All language subtitles for 2. Vintage drum tones, taming transients, saturation and warmth, plugin selection, treating piano, vibraphone and horn section_EN

So these drums are...
it's all fully live recorded song.

Add in the bass.

There's a couple of
guitar parts in here.

You have a part, which is
a big part of the song.

Put some live
vibes in.

And one of the major parts
of this song are the horns.

The song was recorded really well, so
it's easy to kind of fit things together.

On the kick, I'm just using
a little bit this SPL,

taking some of
the sharpness off of it.

Taking a little
200 out of there.

A little boxy
sound of the kick.

On the snare,
using the UAD API,

which is one of my
favorite plug-ins for drums.

Real fat, thick sound
followed by an SSL,

The E-Channel
strip by Waves.

I'm just dialing stuff in
until it feels right.

And as I'm just listening down,
I'm just balancing the stuff out.

Just making sure everything
is in its place.

On the bass is a DI and an amp bass,
so I'm actually running those

into a group, and on that group,
I use the R AXX sometimes

because it actually kind of
brings the level up similar

to what the R-Vox does,
but for instruments.

So I used a little bit of that to just
mellow out the level of the bass.

There's a little distortion on
the bass to kind of give it

a little of a feel
so it can stick out.

And a little of
the Softube TLA-100 limiter

to give it
a little smoothness.

Also, using parallel
injection on it.

So I get some of
the original signal mixed in.

I'm also using the API 560
Graphic by UAD.

It's a really warm, great-sounding
EQ for guitars and basses

and things
of that nature.

Some drums.

Adding a little warmth,
bottom end, to it here.

And I always follow stuff up
with this SSL

because it just helps
me a little dial stuff in.

I've been working
on SSLs for so long.

That was always my thing, having
the SSL, channel strip, at the end.

So when I'm on the board
I was using it all the time.

So it's just a habit
of having it on.

I'm just using slight compression,
no EQ, nothing other than that.

Just a little bit of compression on
the bass at the end of all the things

that I put on it just
to kind of keep it together.

And then as we move on to the guitars,
there's two different guitar parts.

The same kind of approach
that I use the bass.

Get the level together
with the R AXX.

And then using the CLA-76 on it
is a pretty good-sounding compressor

for this type
of application.

So I'm using it on guitars,
kind of vibing with it,

just playing with some of the
compression, bringing some of it back.

Also using the 560 on the guitars
because it just has a nice tone to it.

Adding a little top end to it
so it can stick out.

And again, following it up
with an E-Channel Waves.

I approached both
guitars the same.

Slightly different EQs,
but I approached both guitars

with the same kind of vibe
because that's what they were both on.

So, kept it
very similar.

And on those, I actually use
a little reverb.

I used the Valhalla Concert Hall
setting on the VintageReverb.

This has a nice
space to it.

Real rich
sounding.

Both guitars,
I used that.

And then one of the major pieces
in the song is the piano.

So on this piano, I like using this
plug-in because it just brings out

some of the lower
elements of the sound.

Then I can always dial that back
if I want, but just bring it up.

And then one of my favorite plug-ins
to use on a piano

is the Manley Variable Mu
because it compresses

and brings things together
without making it sound too sqwashed.

So, I'm using a little bit of this
to it to kind of keep in its place

because the piano
is real dynamic sounding.

So I wanted to just
tame it down a little bit,

but let its
presence be felt.

And I followed that up...

The Neve 1073 by UAD,
one of my favorite plug-ins

because the mid-range
is just so nice on this plug-in.

You can push it
without being too harsh.

And one of my favorite combination
once again followed by the SSL.

Same kind of reverb,
same kind of band, small band feel.

So I use the same verb to
make it seem like everybody's

in the same room
kind of vibe.

So as I'm mixing, I'm tweaking
a sound as I see fit

as I'm listening
to the vocal.

Then I might jump
over to the bass

I might change something on the kick
or I might change something

in the guitar levels, but I'm just
putting a puzzle together in my head

how I think where
things should sit.

Meanwhile, I'm A/Bing the Aretha
version, which sounds much different

because it was recorded
at a different time,

but there's still
an essence there.

Do you want to bring a new
version of that same vibe.

And as I'm listening,
there's other elements

these vibes
that they brought in.

They kind of compressed
those a lot

because they were kind of
jumping everywhere.

Also using a parallel
just for the presence of it.

And in the horn section,
they got a small horn section.

So, trombone, trumpet,
a couple of few saxes.

So I'm treating
those as a group.

And same
approach.

Messing with attenuation
on that a little bit.

Softube, smoothing those out,
followed by Neve.

And I used a little bit of those
multi-band compression on those horns

because there're certain
frequencies that were jumping.

So it's kind of
tamed it down.

Become right around that 3K area
that just dipped a little bit,

but at the same time, brought
the level of that frequency up

so when it jumps,
it'll beep down,

but you can
still feel it.

So this background
vocal is sung.

I added some compression to it
to kind of put it in its space.

Some slight EQ, or actually
no EQ, just filtered

some of the stuff
out of it.

A little R-Vox to kind of keep it in
its place, to glue it together,

like I said,
at the end.

And followed by Valhalla
VintageVerb for the space.

That's basically where I just
start tweaking the mix

and getting it to
where it needs to be.