All language subtitles for PART 3_EN

So, loudness on a song
really depends on the song.

Some songs aren't meant
to be crazy loud. Some songs are.

When I'm doing a record like this,
it's more of a dance record.

Loudness is kind of key,
so I'm listening to other records

that might be out just
to reference other things.

Or I might just monitor to see the feel
of the song, like trusting my instincts

once again, just listening
to where things are.

And if they need to be brought up,
I'll bring them up.

A lot of times, it's
really just trusting my ears.

As far as levels are concerned,
when I'm printing, obviously,

I don't print hot like that,
but I try to give the mastering engineer

minus four dB to work with,
three to four dB,

so then it sounds very similar
to my reference.

So, when he gets it,
there's not much that he has to do.

And that's basically it as far as
loudness is concerned for me.

Four to six dB,
I would say, yeah.

I'm just monitoring through that to give
it a feel, and then I'll take it off.

And I'll monitor it very heavily
when I'm printing as well, and I'll AB it

against my reference just to make
sure that even though it's a lot of level,

I'll bring down my reference to balance it
out, but it still feels the same,

because sometimes when
you put it through those things,

it actually changes
the sound of the mix.

And I try to keep it the same, even though
it's not going through that limiter.

For me, as far as levels, as I'm mixing,
I'm monitoring through the limiter.

But when I print,
I take the limiter off.

I usually run the passes around
minus three, minus four,

and I send it to
the mastering engineer.

One of the great things is having a good
relationship with your mastering engineer,

and so what I like to do is I monitor
my mixes after I send them over,

and I'll AB them against my reference,
I'll AB them against the original ref,

and I'll AB what I send over to him,
just to make sure it's loud.

And usually he might send
me a couple of different versions,

a louder version
or different EQs or whatever.

But having a good relationship with your
mastering engineer always is a good thing,

because a lot of times, you might
send a mix and you might not hear it,

and your mix will sound
different than what you sent out.

As far as levels, I just give them
something to work with,

something where the song is close, very
close, and he doesn't have to do much,

maybe some slight
EQ and leveling.

But for the most part,
it's just really listening to what

I sent out to make sure the process
is where it needs to be.

Stargate sent me
over the track.

The sounds they chose
sound pretty good,

so I didn't have to do a whole
lot to them.

They gave me a couple of kicks,
a snare, a snap, some claps,

some hi-hats,
some crackling sounds.

So I just blended
those together.

I think I added
a little verb to the snare,

and I think I used the
Valhalla Plate for that,

just a short verb
to give it a little space.

Nothing crazy.

And then I run all my drums
through a Drum Bus.

I don't really have anything on
the Drum Bus for this particular song.

Sometimes I like to put
stuff on the Drum Bus.

With this song, I didn't
really think it was necessary.

So, we're running just a snare,
the kick and snare, and claps, snaps.

Let's listen
to the drums.

Got a little slight compression on this
kick, just give a little snap to it.

And I've added a little bit
of 77, 80 Hertz,

kind of a little roundness
to the bottom of the kick.

Second kick is just
some slight compression

because it's a less
toppy-sounding kick, so…

We've got a punchy kick
and a lower-sounding kick.

But this is the main kick number one,
so I got that in front.

And then the snare.

Added that slight reverb
which is the Valhalla Plate.

And then the background,
they had this little loop.

It's just kind of
an ambient loop.

There's some
ambient noises.

So, that's basically
the rhythm section.

And then, as I'm listening to that,
I'm also playing with the vocal,

just seeing how that feels versus the
vocal, the kind of energy they're giving.

And then
I'll add in the bass.

I'm just doing some compression
on there with the SSL, channel strip,

little mid,
little low.

I'm also using a slight bit
of chorusing on this bass

to make it a little wider
in the track.

I'm using this digital chorus setting
that I use on the EchoBoy,

just kind of cool sound on the chorus
that I use for that track.

Then on the elements
that are in the track.

Like I said, there's not a lot
going on in the song,

so the only other element that's playing
in this session is the chorus.

There's two sets.
There's a low set.

And there's a high set.

So, everything
kind of fits together.

This is the weight
that I added to the high keys.

They had a little guitar in the song,
and I added a little verb to that as well.

I used the little plate to just add
a little space to the song,

get a little vibe
to the guitars.

And for me, most of the time,
I'm just listening and blending,

just kind of subtle changes,
maybe a little levels adjustment here,

EQ adjustment here,
just making things fit.

But in a song like this,
it's not a whole lot I have to make fit

because a lot of the good
choices were already made

as far as sonics
were concerned,

so just enhancing each sound
and making it sound good and fit.