All language subtitles for (2016) MAKING THE MIX w MATTY AMENDOLA - Part 4 of 5 Stereo Bus, GTRs & Keys

Oh

all right so before we move on to our

pianos our other keys effects guitars

obviously vocals let's talk about my

2-buss because this is typically when I

start putting stuff on my 2-buss after I

have my drums and the bass sitting where

I want it to sit I'm not a big to bus

guy I don't do crazy processing I leave

that to the mastering engineer in this

case it was Haun's decline one of my

dearest friends I will let him decide

how much spread it needs how much volume

we need if he wants a boost anything

that's him with fresh ears that's why

I'm hiring him and I trust him to do a

better job at it than me what I am

looking for on my 2-buss are two things

I want to control anything that's

building up and getting kind of nasty

and I do that with the pro q2 in

mid/side mode like we spoke about before

here's what I'm cutting out of the

stereo field just the left and right if

you're listening with a laptop right now

you should throw it out the window and

re-watch these videos with speakers and

headphones it'll change your life it

will also make you a little dizzy what

you just heard because those that's some

nasty going on that we don't need

in our mix it's out on the mid

information on our Pro q2 we're taking

out some point at almost 2k and that's

what this sounds like so load subtle but

it's almost a whistle tone that if you

add any compression afterwards you're

screwed the other reason why I like

cutting that frequency out of the mids

too are because vocals are gonna end up

in there so just naturally without me

even processing vocals so me cutting

that out initially it's going to help me

use less EQ and less compression and all

that kind of stuff to make the vocal

step out front

later on the bomber was a new plug-in

when I was mixing a song I'm using their

mix buss

3d preset it's really just adding a

little bit more growl overall a little

bit more Drive it's making it fatter so

here is the track without it and then

with it

it's nice it feels like things are

moving around a little bit more than I

was making them which is cool it's one

of those magic boxes you don't really

know what it does but if it sounds good

it sounds good

after that we go to my EQ which is the

mainly massive passive and this goes

back to we're talking about before that

Munson curve is you know getting the

lows and the highs to feel really good

and scoop the mids out a bit and this is

actually a preset on this plug-in and

what I'll do if it's too much or too

little is I'll go in and if it's

boosting four dB

I'll drop it to 3 dB and then I'll go to

my mid band and my high band and drop it

all down the same amount of DBS and then

basically I have varying degrees of this

Munson curve here's without and then

with

a little bit of shimmer but it's really

for me it's just a really nice smoothing

EQ and that's what I'm looking for

because we're gonna start throwing some

vocals that need to be in your face last

but not least the best looking plug-in

on the market logics IO plug-in what

logics IO plug-in allows me to do is use

all this outboard gear really quickly i

have the ssl stereo buss hooked up to it

right now but i can choose any piece of

outboard here really quick and it's up

and running within this plugin with

latency compensation excellent so what i

consider the one box that make something

sound like a record pretty quickly is

the ssl stereo buss compressor it's very

subtle

I'm only really kissing it I don't think

that I'm going much you know I don't

think I'm cutting off any more than 3

and a 1/2 DB gain we're at a two to one

ratio fairly low auto release which is

just killer on this unit really slow

attack as slow as it goes a little bit

of makeup gain and it's working more in

the verses with all this low-end than it

is in the chorus so here it is without

so it's subtle but to me I'm hearing

everything just glue together a little

bit and what it's doing is its taming a

lot of my low-end information so listen

to the accented dundun bass drum just

try to listen to that and I'll flip it

on and off and you'll hear it instantly

soften that transient and overall just

make the low-end feel a little cleaner

off so that that kick drum alone is

taking off this compressor has taken off

about 3 and 1/2 DB out of just that one

kick drum that one kick drum is exciting

this compressor that much so it's subtle

but it makes a huge difference and now

that we have our low-end stuff sitting

where I want it to sit it's glued

together and it's feeling good now I can

start putting our top-end information

and driving it into the compressor so

let's start doing that all right

so let's skip around a little bit here

for my first set of guitars I have the

same exact original melody that was in

that was on the demo

there they are clean we have three of

them so here's the first one and it's

panned pretty far to the left

cutting a little lows here that we don't

need we're also cutting a bit off the

top and then we have an imperial delay

this is doing something cool we are

ducking a little bit or smearing a

little bit we're coloring it a little

bit and we're adding some chorus so

again the reason why I'm not sending out

to this is because this is just I'm

trying to make a guitar sound I don't

need to send it out somewhere I'm just

gonna put it right on the strip we have

another guitar on the right with pasted

settings channel EQ imperial delay

except now we've also added a Valhalla

vintage verb and it's a fairly long

decay with a lot of pre delay let's

listen to it in solo for a second

cool so it's very soft and it's taking

out a lot of transient which is cool

and now here's the two together left and

right

dreamy now as I said I copied and pasted

in the settings for the delay and the EQ

they're the same on each guitar but I

did add an extra verb on the other one

if I take that verb off watch these two

guitars left and right go like this

right into the middle panning knobs mean

nothing if you're taking the same exact

thing and putting them left and right

adding a little bit of something else to

it makes it feel outside speakers also

with a reverb after the delay which I

like doing a lot it smooths out the

delay so we're getting a lot more of dry

delay coming from that left signal and

then the the right one seems like we'd

wash it out with all this stuff but

they're balancing each other out really

nicely and because this guitar goes on

when there's no vocals we have one right

in the middle to hear it is dry so

that's giving us our transients on there

we're cutting a lot of lows and we're

giving it some beef some boxiness

I have a really cheap EQ as I call it on

the strip logics silver verb it's a very

cheap sounding EQ which reverb which i

think is cheap in a great way perfect

for this sound and then after that we

are using a stock compressor and let's

see what that's doing

cool so I am softening the attack a

little bit and I'm trying to make the

notes feel a little bit longer

probably so it glues together a little

bit more but the left and right here

they are cool and that leaves us right

where our first set of pianos kick in we

have a low and we have a high they each

have a little bit of EQ on them and this

one actually has our glitch plug-in

glitch to really cool stutter effect

kind of plug-in that kind of allows me

to go in like a step sequencer and make

really cool rhythms I use it a lot in

this track here's the first time it pops

up so here's the piano dry the low one

now here's a high one doing the same

thing with glitch on pretty cool let's

listen to that one more time

cool and those pianos pretty much go

with the hook here they are together and

we'll also bring in the reverb that I'm

sending out to we're sending out to a

different Valhalla vintage verb a

chamber setting

I'm liking pre delay on this song it

seems to be knocking down my transients

a little bit making things smooth and

very ethereal longer decay some EQ going

on and we've got hue here let's see what

that sounds like together

nice so our transition now from our

pretty acoustic guitars to our crazy

hard pianos so that's how we're setting

ourselves up going into our verse we

introduce some top-end information we

have these swells which are being

created by three sources an organ in

Reverse a piano in Reverse that was

recorded really low and a synth in

reverse here is the organ here is the

synth which comes right after it

and then we have a piano right in the

middle kind of evening things out there

we go there's our piano and then all

three together sound like this cool so

there were great sounding samples there

is no EQ or compression on them here's

our transition moving on into that verse

we hit the Madi background vocals which

are from the demo and they sound like

this

yes very Brian Wilson of me okay as I

said I didn't want this to feel like a

vocal we added a lot of reverb to it

ream Atrix ultra wide murky room preset

now from here everything else I do on

the chain was done in context so let's

see it's the only way that's gonna make

sense I see that we have an EQ and we're

cutting all the way up until about 600

and sub basically 700 Hertz and then we

have a dip at 2k and then we're

basically bringing up shelfing

everything up from 10k on after that we

have another mainly massive passive with

a Vox presence preset that I probably

tweaked to taste and then we're also

using our good old friend Center from

waves and we're dropping out the center

because there is a vocal a lead vocal

going on here and we want to get away

from that so here's what it sounds like

in context

cool so now let's take out the EQ Center

and check it out I would get fired if I

left it like that so instead we made

something pretty cool out of it and one

of those things that someone might not

catch the first time around but they'll

catch it another time

or they won't know what it is the first

time and they'll figure out what it is

the second time I love stuff like that

here's how it turned out again okay

right after that I added this sample of

crowd noise let's listen to it cool so

there's a lot of stuff going on on here

under the hood so first things first is

some automation on our volume and then

we're also going a little bit crazy with

our panning let's watch it one more time

now this is our transition into the

chorus where Juliana explodes the story

kind of unfolds and now we know the

punch line which is all she ever years

is blah blah blah so I thought this

effect would be kind of cool as a

transition a crowd a lot of people

talking talking talking talking and then

we explode into the chorus where she

tells them all to shut up so I added

some stuff on here I added a pan man

it's called wider and wider and wider

so it's basically moving along with my

pan automation and then it's getting

bigger and bigger as the source goes on

check it out so it's a little bit of

headphone fun a little bit of trickiness

on that we have a stereo delay on a

quarter note we also are taking out a

whole bunch of nasty low information

that we don't need and we're also using

another instance of glitch so that's the

result however we're not using glitch

there we are using it however here and

that will make more sense in context

later and also get to use at the end of

the song right here making some drum

fills out of our sound effects with more

sound effects here's what the transition

sounds like

all right so now we have our verse into

chorus transition now we're in our first

chorus let's see what's happening so as

I said earlier for me the most

interesting thing about the demo was

this 12 string guitar part

let's play it on an old danelectro real

twangy crappy sounding 12-string

electric guitar it's also a drop tuning

which is giving it an interesting kind

of feel not much going on on it either

it's recorded really well we're taking

out lows that we don't need I don't

think we have to explain why we all know

that there's a lot of information on

guitars that just don't need to be there

and then we're throwing CL a 76 on it

too

I think to balance it out let's hear it

yeah so that compressor is just keeping

it exactly where it is at all times it's

not letting it move here it is without

and then I'll flip it on

so compressors just keeping it where it

is additionally on guitars we have an

orange amp on the other side we are

sending out to once again look we're

actually using a 2 to 4 now to a

lingering halt

just a tad and a little bit of EQ we're

knocking out some lows cutting out some

of the point giving it a little bit of

shine around 5k and then we're taking

out some top top stuff here's what the

to sound like together

so I'm going to assume that if I take to

seek you off the frequencies of each

guitar are going to match a little too

close for my liking

and that's exactly it I said before that

when you're panning things left and

right unless you're doing different

things to each of those if they don't

have their own space they're just gonna

they're gonna go right to the middle so

I eq'd it in a way that wouldn't do that

and here it is again with the EQ on now

let's also remember a few really cool

anomalies about mixing and sound and

frequency we're cutting off some of the

highs here which is automatically gonna

make it feel like it's being pushed back

right so if we have a left and right

guitar thing going on we have our 12

string on our left and we have this

orange rocker on the right they both

can't be in your face or they can I

didn't want it to be so knocking off

some of this top-end is gonna push it

back a little bit aside from all the

other EQ which we heard in a a and B

we're just cutting out mud and

frequencies we don't need that's majorly

what I'm doing with with this EQ is I'm

pushing that guitar back so the 12

string one feels slightly ahead of it

even though they're they're completely

on different sides I'll flip it on and

off again and what I want you to do is I

want you to listen to the guitar on the

right push back when I put the EQ on

sound it's a wacky thing cool what else

do we got going on the chorus we have

some harp and some vibes all from our

original demo here is what the harp and

the vibes sound like yeah so these were

actually in different spots in the demo

and I move them around a whole bunch

probably maybe without even looking and

they ended up in really weird places a

little bit of EQ a little bit of

compression not much going on a little

bit of silver verb and then a little bit

of an la-2a and reverb going out to our

Valhalla chamber and here's what they

sound like now very corny and I love it

one other big element of this chorus are

these single notes that are doubling the

bass

even without processing on I bet you

it's gonna make the low-end feel a

little deeper

you

so that's what I'm trying to do with

these I'm trying to get the low-end to

feel like it's dropping a little bit

getting a little dirtier let's see what

we're doing here we are putting it in

mono we have a bright piano and I

definitely messed around a little bit to

bring out as much top-end and nasty mids

as we can because to me that's always

what fake pianos are missing

and then I think I started cutting out

some frequencies that might have been

getting in the way of the bass

getting a little better compressor after

that

cool so really trying to just make them

sustain as long as possible and then

right on there we also have a ream Atrix

reverb which isn't doing too much it is

a fairly big hall reverb let's hear it

another reason why I put this piano in

mono was because I wanted it to feel

kind of like a call-and-response thing

with the other pianos check out the

transition

so it's really helping the base out

there great now here's our full chorus

with all those sounds

let's move on to later in the song where

some new elements come in we have some

chorus effects

a little out of nowhere but that's

because this bridge is also a little bit

out of nowhere it was the only new

section that I had to write for the song

and and we introduced some new chords we

haven't heard yet before so let's listen

to the vibe first

so we have our chorus piano playing some

beautiful chords

we have our swells helping with the

ambience

you

and then this chorus effects is actually

helping us extend our high-end

information

and then that brings us into our bridge

which we go back to our awesome

distorted bass now paired with a guitar

and use heard the stutter effect

automation come on so check it out the

EQ on this guitar I'm doing a few things

in particular here how here's how it was

recorded record well it's recorded with

a Royer ribbon on a 112 iron speaker

through an anniversary edition marshall

plexi and what I was going for out of

this EQ was I almost wanted it to sound

like a clock like a ticking clock so I

cut out a lot of a lot of lows all the

way up until about 500 Hertz and then I

kind of found this frequency right here

at 9:40 that kind of gave it a little

bit of that clock feeling now here's why

soloing things when you EQ things is the

enemy because it sounds just like a

shitty guitar but when you put it in

context it really does sound like a

clock

and let's go back to where we have our

stutter edit sorry our glitch to plug-in

kick in and that automation is set like

this great transition piece great almost

like a drum fill