Original subtitles

Let's move on.

It looks like keyboards, Oberheim.

We all...I think we know what that is.

Oh look, I've got a Tesla on that.

I've done some pitch work.

Let's hear what, let's hear what came in the tin.

So it's like pretty much, a mono note with some beautiful...

I love this sound.

Really, the delays are quite low in there.

Just fading off in the background, but they're stereo.

So I think I might have wanted to bring those out a bit.

And I'm just listening to that,

I'm going to assume I raised the pitch, maybe an octave.

Yes. Because I'm listening to that going,

"That's going to be hard to get over those drums."

So, let's see what that did.

So there's an octave in there and I probably would have

brought out some midrange.

Again, trying to normalize between the low sound and the high sound,

which is what you do with these things.

And then, Tesla, and that is quite a normal thing that the SRS would do.

It really did have these low-mids that it would bring up.

And it's really cool that they...

I don't know if this was styled after a Hughes SRS.

I really don't... I don't think so.

Because it doesn't sound exactly like it.

But there are similarities with the low-mids, and the dullness of it.

Let's do that again.

It was so fun the first time.

It really brings it out.

I think that's going to really help in the track.

And then, a bit of Plate.

Because you always need a little bit more of something.

I just want to hear what...

To me that's the winner in the intelligibility contest

because once it spreads, like when you hear that note in the middle,

I don't know, there's something my brain is taking in the vocal

and the other stuff that's in the center that are... have like frequencies.

So I feel like I'm getting overloaded in there.

Even though it's got more of a lower, sort of, mid components to it.

But, the minute you spread it,

all of a sudden my brain sees that apart from the vocal and everything else,

and it becomes like it's out... it's here somewhere,

framing the vocal, not competing with it, at all.

That's the kind of thing...

That's pretty major to me, in the mix, that's... That excites me.

Sad, but true.

Intro looks like just an energy ramp-up here.

With the guitar.

Another Tesla.

Again that really puts it out to the sides.

Listen to how...

How cool is that thing?

It's really soft and warm sounding.

The SRS was like that.

I've warmed it up there, considerably.

And then a bit of Plate to get maybe, I don't know.

Let's see.

Again, maybe just trying to bridge the gap a little bit.

And we've got another Oberheim here.

A pad...

Just pulled some of that low end off there, but I did add the...

Here's the new plug-in.

I spread it more, but also, this FX 2, this is going to my cassette.

I used to use Line 6 Tape Eater, which I loved.

It was really ratty and... just wonderful thing.

I haven't been able to use it, I can't get Blue Cat Audio,

the rapper that would allow me to use a TDM or AU plug-in, in here.

I just can't get it to work.

It just crashes Pro Tools every time now.

So I got this, and it's not at all like the Line 6 Tape Eater thing,

but I love it.

The parameters it gives you for randomness is always...

If there's a random knob on something, I'm going to...

I'll probably buy it.

Just because I like that.

There was a pedal called The Randomizer that was made by Heftronics.

It's just a guy in the Midwest, I think,

who made this pedal back in the 90s.

And it looked...

It was the same box as a SansAmp Classic.

That same kind of design.

Only he had all the... it was a delay.

And it basically mimicked what you would do if you had an analog delay,

and just sat there.

Which is what I used to do on records because

I love the sound of the randomized vibrato pitch sleuth that you get on a delay.

But just tiny ones, really...

I would just slightly move the delay time when it was short.

It's a short delay time, but it's just giving you this random pitch change.

Anyway, you can do that on here.

Which is really good because that is like a cassette would have been.

So if I go PRE and just, you can hear...

Well, this sound's already got some randomized stuff on it.

But, it is doing that.

It's warbling.

And I've even got some dropouts happening here.

And it's great.

You can mess with the azimuth of the tape machine.

It's a very cool plug-in.

I use that quite a bit.

I should note also here that, I believe, yes, it is.

That also goes through my...

What I call the SRS, which is now the Tesla.

So the Buenas Noches and the cassette go through the Tesla.

Normally, when I...

If I use the Tesla without an effect on it, I'll just put it on the track

like I did with these here.

Looks like a little accent here, of some kind.

Oh, actually, I think I see.

I think I might have done that.

I might have duped this because I wanted to get an attack.

And then, have it...

And it didn't work with Level.

So I found somewhere where it... and then faded it out

so instead of just...

It actually has a...

not so much.

Little bit.

That will remain a little bit of a mystery.

But there it is.

Another Oberheim.

That's nice.

Let's see what that's doing.

It's the same approach.

Put the Tesla in, it spreads it a little bit.

It becomes more audible to me.

It's a subtle part, but it's an important rhythmic part, I think.

And the Tesla just in this, there's so much going on,

and it's one of those songs that it all needs to be there.

So have to find ways of making each one of those sounds have a voice

that's slightly different from the other so you can pick it out.

And then, I've got...

This is a send to... FX 1 is my Space Echo.

Which, this is just a short reverb delay setting that I've tweaked a little bit.

I love it, and I put it on all sorts of things.

And then, I've got a bit of a Cooper on it to spread it.

Because I think the delay's quite specific to the right.

And you don't always want that.

Or I don't anyway.