understand what their differences are 1046 01:01:21,319 --> 01:01:27,749 you should be spending time listening to 1047 01:01:24,539 --> 01:01:31,109 other music can you pick out the 1048 01:01:27,749 --> 01:01:34,109 instruments in a song start from there 1049 01:01:31,109 --> 01:01:38,190 that's ear training can you pick out 1050 01:01:34,109 --> 01:01:41,160 every instrument in a song and then can 1051 01:01:38,190 --> 01:01:43,950 you pick out what box they came from can 1052 01:01:41,160 --> 01:01:48,420 you pick out exactly what soft synth and 1053 01:01:43,950 --> 01:01:51,930 what setting can you do that that's 1054 01:01:48,420 --> 01:01:54,230 training your ear and trust me there's 1055 01:01:51,930 --> 01:02:00,540 people in this room who can do 1056 01:01:54,230 --> 01:02:03,780 right in and of course you know when 1057 01:02:00,540 --> 01:02:06,660 when most music was made by musicians an 1058 01:02:03,780 --> 01:02:09,180 engineer could tell what kind of bass it 1059 01:02:06,660 --> 01:02:12,150 was the exact kind of bass what kind of 1060 01:02:09,180 --> 01:02:15,480 strings were on that bass everything 1061 01:02:12,150 --> 01:02:19,410 about it they could hear if you can't 1062 01:02:15,480 --> 01:02:23,840 hear at that level then how can you come 1063 01:02:19,410 --> 01:02:26,100 up with an idea for a sound of a vocal 1064 01:02:23,840 --> 01:02:28,380 right how can you come up with an idea 1065 01:02:26,100 --> 01:02:32,160 for a sound for a bass so when I'm 1066 01:02:28,380 --> 01:02:35,910 messing with the bass I'm thinking oh I 1067 01:02:32,160 --> 01:02:38,910 want to put old strings on this bass or 1068 01:02:35,910 --> 01:02:42,210 I wanna I wanna I want one of the 1069 01:02:38,910 --> 01:02:45,960 pickups to be up you know like a 1070 01:02:42,210 --> 01:02:48,570 bad chord and that's what I'm thinking 1071 01:02:45,960 --> 01:02:50,040 in my head how can I mess with this in a 1072 01:02:48,570 --> 01:02:53,790 particular way that gives me this 1073 01:02:50,040 --> 01:02:56,400 feeling so you've got to train your ear 1074 01:02:53,790 --> 01:02:59,130 first so that those sounds are all 1075 01:02:56,400 --> 01:03:04,080 logged in there's a big file in there 1076 01:02:59,130 --> 01:03:07,890 going okay bad chord bad pickup old 1077 01:03:04,080 --> 01:03:10,710 strings cheap loop bump and that comes 1078 01:03:07,890 --> 01:03:12,510 out well that's what you hope comes out 1079 01:03:10,710 --> 01:03:13,860 sometimes it doesn't come out and 1080 01:03:12,510 --> 01:03:16,110 something better comes out and you say 1081 01:03:13,860 --> 01:03:18,690 oh that's got brand new strings on 1082 01:03:16,110 --> 01:03:21,660 it but an old you know but one bad 1083 01:03:18,690 --> 01:03:23,490 pickup you know I don't know these are 1084 01:03:21,660 --> 01:03:25,380 the kinds of things that you've got to 1085 01:03:23,490 --> 01:03:27,570 be able to hear in your head so ear 1086 01:03:25,380 --> 01:03:30,710 training is the thing to be doing if 1087 01:03:27,570 --> 01:03:35,180 you're just starting now because 1088 01:03:30,710 --> 01:03:39,330 mastering how to use the gear this stuff 1089 01:03:35,180 --> 01:03:40,950 that's easy that's easy Tony I think 1090 01:03:39,330 --> 01:03:42,630 that was a great answer I think that's 1091 01:03:40,950 --> 01:03:46,940 unfortunately all the time we have left 1092 01:03:42,630 --> 01:03:46,940 so big thank you to Tony Maserati 1093 01:03:47,210 --> 01:03:59,089 I also want if you can give us one more 1094 01:03:57,800 --> 01:04:01,580 round of applause the people who are 1095 01:03:59,089 --> 01:04:02,270 able to sponsor this so it could be free 1096 01:04:01,580 --> 01:04:04,490 to the public 1097 01:04:02,270 --> 01:04:08,800 both in person on video big thank you to 1098 01:04:04,490 --> 01:04:08,800 Mick DSP for bringing Tony here 1099 01:04:10,200 --> 01:04:17,210 [Music] 1100 01:04:19,370 --> 01:04:31,530 [Music] 83456

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