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I'm Kevin "KD" Davis.
I'm here with Mix With The Masters.
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Today, we're looking at
a song titled "Ain't No Way,"
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sung by the late, great
Aretha Franklin,
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covered by Jennifer Hudson
for the "Respect" soundtrack.
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And we're going to get into
my process of how I mixed it
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and got into
the record.
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Recently, I mixed a project
for Epic Records,
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the "Respect" soundtrack,
basically about Aretha Franklin
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and her life, and it was
starring Jennifer Hudson.
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She basically sung
the whole soundtrack,
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redid basically
most of Aretha's songs.
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And so they called me
to kind of put my flavor on it,
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and that's
what I did.
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So I received the tracks
from producers,
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and it was various producers
on this project.
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Just got into my normal process,
just kind of listened to the old,
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original reference that Aretha did
and then listened to the difference
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between her and
what Jennifer did.
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And just kind of started
putting my mind together
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on how I wanted to go
and approach it.
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Like every song, I just started
with the vocals, the lead vocal.
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There's a few background
parts in this song,
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but it's mainly just a lead
vocal type of record,
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and I just started my normal process,
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which would begin with just listening
to old references and listening
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to her lead to see what she did and how
she captured what Aretha did, basically.
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So this was the reference that I got
from when they recorded it live.
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It was just kind of the board mix I guess,
that they used when they recorded it.
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It wasn't really a specific
reference that I had to follow,
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which is the outputs
are basically the mics
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when they pulled them
back on the board.
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And you can tell
the drums are kind of soft.
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And her vocal is just
dry in the front.
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So, for this one, I just kind of
more so went off my own field,
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just my own instincts about
where the vocals should be,
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what kind of verb,
where the rhythm section should sit.
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That's the original.
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This is kind of the ballpark
of where I have it now.
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More detail to some
of the instruments.
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You can
hear better.
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I'm just kind of listening to some
of the elements going on in the track.
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This is just a raw
session that I got.
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Right off top, the band,
I can hear,
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is recorded very well,
the horns especially.
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They got a good vibe of the original
sound that Aretha had, actually.
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So, as I'm listening to what
she's doing, what Jennifer's doing...
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add a little RVox to it
just to kind of bring her up.
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Nothing too crazy, but just get
the level where I need it to be.
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And then, following that,
just some slight compression,
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just very little, five to one ratio
just to get some of those peaks,
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but nothing too dramatic
that will over-compress the song,
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over-compress
the vocal actually.
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I like running my vocals to
an outboard EQ, the 2055 Avalon.
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It's an old piece of gear
I've had for a long time.
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Just the top end can't
compare to a lot of other EQs.
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So I added that
into my vocal chain.
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Followed by the UAD Neve 1073
to give it a little more body.
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Once I got the vocal in a neighborhood
that feels pretty good to me,
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I'll run a vocal stem so that
I can start building the mix.
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As you can see here,
I printed a stem of her vocal,
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and that's it below,
as you can see it.
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She has a few
background parts,
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some background singers
that sung on here.
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They'll only be singing
a few lines on the song,
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but I'm actually bringing those
through some plug-ins
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just to kind of get them
[inaudible] better.
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Same process,
very little.
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I actually really didn't
do much to these stems
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until I really got
into the mix session.
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So it was really the lead I reprinted
before I really got my hands
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into the mix
for the most part.
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So now that I've got the
lead vocal stem ran and printed,
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I can start building
around the mix.
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This is the lead stem
that I put in.
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As I'm listening to it, just seeing
there're certain things about the vocal
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that I need
to get out of there.
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So, the first thing I put
on there was...
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the Summit Audio TLA-100.
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I'm taking a little bit of the
low end off, everything low 40.
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There's nothing down there
from the lead vocal.
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Put a little
compression on it.
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A lot of compression on it
actually to kind of tame her down,
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but I'm also using the Parallel Inject
to bring some of the raw signal in there.
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And I find a happy medium
where the vocal feels right.
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That's not getting ducked too hard,
but at the same time,
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you can still feel it in
your face a little bit.
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Follow that up by
a little bit of de-essing.
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I use the little Pro-DS
by FabFilter, really clean.
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There are certain
notes on here
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that Jennifer is hitting hard
or kind of piercing.
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So one of my favorite plug-ins
to use for something like that
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is the Soothe plug-in.
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Soothe just takes a lot of those
crazy harmonics
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that kind of
sound harsh,
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and it just makes the vocal
more palatable to the ear.
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Used a little Pro-MB,
some multi-band compression on her
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because she had some frequencies
that are kind of jumping out
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I wanted to
kind of tame down.
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So I added
a little bit of that.
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Everything is kind of subtle,
though, working together.
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Then I start following it up
by a little bit of EQ.
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I love the 1073-SSL
combination.
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One is for warmth,
and one is for detail.
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So I use the 1073 UAD
to kind of warm her up a little bit.
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Then I use the SSL to just
give me some of my top,
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some of the sheen,
some of the clarity.
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Then I like to follow it up with just
some slight RVox on it
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just to glue it
together, I call it.
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Nothing too crazy, just feel a little
bit more presence on the vocal,
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and I put a little bit
of this on there.
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And when I got it in the area,
then I can start dressing it up
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with things that I like
to dress it up with.
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So, in this case, I used
an old-sounding reverb.
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This thing sounds incredible,
the AKG BX20's... great verb.
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So I used this.
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Taking off a little bit of
low end before I get there.
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I got a real short decay on it,
but it's such a big verb.
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You'll see
what I mean.
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And then I use a little bit of
distortion at the tail end of the verb
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just to make the verb
jump out, nothing crazy,
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but just to
make it peek out.
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So this is what
it sounds like.
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Just a little bit of distortion
on her vocal that was recorded
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but it kind of gave it a little
vintage feel on her vocal.
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There's some background parts
that go with this...
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I've verbed out
using Valhalla.
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And after I got the vocal sounding
in an area where I feel is comfortable,
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I start building up
the rhythm section of it.
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