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I'm Rob Kinelski, and you're
in my studio right now.
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I'm the mix engineer
for Billie Eilish "No Time To Die".
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Today, we're going to go through the
session and take a look at what I did.
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I found out about this song actually
on the internet, I heard they were doing,
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Billie and Finneas were doing a James Bond
song, and I really was hoping
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I got a chance to mix it.
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And a couple of days later,
I got a call from Finn
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and sent me the files
and I got to mix the song.
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Steven and Hans and Finneas and Billie
have been working on this song,
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and they had, originally,
Billie and Finneas I think recorded a demo
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to piano and some other instruments,
and then, they went back.
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Then, they went in with Hans and Steven
and produced out the song together.
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They had sent me over
the stems from that session.
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Basically, it was, the strings were
grouped together already nicely, and also,
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I had the woodwinds and the brass
separated, the piano
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and some of the instruments
that Finneas had used too.
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That was all sent over to me
in stem form and I dug in.
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I know that the one comment going into
the mix that Billie and Finneas
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wanted to recapture the energy from
the original demo which had just a moody,
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darker kind of vibe, and I think
through the production process,
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I believe they had actually
sped up vocals because the production
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changed from the demo,
but I think they were using the demo
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vocals originally,
I can't confirm that.
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But what happened is the vocals went along
with the production and they got processed
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in that time, and through
that process of building production,
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the vocals were put in a specific place,
but they weren't necessarily in the same
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place as the demo had.
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The goal for me was to recapture the vibe
of the vocals that had already been
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kind of processed a little bit
back to the original form.
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That was the main goal in the work that
I did, along with just working with Billie
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and Finn for a long time,
I was just comfortable with the way
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they like things to sound.
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When I had gotten the files, they
were already processed with some stuff.
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They were dry, but they had been processed
through, I don't know exactly
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how they processed it,
but there was some time stretching
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to match the new tempos
because I think the tempos had changed
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and there was...
I wasn't there for the production,
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so I don't know
exactly how it all went down,
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but I know that there had been
some changes to some things.
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When I got the vocals,
they were processed in a certain way
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with EQ and also
with some time stretching.
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I did have them dry,
so there wasn't any reverbs or anything.
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What I was trying to do was then bring it
back to this organic place which was,
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the majority of the work I did
on the vocals was that.
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When it comes to the tone of the vocal,
listen, Billie has an incredible voice,
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so it's one of those voices
that you can just, if it's recorded well,
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it doesn't need much,
and the clarity is there in the way
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she delivers, and Finneas records
all the vocals with her too.
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They had it dialed-in,
they always have it dialed-in.
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When I get the files,
they're always processed a little bit
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to get it in the way,
the sound that Billie likes,
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and it naturally
has a darker vibe to it.
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I don't try to take it from there.
I just try to keep it true to that.
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But also, a lot of times,
it's just getting rid of some of,
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a little bit of maybe,
a little bit of darkness,
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like mud or maybe some,
just a little bit in the low mids,
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sometimes, I'm cutting there.
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I don't add a lot of top end
because I don't think it needs it.
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I think a lot of people do that,
and it's okay and that's normal.
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I've never felt the urge to do it.
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It wasn't really an intentional thing.
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I wasn't trying to be different or
anything, it just felt good to me.
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The vocals will cut through nice.
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Also, the productions often
have a darkness to them too.
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If the vocals get too bright,
then they really just,
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they step way from the music.
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What I find is that since the production
already have the dark vibe to it also,
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the vocal can naturally be standing out
without much help.
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The vocal naturally has this air to it.
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That was my approach on this one.
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And this particular song,
when I went through it,
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since the vocals had been processed,
they had gotten a little brighter
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than I think Billie and Finneas
are used to.
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A lot of it in this particular song
was bringing it back to that.
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There's a little bit more EQ'ing on this
than I normally do, but it was just to try
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to go back to that original vibe which was
there, I just, I had to peel back
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some stuff to get there.
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My setup for this song was Pro Tools HD
Native system that's being summed
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through a Dangerous 2-Bus into
a Dangerous COMPRESSOR and then
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into the Dangerous CONVERT-AD+.
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I'm summing my instruments,
I break them down typically into groups
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out of the Pro Tools outputs into the
Dangerous Summing, and then,
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I bring it back into Pro Tools where I do
some additional processing
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on the master bus
which I actually use an aux.
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There, I will add some more color,
maybe a little more EQ on this one.
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I added an EQ, and also a limiter
to get the volume up.
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But otherwise, it's a pretty clean path.
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There's not a lot going on.
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To me, it's a lot of little tasteful
decisions that get it to a place.
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I like doing this because when I go
through the analog summing
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into an analog compressor,
and then back through another converter,
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something happens to the mix.
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It's subtle, but there's
a depth, I think, is added.
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Digital is incredible.
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You can stay in the box and it'll
sound amazing, but there's something
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about the depth that I feel that I get
from doing that, and also slight color.
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It's subtle, but when I go against in the
box versus running through this chain,
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it feels different to me.
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It feels just a little more musical,
it feels just a little more interesting,
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but it's still very subtle.
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Once I started doing it,
I never went back.
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Since then, I've gotten the new 2-Bus and
a couple of other things in the chain,
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but that was, this was my particular setup
at the time when I mixed that song.
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After the compressor and the converter
going into my aux,
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I named these
my print tracks here, okay?
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There's the PRINT LOUD, and then PRINT LL,
and they're exactly the same chain
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except for the limiter,
the Pro Limiter is turned down a bit
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on the less limited version,
that's the only difference.
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When I print the mixes, I print both.
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When they go to mastering,
the mastering engineer can choose
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if they want to use the loud mix
that everyone heard, or they want to
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go in with something
with more headroom.
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But on the actual mix bus,
what happens here on the ATR 102,
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it adds this life.
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I turn the noise off because it can get
noisy, especially when it comes to stems.
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But it adds a little bit of color,
a little bit of life.
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And then, I go on to this Culture Vulture
which also adds a hair of color.
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It's super subtle.
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All I know is that
when I bypass it, I miss it.
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And then, in this song, I have
the BAX EQ which is adding a little bit
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of top end and a little bit of
filtering, and then into the Pro Limiter.
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It's pretty simple.
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It's just adding slight color
and just a little bit of air.
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It's the goal
on this particular mix bus.
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And then, the CLARITY M
is feeding my meter.
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That's my setup.
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It's pretty much still the same,
except now, I'm using Outboard EQ now,
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but that's not for this song.
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So let's go through the master fader.
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I'm going to bypass the plug-ins as we
build the chain, and then,
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you'll be able to hear the difference.
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Here we go.
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It becomes more alive when the tape
machine gets put into the chain.
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That'll bypass it.
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I just feel like
the air opens up.
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It just feels
a little more musical.
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Let's go to the next plug-in.
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This is the Culture Vulture.
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It's subtle.
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It feels different to me.
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I can't really explain why, but it does.
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Here we go.
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This is the EQ.
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Just brings it forward
a little more at the top end.
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And then, I'll put the limiter in.
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You have limiter just adding
a little bit of volume and giving
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a little more control.
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And yes, that was the less limited
version, the very loud part of the song.
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Just to explain what's going on here,
DBuss 1-2 all the way through 16,
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I have routed out to the 2-Bus.
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I'm feeding all my drums
into this aux for drums.
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And then, I'm using the Steven Slate,
the Slate Digital Virtual Channel which,
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I've been doing this for a long time
I just never stopped doing it.
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Once again,
another slight layer of color.
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I don't really adjust it
on this particular song.
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I think, did I adjust it?
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No, I didn't.
This is the default.
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And then, all the drums are going
into this bus, and then,
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it's fed out to the
outputs feeding the 2-Bus.
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I break it down
on the drums, bass.
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Here, we put the strings,
what I'm calling guitar.
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Let's rename it.
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And then, keys are the piano and the
synths, and then, I have lead vocal,
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backing vocal, and then,
down here are effects returns.
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That's how I'm doing
the routing to the 2-Bus.
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The Slate Digital plug-in is on each.
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It's not doing anything besides
the default for the virtual channel.
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I'm going to bypass these
all right now, and let's hit play.
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It's subtle.
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All I know is that I like it when it's in
better than when it's out.
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I originally had done this,
to constantly try to recreating
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the analog experience
when mixing on a console.
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There are times I'll use this plug-in
and I'll turn up the drive,
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especially on drums.
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This particular song, I didn't do that.
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But the drive is nice because
it adds drive, but it also maintains
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the same output volume.
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A lot of plug-ins, the moment you start
adding drive, it gets really loud
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and they did a really nice job here
in keeping the gain exactly the same
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as you add the drive.
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For this particular song,
it's just left alone.
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What I have going on here,
here's a drum stem from Finneas.
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Not much done.
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I had this SSL Channel on there.
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I put it on, I wound up even not touching
it, but I left it there.
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That's going on to the 2-Bus.
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Same thing with this bass,
it was left alone, it was sitting right.
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Guitar, same, processed, sitting right.
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And then, I got to the strings
where I added some slight EQ.
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At about 1.2k, I brought it down a hair
with a pretty wide EQ, and then,
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I boosted around 6k.
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That's the strings.
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Woodwind and the brass
are all being fed to that.
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And then, for the piano,
I think this first half of the song
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was the original demo piano,
and I think we switched over to the piano
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that had been adjusted
with the tempo shifting I believe.
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That's why they're split up
in two tracks.
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And then, the EQ was matched.
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We took some top end off the second half
of the song of the piano.
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It did a little bit of midside EQ on the
piano in the first half where I just did,
201
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I brought down some of this in the middle
of the spectrum just to open up
202
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more room for the vocal.
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It's a subtle move, but I think it just
gives a little bit more space
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for the vocal to cut through.
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That was that there.
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This was two mid EQs.
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And then, the rest are normal stereo.
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At the end, I have a filter just to give
the piano a darker vibe to it
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in the outro of the song.
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Synths were left alone, and then,
we get to the vocal.
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As you can see here, there's quite
a bit of editing on the vocal.
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Let's go through the plug-ins first.
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This is the first plug-in I have.
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It looks pretty aggressive here.
215
00:13:37,860 --> 00:13:40,230
But this is right on the direct track.
216
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The reason there's so many of these is I'm
going through here subtly trying to carve
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out more to match
the tone from the demo.
218
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There is a lot more
high end on this stem.
219
00:13:50,610 --> 00:13:58,150
I'm bringing it down a shelf at 4.8,
4.5 dB which is quite a bit.
220
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The rest are all pretty subtle.
221
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dB here, a dB and a half, a half dB,
a quarter dB, just moving around
222
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until I get to that place where
I feel like it's closer to the demo.
223
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We added a little bit of mid,
but I'm also using the dynamic EQ
224
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so it's also catching some of
the low ends that get a little too...
225
00:14:19,621 --> 00:14:20,975
that poke out a little bit.
226
00:14:22,900 --> 00:14:25,210
You can see it doing it there.
227
00:14:25,210 --> 00:14:26,080
It's very subtle.
228
00:14:26,080 --> 00:14:30,160
But once again, just to try to get it back
to that original state.
229
00:14:30,160 --> 00:14:37,350
After this, it's going into my vocal chain
which is really simple at this point.
230
00:14:37,350 --> 00:14:42,931
I'm just doing a high pass filter
at about 80 hertz,
231
00:14:42,931 --> 00:14:49,514
and I'm using this PuigChild Compressor.
232
00:14:52,500 --> 00:14:55,300
A little de-essing.
233
00:14:55,300 --> 00:15:00,945
And then, I have SSL Channel here that is
just basically cutting a little bit
234
00:15:00,945 --> 00:15:07,250
of low mids and a little bit
of top on the filter.
235
00:15:07,250 --> 00:15:11,970
We go back in here, there's more
of the Pro-Q2 I'm using here.
236
00:15:11,970 --> 00:15:15,869
And once again, a lot of subtle moves
to get it to sit right to match
237
00:15:15,869 --> 00:15:17,500
more of the tone of the demo.
238
00:15:17,500 --> 00:15:20,500
And then, we have the Neve 1073
that I'm using purely for color.
239
00:15:20,500 --> 00:15:23,650
A lot of times, I'll use the filter on
this as well, maybe add a little top,
240
00:15:23,650 --> 00:15:26,180
but here, I didn't.
I left it alone.
241
00:15:26,180 --> 00:15:30,559
And then Vocal Rider, I'm using here
to give a little movement to the vocal.
242
00:15:30,559 --> 00:15:33,670
It also picks up, mostly,
it picks up some of the lower,
243
00:15:33,670 --> 00:15:35,963
it's like another way of doing it
without using compression,
244
00:15:35,963 --> 00:15:42,890
but it will bring up some of the lower
volume stuff, but still keep it dynamic.
245
00:15:42,890 --> 00:15:45,659
Going into here, you can see
there's a ton of automation,
246
00:15:45,659 --> 00:15:48,360
did a lot of rides on this one.
247
00:15:48,360 --> 00:15:52,767
This is getting it in the right place
and giving it life,
248
00:15:52,767 --> 00:15:54,890
and that was the goal there.
249
00:15:54,890 --> 00:15:58,850
And then, a lot of these little edits we
were going through since there was I think
250
00:15:58,850 --> 00:16:03,698
a bit more compression in the stem
than we wanted, I would go through
251
00:16:03,698 --> 00:16:08,350
and I would bring down
some of the noise.
252
00:16:08,350 --> 00:16:13,370
There may be some pops or clicks or maybe
we wanted to add a little bit of noise
253
00:16:13,370 --> 00:16:16,680
in some spots to give
it the natural feeling.
254
00:16:16,680 --> 00:16:19,779
It was a way of smoothing things out
and giving it an experience
255
00:16:19,779 --> 00:16:22,270
as opposed to anything
that would distract you.
256
00:16:22,270 --> 00:16:25,230
Billie and Finneas actually came
into the studio on the last day,
257
00:16:25,230 --> 00:16:30,630
and we went through it together and
fine-tuned a lot of the nuance of it.
258
00:16:30,630 --> 00:16:33,230
For the effects, I'm using
sends and returns here.
259
00:16:34,428 --> 00:16:42,420
This plug-in that I've labeled Doubler
is, let's open this up and look and see.
260
00:16:42,420 --> 00:16:44,791
Sometimes, I'll label things
the wrong thing.
261
00:16:47,680 --> 00:16:49,810
No, it's a Doubler.
262
00:16:49,810 --> 00:16:54,400
The MicroShift, I'm using here
on this is subtle.
263
00:16:54,400 --> 00:16:57,280
I've used this a lot
on Billie's vocals in the past.
264
00:16:57,280 --> 00:16:59,470
It just adds a hair of width.
265
00:16:59,470 --> 00:17:03,580
I turn it up until you can...
If you can hear it in the song,
266
00:17:03,580 --> 00:17:05,350
it's too loud.
It's a feeling.
267
00:17:05,350 --> 00:17:09,270
I'll turn it up and then also,
I might back it down until it just becomes
268
00:17:09,270 --> 00:17:12,310
something that adds
a little width to the vocal.
269
00:17:12,310 --> 00:17:18,970
Here, we have the Stereo Room which is the
Valhalla Room plug-in where we took down,
270
00:17:18,970 --> 00:17:22,390
we've used the high cut,
so it's a darker room sound.
271
00:17:22,390 --> 00:17:28,210
There's also a lot of automation on the
returns as well just to give the choruses
272
00:17:28,210 --> 00:17:31,501
a little bit more 'verb,
just a little bit more movement
273
00:17:31,501 --> 00:17:35,070
so this is not just a linear experience
with the dimensions of the song.
274
00:17:35,070 --> 00:17:37,370
As the song builds,
we start adding other things too.
275
00:17:37,370 --> 00:17:40,763
In the beginning,
there's a quarter note delay, but then,
276
00:17:40,763 --> 00:17:44,223
we're adding an eighth note delay,
and then, I think we adjusted
277
00:17:44,223 --> 00:17:45,980
the time of it, that's why
we used the time adjuster,
278
00:17:45,980 --> 00:17:48,910
just adjusted the groove a little bit.
279
00:17:48,910 --> 00:17:51,420
And then, we took out some of
the low mids, too, just to give it...
280
00:17:51,420 --> 00:17:54,270
It was getting in the way
of the vocal I think.
281
00:17:54,270 --> 00:17:58,910
And then, we have a plug-in here that
I call Dirty Echo which is the dirt echo
282
00:17:58,910 --> 00:18:01,390
preset on the EchoBoy.
283
00:18:01,390 --> 00:18:06,039
And then, we also carved out some low end
on that, and I added some PanMan
284
00:18:06,039 --> 00:18:11,129
which is just giving it a randomness
in the stereo field, and then,
285
00:18:11,129 --> 00:18:14,910
we made it super wide
just to make it interesting.
286
00:18:14,910 --> 00:18:19,050
That is, let's see what
that is going on there.
287
00:18:19,050 --> 00:18:21,390
This is the very end of the throws.
288
00:18:21,390 --> 00:18:22,720
So that's what's happening there.
289
00:18:22,720 --> 00:18:25,740
And then, the Memory Man plug-in,
I'm not using.
290
00:18:25,740 --> 00:18:27,430
It's just there because
it's in my template.
291
00:18:27,430 --> 00:18:29,620
Just a little bit of EQ here.
292
00:18:29,620 --> 00:18:34,690
Brought the mids down a hair
and brought up the 5k a hair.
293
00:18:34,690 --> 00:18:35,460
It was just a movement.
294
00:18:35,460 --> 00:18:37,860
I felt like it probably was getting in the
way of the vocal a little bit,
295
00:18:37,860 --> 00:18:41,240
and I didn't want to lose
the top though.
296
00:18:41,240 --> 00:18:43,430
Sometimes, I feel like when you take away
from a certain instrument,
297
00:18:43,430 --> 00:18:48,190
you need to boost somewhere else
to keep the volume happening.
298
00:18:48,190 --> 00:18:50,160
That's a weird way I look at it.
299
00:18:50,160 --> 00:18:55,090
It was sitting right volume-wise,
but when I cut that mid a little bit,
300
00:18:55,090 --> 00:18:57,857
it probably felt like it went down a hair,
so I brought up some of the top
301
00:18:57,857 --> 00:18:59,850
to still keep it in its place.
302
00:18:59,850 --> 00:19:07,190
And I'm adding a little bit of width once
again to make it slightly a little weird
303
00:19:07,190 --> 00:19:10,780
and it also frees up space
with the vocal a little bit more
304
00:19:10,780 --> 00:19:14,710
which is right in the center.
305
00:19:14,710 --> 00:19:16,660
But the actual sound of the strings
were awesome.
306
00:19:16,660 --> 00:19:20,480
Like the stem, I didn't have to do
anything really besides that.
307
00:19:20,480 --> 00:19:24,219
I don't make things loud
intentionally to...
308
00:19:24,219 --> 00:19:28,140
I don't think about the DSPs
or anything like that.
309
00:19:28,140 --> 00:19:32,000
I know that a lot of them just make up
their own volume afterwards anyway.
310
00:19:32,000 --> 00:19:33,890
They just decide
how loud it's going to be.
311
00:19:33,890 --> 00:19:40,360
I just try to get as loud as I can a lot
of times, particularly in my loud mix,
312
00:19:40,360 --> 00:19:48,110
just until I hear a distortion, and then,
I'm like, "Okay. What's distorting?"
313
00:19:48,110 --> 00:19:54,060
A lot of times, instead of just overall
mix volume, I might just be like, well,
314
00:19:54,060 --> 00:19:55,620
what's causing it?
It's only happening here.
315
00:19:55,620 --> 00:20:03,393
A lot of times, maybe it's maybe the vocal
and the bass are sharing a harmonic
316
00:20:03,393 --> 00:20:08,590
that's also pushing the whole mix into
distortion, or sometimes there's low end.
317
00:20:08,590 --> 00:20:10,956
I'm just trying to get rid of
a lot of times
318
00:20:10,956 --> 00:20:13,130
frequencies that don't
need to be there.
319
00:20:13,130 --> 00:20:16,920
I do a lot of filtering of the lows and
the highs if they don't need to be there.
320
00:20:16,920 --> 00:20:21,620
And once you start pulling things out
that don't need to be there,
321
00:20:21,620 --> 00:20:24,900
you're not getting this,
you're kind of taking away this stacked
322
00:20:24,900 --> 00:20:27,200
frequencies of unnecessary sound.
323
00:20:27,200 --> 00:20:29,960
You're getting a clearer sound, but also,
the mix gets louder.
324
00:20:29,960 --> 00:20:34,670
You can turn it louder
and it won't break up as easily.
325
00:20:34,670 --> 00:20:37,840
But also, too,
I use great mastering engineers.
326
00:20:37,840 --> 00:20:40,290
Shout out to John Greenhman
and Dave Kutch.
327
00:20:40,290 --> 00:20:41,320
Other guys too.
328
00:20:41,320 --> 00:20:47,800
They're the people that are really making
the volume work after me.
329
00:20:47,800 --> 00:20:53,490
I send it over to them and I just pray
that they don't hate me, I don't know.
330
00:20:53,490 --> 00:20:54,510
Sometimes, that happens.
331
00:20:54,510 --> 00:20:57,320
That's the million-dollar
question I guess.
332
00:20:57,320 --> 00:20:59,210
Thanks for watching.
333
00:20:59,210 --> 00:21:03,370
I hope this gave you some insight,
and more to come in the future.
334
00:21:03,370 --> 00:21:04,400
See you soon.
31012
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