
Inside The Mix: Colt Silvers With Fab Dupont
01h 25min
(27)
Learn Production and Mixing Tricks
In this installment of Inside The Mix, Grammy winner Fab Dupont walks you through his entire final mix track by track explaining the complex production and mix process involved in crafting this indie rock track by French rockers Colt Silvers.
Learn how Fab uses clever and practical production and mixing tricks to keep the listener engaged from beginning to end.
Listen to dozens of before and after examples and learn how a top professional mix engineer takes a song from a good sounding demo to an incredible sounding final mix.
In this 1.5 hour long tutorial, Fab teaches you how to:
- Take on the role of both a coproducer and mixing engineer
- Edit the song structure of the demo to maximize the listener’s interest
- Crafting a drum vibe that blends together electronic and live drums to enhance the message of the song
- Fix an acoustic kick drum sound in the mix without using samples
- Sculpt the tone of thick sounding vocals to make room in the mix
- Add vocal effects such as slap, reverb, microshift, and more
- Remove grain and nastiness from guitars to create a unique tone that works for the track
- Make muddy guitar and bass tracks speak and have presence
- Shape keyboard and synths so that blend perfectly with guitars
- Add layers on layers of parts while giving the mix space to breathe and grow
- Setting up stereo bus processing and intentionally clipping the converters
- Using analog summing for maximum clarity and headroom
Learn countless production and mixing tricks to spice up the band’s demo and create a professionally finished mix.
See what it takes to combine both in-the-box production and live track elements to give the mix sonic definition and creative direction.
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Once logged in, you will be able to click on those chapter titles and jump around in the video.
- 00:00 - Start
- 01:53 - Final Mix
- 03:12 - The Song And The Band
- 05:47 - Demo Mix
- 07:28 - Edit The Demo's Structure
- 08:45 - Session Setup
- 13:22 - 2 bus processing
- 14:54 - Electronic Drums
- 24:12 - Acoustic Drums
- 00:00 - Start
- 00:0 - Bass
- 05:52 - Vocals
- 16:46 - Guitars
- 28:11 - Keyboards
- 34:03 - Background Vocals
- 39:08 - Thoughts On The Mix
- 40:32 - Hardware Processing
- 41:48 - Final Mix
Part 1 | Part 2 |
00:00:08
Good morning, children!
Today,
we are going to look inside
the belly of a beast.
00:00:12
Without protection.
00:00:14
The name of the best is
'Two Hearts',
a song by the Colt Silvers.
00:00:19
Where does the name
come from? Good question!
It comes from a TV series,
an American TV series,
in French it was called
*lots of french-sounding stuff*
or if you translate literally:
'The guy who falls just right'
or, in English:
'The fall guy'.
00:00:35
Let's go!
Because the beast is a beast,
we're going to look at
the mix from the actual record,
so I have that, right here.
00:00:42
All the plug-ins are muted right now,
but this is the mix,
from the Colt Silvers record
and we're gonna analyze that mix so you
know why it sounds the way it does.
00:00:51
I mixed this minimally, because
since I am in NY, and they're in
Strasbourg..
00:00:56
look it up, nice place, especially
if you like sausages,
the communication was not gonna
happen in real time.
00:01:01
I was gonna mix something, send it to
them, and they were gonna send it back.
00:01:04
So, to keep things simple,
all I did was: use Pro Tools,
16 channels of Convert-8
Dangerous Music converters..
00:01:13
a 2-Bus and my trusty 2192.
00:01:15
And no other hardware.
00:01:17
Let's listen to the track.
00:01:19
This is the final mix print,
as you notice here on the right,
my input monitoring is off, meaning:
I am listening to the mix,
the name of this mix is
'Two Hearts Fabmix 1.2'.
00:01:32
That means that I mixed it once,
sent it to them, got feedback,
implement the feedback, sent it to
them, got more feedback,
implemented the feedback and then
everybody was happy.
00:01:41
Which is not bad, when you think
about it
for such monster
across 6,000 miles or whatever it is
from NY to Strasbourg
again: look it up. Great sausages.
00:01:51
So,
let's listen to the mix.
00:03:13
Pretty awesome, this is lower-East
Brooklyn
indie rock coming from Strasbourg.
Repeat after me:
[Strrrraaas-booouuurgh]
there ya go.
00:03:20
Sidenote: I think it's valuable
to mention
that I did not just mix this record,
I also
co-produced it, with
Christophe Pulon,
in Strasbourg, and with the band
members,
The process here, the way they work,
is..
00:03:32
the band members get together
and they all take a
part of the creative process.
Agnan takes care of a lot of noises,
he works in Fruity Loops on a laptop,
Nicolas plays bass
and writes a lot of lyrics and a lot
of the music,
Tristan writes also lyrics, he's the
singer..
00:03:51
and then Julian plays drums
and rocks like crazy beats and
stuff like that.
00:03:56
And so, they all work together,
organically.
00:03:58
When you work that way
you can create a lot of interesting
textures
because you have 4 minds together as
opposed to 1 mind.
00:04:04
Then,
sometimes,after an year of doing that,
you can loose perspective,
that's when you need a producer to
come in
to actually make sure that the song
is as good as it can be, that
maybe, all the song on the record
3 different records from 3 different
bands, which happens a lot..
00:04:22
So, the band members created the tones,
vibes and songs, then Cristophe
started tracking and making sure that
the recording of those tones
and the..
00:04:32
the further enhancements of it happened,
and then they brought me
at the end of the process,
probably 75% into the process..
00:04:39
to make sure it's as good as
it can be, because
after a year of screwing around
with the songs, you loose perspective.
00:04:46
And so, I met them up
upstate, in Waterfront Studio,
now defunct..in Hudson, NY..
00:04:52
while they were tracking the acoustic
portion
of their vision for the record.
00:04:57
And I was able to guide that
and I was able to rationalize
all the songs.
00:05:02
This song was actually the one
that needed the least amount of work.
00:05:06
That's the one that they felt
they brought the furthest
because they knew it was gonna be
a single, so they spent extra
energy on it
and extra time.
00:05:13
And Christophe already had done
a very good-sounding mix
and they were considering getting
it mastered
and leaving it as is. Then I heard it
and I was like:
'could be better! It's great!
But it could be better!'
What we're gonna do in this video is,
not only gonna look at my mix and stuff
like we wanna geek out on, but!
I like to also reference the original
impetus, the original idea
and original production
to see what has changed and what now
because I think it's a really awesome
and fun thing to do.
00:05:45
But right now let's listen to the
source mix.
00:07:27
Pretty awesome, right?
The first thing I like to do
is actually edit the source
so that the length
you know, cut out all the stuff
that I cut out from the
arrangement, that's the first thing
I did with this song, was: 'ok,
let's make sure that
nobody ever falls asleep while listening
and none looses attention.
00:07:44
On the original source mix,
the chorus hits when the second
verse hits
on the final version,
so let's edit that.
00:07:51
I'm just gonna cut the original
source mix, so that all the parts
line up
post-butchery
with the final mix, so when we do
a comparison between
what we're doing and what
we used to do
it's all on the same spot.. it's boring
so I'm gonna do it in fast-forward!
Here we go!
All right, I cut about 800 bars from
the intro
and 4 bars at the end and now we
have a song that's in
the radio format
without compromising the original
impetus of it,
I didn't really wanna hear that
*sings*
16 times by itself before we hit
the song. It's just
didn't feel like it was worth it.
I love the riff
I just don't wanna exhaust it before
we even get into the song.
00:08:35
So this is our reference.
00:08:37
We're gonna use this to compare
how the arrangement has changed over
time, but!
We're really here to geek out on
plug-ins, yo!
So let's do that!
I'm gonna go into input, right
here..
00:08:49
and I'm gonna start looking at
what I've done.
00:08:51
So, quick brush-up on what's
going on
here I have stems,
everything
in the record, is going through stems,
so we have one electronic drum,
you heard it,
and then we also have
an acoustic drum set coming in
a little later,
there it is!
And as you may have noticed
the acoustic drumset was cut
with a knife
to the electronic drumset.
00:09:15
Because the electronic drums
came first
and..
00:09:19
I really enjoyed that really stiff
kinda *sings*
*sings* a little bit like a..
00:09:24
like a Hall and Oates song,
you know?
*sings*
Like, that kind of like..
00:09:29
'wants to be soulful, but it's not
soulful'
on the drums at least,
kinda vibe,
so I wanted that to be the most
mechanical possible
but then I wanted texture, 'cause I
didn't want it to sound really laptop-y
and so..
00:09:41
I kindly requested that they record
new drums,
live drums that Jules would play
on top.
00:09:47
And the thing is that
if you make pop music like this,
and you want it to really groove,
if you want to do electronic drums
and acoustic at the same time,
usually somebody's gonna suffer,
in my world I like to make the
electronic drums suffer,
and I cut them to the live drums if
the drummer has the pocket.
00:10:05
This drummer had the pocket but:
the lead drums are really
the electronic drums, so..
00:10:12
I sliced the hell out of Jules.
00:10:14
And he still probably hates me for it,
to this day.
00:10:17
But it's a nice texture as you will
see in a second.
00:10:19
So we have: electronic drums,
all sort of acoustic drums,
there's claps and toms and
stuff like that,
everything is sent to the stems.
00:10:31
So, we now hear, and the whole record
gets summed here..
00:10:34
and as you can see every stem
is sent to a discrete analog output.
00:10:38
9-10, 11-12, 13-14, 15-16.
00:10:42
Those discrete outputs correspond to the
Convert-8,
the A-range is the top Convert-8,
8 channels, hence the name:
Convert-8.
00:10:50
C-range is the bottom Convert-8.
00:10:52
Still 8 channels, hence still called
the Convert-8.
00:10:55
That goes in the 2-Bus, it's back in
we talked about that in the beginning.
00:10:58
This is where the stems happen.
00:11:00
And on the stems I have limiters.
00:11:04
Those limiters,
actually are not limiting
anything, they're really
minimal,
and you may notice that they actually
are at -3 on the input.
00:11:15
The reason for that is, I use the stems
to kinda
tame the input. This song was
programmed on a laptop.
00:11:22
A lot of it in Fruity Loops.
00:11:24
By people who were trying to
be creative,
who are not exactly focusing or
agonizing over gain stage,
so I got the session, and it was like
*noise*
and to be able to track live stuff
on that,
and to make everything kinda
gel together,
into levels that are manageable
that you can music with,
is..
00:11:43
fun!
So, to make things a little
more manageable,
and because I wanted to keep some
of the balances
from the original programming to
keep true to their spirit,
I padded the receiver stems.
00:11:55
Another way you can do this
is creating masters for all the busses,
but I got lazy, I guess,
and so, I padded the input
of the limiters, that is why..
00:12:04
that is this way. But this limiters
don't limit much.
00:12:07
And then I have another Oxford
Limiter
on the final sum, this is the last
bit of processing
on this whole mix,
and I use the input of that limiter,
of course I'm gonna use it to
gain a couple dBs of peak-over-
average, if I can..
00:12:19
if I don't hear it, but..
00:12:22
considering the attack is wide open,
it's not gonna do that much.
00:12:25
I'm using it mostly as a
life insurance, I am not clipping
my output stage..
00:12:30
and as an offset, remember:
unless you're mixing a single..
00:12:34
you're trying to maintain your levels
between songs, on a whole record.
00:12:39
The main reason for that
is that when your client
or the rest of your band
listens to a song after the other,
it's
really elegant for all the songs
to be
more or less at the same level.
00:12:50
Because you may find that, if
one of the songs is
lower in average level than the
other mixes,
they won't like the mix as much,
even if is as good or better a mix.
00:12:59
So it's good to make sure that all
your levels are more or less
the same, across the record.
00:13:06
Which means: you have to have enough
headroom and one final point
which - for me - is this fader,
right here!
So, there's 2dB of gain here,
which means
this song was probably a little
softer
than the rest of the songs of the
record, when I was mixing it.
00:13:21
Makes sense?
A'ight!
So let's turn my 2-bus processing on,
so that, all the decisions we make,
I make through this chain.
00:13:29
That's usually the way it works, for me.
00:13:32
I set this up, up front.
00:13:34
Do I have a template?
Mh...
00:13:36
No..yes?
I kinda do the same thing every time
because I know it works.
00:13:41
So I know I'm gonna like the Studer
to soften the transients
to get my tone, I don't like
clink-y records.
00:13:46
Here, I remember having this moment
of thinking:
'I used to mix everything through
a Fatso',
I even have one in my rack,
and remembering: 'I really like the
sound of those records..
00:13:56
then I moved away from the sound of the
Fatso, fair enough..
00:13:59
but why don't I use a Fatso on this
and see if the
plug-in is as good as the hardware?
It is!
At least.. it did the trick for me
on this record.
00:14:07
Then I have a 2-bus compressor,
which I am using, as you can see..
00:14:11
almost nothing, I am using 14%.
00:14:14
Here I a have a Massenburg
DesignWorks EQ, I love
this EQ on 2-bus,
Full disclosure: I designed this
interface.
00:14:21
So that's also why I love it.
00:14:23
Then a BAX, 'cause that's usually
what I have in hardware.
00:14:26
And then this is the UA Maximizer
which I falled in love with, recently..
00:14:30
and so I have this turned on.
00:14:33
I know for a fact that this chain
is
on the whole record.
00:14:37
If I were mixing this song from
scratch, I would zero the EQ,
and zero both the BAX and
the Massenburg EQs..
00:14:44
so that I start with a blank slate.
00:14:46
So that none of the correctional
moves
inherited from problems
in different tracking sessions
would be reflected in this
tracking session.
00:14:54
That's the way I usually function.
00:14:55
Let's see what the drums sound
like through this:
And let's mute everything else in
the stems..isn't that practical?
Here we go!
Let's just loop that.
00:15:13
If we listen to the original
source mix
my problem with the original
source mix
drum sounds is that they were
neither here nor there.
00:15:25
Check it out!
The hi-hat is trying to be
like a plain hi-hat
I think that's silly..
00:15:34
I told them: 'Remember that
Duracell
battery commercial, where there
is a rabbit going
*sings*'
I said: 'I want something
that silly!'
I think that would give it
a certain vibe, check it out:
no accents,
no subtle *sings* I think it's
different and more
naive, and has more of a vibe.
00:15:55
And so actually the whole set for
me was to make it a little..
00:16:00
a little less..
00:16:01
intellectual, a little stupid-ier.
00:16:03
Original source mix:
Like, given the bass drum is
kind of fat
I said: 'nah', let's just make it
full on.
00:16:16
To do so, on the bass drum,
the first thing I did was:
enhance the cardboard.
00:16:21
The bass drum came this way,
I hi-passed it,
and made it a little
rough-er.
00:16:31
Then I added the RBass thing..
00:16:35
because, we still want some
'cojones'.
00:16:38
Without the RBass:
Not as cool!
And then, probably later in the mix
once everything was in place,
especially the other bass drums,
I added this EQ to compensate
now that I knew where I was situated.
00:16:56
I didn't have enough bands left on
this original EQ,
to be able to do what I wanted.
00:17:00
And I didn't really want to
mess with this.
00:17:02
You know sometimes you have
something and you're like *aaah*
'let's not touch it.. it might
turn funny.
00:17:07
So I just added this on top,
with a
different instance of
the same EQ.
00:17:19
So the idea here
is to cut around 100, which
is pointy
and enhance the bottom a little
bit, so it does
this thing. So that probably the
bass drum can go under
the other bass, we'll see that in
a minute.
00:17:31
On the snare drum..
00:17:36
That's so bland, so I..
00:17:38
always resort to the trusty
Decapitator,
it's just more like: *aargh*
And then,
some serious fatness..
00:18:03
Why would you want that?
Because, with the bass drum,
if you don't have that extra EQ
they're kinda disconnected.
00:18:21
Also moves the snare forward,
which is what I wanted, and then
there's the hi-hat.
00:18:26
I ruthlessly copied one hi-hat from
somewhere..
00:18:29
just one..
00:18:31
and then I just copy-pasted it
across the whole record.
00:18:34
No shame!
Don't tell my mother!
And then I added a Decapitator.
00:18:48
To make it sound even worse,
and then I took these 3 instruments
and then I set up a parallel
compression scheme for them.
00:19:01
Threw a dbx 160,
which brought everything to the fore,
nice and manly.
00:19:25
We started from here..
00:19:40
Then I set up an ambience just
for the electronic drums.
00:19:43
Because this feels dry.
00:19:47
It's fun, but, in the context of
everything else
it felt too dry, so I am sending
just the hi-hat and the snare,
this is the final result..
00:20:12
it's not exactly Enya-style
reverb..
00:20:15
but it really does this, on the snare,
and it helps when the other
drums come in.
00:20:19
And I'm hi-passing what I am sending
to the reverb.
00:20:21
So it doesn't take that much room.
If I didn't have the hi-pass
it would sound like this:
So I get the results of what I want
none of the garbage.
00:20:40
So with this established
and pretty much running over
the whole
there's this part in the pre-chorus
that sounds like this:
Then, on the chorus
there are some pretty cool claps
that are also in the electronic drum
stems, let's listen to them.
00:21:12
Love those claps!
And.. I love them so much that
I did nothing to them.
00:21:17
No effect, nothing.. they're fine
as is.
00:21:19
Love 'em!
Then there's this little enhance
thing-ie, called *clush*
which means 'bell'.
00:21:44
I don't remember where this
came from, I just love it.
00:21:47
The rest of the electronic drums
happen mostly
on the bridge.
00:21:50
And those extra claps
right here,
check out those extra claps.
00:21:53
I wanna turn.. these were the original
claps:
little fat, so I thinned them
out.
00:22:06
And then I actually did something
unspeakable.
00:22:09
Because I may have been too
lazy to set up a send
I'm actually summing all these claps
into this bus, right here, and I have
the hi-pass on it,
I am also
sending the same buss to the input of
a reverb, right here, it sounds like
this.
00:22:33
Absolutely..
00:22:34
nothing fancy, it sounds great.
00:22:39
The other sounds of this bridge
are this bass drum..
00:22:51
They sound great, there's no need
to do anything.
00:22:53
However, in this particular case,
I felt like it needed this.
00:22:58
So I used Boom, the built in
Avid plug-in
for bass drums and
808s and stuff like that.
00:23:04
And I doubled the pattern.
00:23:16
Because I felt it wasn't fat enough
after all this
fat-dom, of the whole song,
going on the bridge and landing on
something that sounds like this,
felt kind of weird..
00:23:30
So I added a little:
'rrrrr..'
And then, there's these claps:
You can hear that resonance before
opening the EQ, check it out:
There's a little bit of that 'eeh'
thing, right?
That's what I'm getting rid of:
111..
00:23:58
and then now:
I think that's it!
That's all the electronic drums.
00:24:14
So, let's move on to
the acoustic drums.
00:24:17
I wanna mute and I'm gonna mute
the electronic bass drum,
so now we can listen to
only the real drumset,
and the real bass drum,
then we'll go back.
00:24:27
This is what sounds like, raw.
00:24:29
With no processing.
00:24:43
As I said before, this was recorded
in Hudson, NY,
in a studio called Waterfront,
which is,
no longer there. It was
Henry Hirsch's studio
and it had a Helios console
and all sorts of exotic,
old microphones and,
more importantly,
the place is ginormous.
00:24:58
It used to be a church
so there were parts,
somewhere around the altar,
on the right, on the little..
00:25:03
elevated area.. and it was..
00:25:05
the weirdest thing: you had these drums
being played savagely, by
Jules, in this gigantic church..
00:25:13
but when you listen to the microphones
they're bone dry.
00:25:16
And the reason for that is that
they put the drums,
I am not very religious so I don't know
what they're called,
but they had gobos around it,
so you have,
because you have no room,
because it's gigantic,
but you have the gobos, blocking
enough reflections,
that the drums sound dry
and this is what we hear.
00:25:41
So let's look at the different
microphones..
00:25:42
the inside microphone was a D12,
it sounds to me like there was no
backhead or a very small backhead,
it's a shotgun mic.
00:25:53
That's a Henry Hirsch thing to do..
I've never seen that, before.
00:25:56
The long shotgun that they put
inside the bass drum..
00:26:04
I kinda dig it..it sounds distorted
but I think
what I am hearing is the pedal
freaking out.
00:26:08
The two of them, together.
00:26:12
Well, that's my first problem.. they're
out of phase, you heard that, right?
Listen to the bottom of the shotgun..
00:26:23
the two of them..
00:26:27
All the bottom goes away.
Just the D12.
00:26:32
Silliness.
What I am gonna do..
00:26:34
what I did.. what I'm gonna
do again..
00:26:37
is: adjust the phase between
the two bass drum microphones
so I can have some bottom left.
00:26:42
So this is without the adjustment.
00:26:56
We'll deal with the rest of the bass
drum later. The snare sounds like this.
00:27:10
And then.. I probably
duplicated it.
00:27:14
Unbelievable tom fill here,
check it out!
Those like.. vintage Gretsch
sound
kind of like the old James Brown
records, where the
toms are like.. they sound like..
00:27:27
they are singing. I love that stuff!
There's a KM56,
basically an overall
microphone. There's an M7
and a U87
and then, there's a compressed,
the whole set together, sounds
like this.
00:28:09
Listening to this, with
the electronic drums, now..
00:28:13
is gonna tell me
the reason why I added
processing. You notice
that there's very little processing,
here.
00:28:19
Because I felt probably that
it was working fine, with the drums,
except of course
for the permanent culprit of hell:
the bass drum.
00:28:35
I'm gonna mute the electronic drums,
again, and let's listen to
what I've done.
00:28:40
Let's listen to the snare drum.
00:28:46
It's an old Altec mic, if I remember
well.
00:28:48
And what we're doing here is
opening it up
without the EQ.
00:28:54
Notice that it's everything
snare, bass drum, hi-hat,
there was no intention of
separation, here.
00:29:11
And that's going into a gated
reverb, made with the AMS
UAD plug-in.
00:29:21
And I hi-passed the hell out of it,
so that only the high end of the snare
is in the gate reverb.
00:29:31
And I also have a Lexicon 224
which I am using for more of a space..
00:29:41
Isn't it fun? Putting gobos to remove
the cathedral sound but then
adding a cathedral-reverb.
Just sayin'!
And that's all the space we have
on the whole drumset.
00:29:54
It's just on the snare, but since
everything bleeds into it..
00:29:58
and then I doubled the snare..
00:29:59
the reason why the track is blue
instead of green, it's to tell me
that this is
a duplicate of this track, and I put a
1176 on it, probably on stun,
it's got all buttons in, and it's
distorting and
it's ugly as sin, but with it..
it's awesome.
00:30:23
Without the distortion:
You maybe surprised to see
a Decapitator, here.
00:30:39
It's just a special effect for one
particular section
right here, in the bridge.
00:30:50
Just a little bit of grit.
00:30:51
'Cause the whole bridge is
kinda chaos-y.
00:30:53
And then, there's a Pultec!
And a Pultec!
Opens the high end
around 10k and..
00:30:59
makes the whole drum shine.
00:31:01
Still no bass drum.
00:31:13
Again, I did not use a bus,
I just sent
all the instrument
with this exact mix, except
the bass drum
to the drum crush, and it sounds
like this.
00:31:28
The crush by itself sounds
like this.
00:31:36
Sounds like a crush.
00:31:37
And I am also EQing it
wide open.
00:31:47
With the rest of the drums:
We have 4-5 plug-ins,
we go from here..
00:32:16
let's mute the parallel processing
on the
electronic hat and snare, so we
can hear just
the bass drum..
00:32:23
don't forget that the parallel
processing here was
solo-safed..
00:32:26
The reason why I am muting the sends
from
the snare and the hi-hat into the
electronic drums parallel processing is,
I wanna be able to hear
the electronic drums parallel processing
when I add the electronic bass drum
to compare with
my acoustic bass drum.
00:32:40
The first thing I did here, is
even though this bass drum's cool
I made it bright as hell.
00:32:53
The reason for that is because it
has to work with this.
00:33:01
And without my EQ it sounds
like this.
00:33:08
So I am actually doing a little
phase adjustment
between the electronic drum
and the acoustic drum
by using the hi-pass at 30dB/octave,
which is pretty steep,
and is gonna make the phase rotate,
I mean 44.9Hz means nothing
other than
that's where they gel'd well together.
00:33:25
That's it!
And that worked.
00:33:32
Let's turn the electronic one off
so I can show you
the processing on the acoustic one,
then I'll turn it back on.
00:33:38
The rest of the processing on the
acoustic one, is an expander
so I can get rid of that snare.
Listen to it:
Super fast attack, 'cause I wanted
the punch
and it's distorting a little bit,
but I don't care.
00:33:57
Distortion is good for you, sometimes!
Some compression!
Faithful Transient Designer, which I am
using
to shorten the length.
Check this out!
Without.
00:34:14
Get that
*wrooah*
So I can get the punch, the
distortion, the *grrr*
but not the garbage. And then
I remember, this was one of the
first time
I experimented with this plug-in,
which was the Vitalizer..
00:34:33
It's another way to enhance
the bottom, it's also
an SPL model.. check it out.
Without.
00:34:51
So you noticed that it removes
some of the sub
but adds a little bit of that
grind in the low mids.
00:34:56
The reason why I use this instead
of RBass
is because I'm using RBass
on the electronic bass drum
and I remember
having both being a bloody mess.
00:35:05
But here's the fun part.
Remember how the Vitalizer
didn't make that much of a difference,
it was kinda subtle?
Check it out in the context.
00:35:11
This is the two bass drums
playing at the same time..
00:35:14
Vitalizer on and then off.
00:35:32
Phase is key! So this is a good tool.
00:35:35
Then what I'm doing with the bass drum
is I am actually
using a send to send it
into
those busses, so..
00:35:41
the bass drum is going to
the kick stem, it's also
going to the drum stem,
into the drum
crush.. and what's that doing
is it's making.. a mess!
Let's mute the electronic drums.
00:36:01
You get the presence..
check it out. Without:
All the details of the drums,
the crash cymbals are live
crash cymbals, copy-pasted.
00:36:34
But they're live cymbals,
that we recorded
at the Waterfront.
00:36:37
There's a snare, here.
00:36:39
In the bridge.
00:36:46
There's Jules torturing the snare.
00:36:48
It has to go with the claps,
remember the claps?
And the processing on that
is pretty brutish.
00:36:52
First, a reverb:
D-Verb plate.
00:37:00
That's probably because that's what
they had at the studio
because the computer..
00:37:04
and the Pro Tools system
at Waterfront was
pretty vintage.
00:37:08
And so, they didn't have
many reverbs, so
that's why D-Verb
ended up on everything
and then
that's when you rediscover that D-Verb
is perfectly fine and sounds good.
00:37:16
A little bit of a nudge in the middle,
listen to this, again:
It feels brighter, I am just
removing some energy
probably to not clash with the claps.
00:37:29
And then, this guy.
00:37:42
Usually works.
00:37:43
So this, with the claps,
sounds like this.
00:38:00
And then we have toms,
because it's Colt Silvers
and Colt Silvers has a tom
fetish.
00:38:08
These toms were deemed to
be weird.
00:38:15
I'm adding a little bit of
bottom on these toms, but
importantly: Devil-Loc to the rescue!
And then of course: D-Verb, which is
fed the same sub
as the tom sub.
00:38:55
I forgot to mention, when I showed the
cymbals, that I have
an actual EMT 140
inserted on the cymbal bus,
just like that, this is what
you call: 'brutish
mixing'.
00:39:15
All right! So that's
all the drums we got!
..for this crazy song.
I can turn these
two parallel processing back on.
Check out the pre-chorus:
It was fun to play with parts
of the song
where the drums, the live drums
sound real and
add that real quality and then
parts of the song
like the pre-chorus where I just
took one bass drum and looped it
and made it sound super sampled,
even though it's the same bass drum,
from the same tracks,
as the drums that are supposed to
sound real, 8 bars later.
00:00:00
Let's talk about bass,
baby!
I'm gonna mute all the other
stems.
00:00:05
And turn the bass back on.
00:00:14
Chorus.
00:00:25
The part used to be like this.
00:00:37
I was like 'nah!, I need more
action!'
And then Nicholas killed it,
because he's a good player.
00:00:54
So, that's the raw take.
00:00:56
This is the actual thing I did
to it.
00:00:59
First thing I did is put a
Marshall amp
on the DI..
00:01:10
It's a guitar amp.
And so what!?
Then we had the duplicate
of that DI that I used to
keep those notes and 'klink-iness',
with..
00:01:29
just the distorted DI
without the clean DI.
00:01:38
With.
00:01:46
And then there was a microphone.
00:01:58
All of it was recorded with distortion
on it, just for entertainment.
00:02:01
This is the 3 tracks, together.
00:02:14
I like bass sounds, like..
00:02:16
you know, all Rickenbacker and
stuff like that..
00:02:18
that remind you that a bass is a
very thick piece of metal string
there is some wood involved but
really it's a lot of metal.
00:02:26
I like those sounds but this is
a little clanky
so what I did is I used the Studer
to do this, so this is without.
00:02:47
I also wanted to endorse
the distortion.
00:02:49
There is distortion, right?
It's fuzzy,
the raw recording is fuzzy
so I might as well go in that
direction, so I pushed
into the Studer by raising the
input
and lowering the output so that
A/B is at the same level..
00:03:00
lowered the HF
sync and repro EQs..
00:03:04
and this is where we're at right now.
Then I compressed it
and basically whenever he plays
he gets compressed and centered
and that allows for more of a
leveling vibe
especially since the attack is
pretty slow.
00:03:24
Then obviously we want some fat.
00:03:35
200 helps the raunchiness,
this is without the 200.
00:03:51
Since the Pultec has transformer
emulation and it sounds fat
and all that stuff, and it's great..
but it's a bit of a sledgehammer
so then I had to bring an EQ,
an Oxford, to remove some of
those resonances.
00:04:14
And set those nicely and then, you know,
you can't have too much distortion.
00:04:25
TapeHead rocks and this is what
it sounds like, in context.
00:04:43
I'm gonna play the old mix,
listen to the..
00:04:46
focus on the bottom.
00:05:12
Now, second verse.
00:05:21
I just removed everything and I
removed the bass.
00:05:23
I remember that, in the original
version,
I wanted it to be more empty
so at the beginning of the
*french sounds*
I removed everything including the bass.
00:05:53
Let's turn the vocal on,
now that we have
the important parts of the record, which
is drums and bass
because everything else
is a decoration.
00:05:59
Except maybe the vocal.
So let's do that.
00:06:01
This is what it sounds like, raw.
00:06:14
Sounds really thick and, in the
context, it's a problem.
00:06:23
I did it on purpose, though. Because
I wanted to be able to have
the phat-dom when I wanted it
so, first thing I did, is
raise the shine of the high end.
I didn't use an EQ
I used a HF playback
in the Studer A800,
check it out. This is without:
Listen 'cause I wake'
I can't really do that with an EQ.
It's pretty cool.
00:07:04
Then I went full on Attila
on his vocal.
00:07:07
So..
00:07:08
5k is great to open a vocal
without hurting your eyes.
00:07:12
A very gentle,
very low-reaching shelf
at 2k all the way up to infinity.
00:07:19
And then a super-ridiculously
-absurd hi-pass and it sounds like this.
00:07:29
Obviously, that is not a hi-fi vocal
sound.
00:07:32
But nobody here
wanted a hi-fi vocal sound. If you
listen to the demo,
it's kinda like crunchy and everything
and..
00:07:46
the whole attitude of the whole
record was not about making
a hi-fi record. To make stuff dirty
like this,
you know, we don't have to
adhere to the canons of
'this is a beautiful recording'
so, I just hi-passed the hell out of it.
00:07:59
And then here's a compressor.
00:08:11
Distortion.
00:08:18
And then, obviously, when you start
doing all that stuff,
a little bit of de-essing is in value.
00:08:28
That's it. Space-wise..
00:08:31
I have a short delay,
I wanna un-bypass
there you go..
00:08:41
I always use EchoBoy for stuff
like this because
you can make it do crazy things,
like distort the returns,
you have different models, you can
hi-pass, lo-pass,
this is 1/8th note, on the actual beat
of the song.
00:08:57
I also have a spread.
00:09:05
I'll exaggerate so you understand what
is going on.
00:09:11
But this is how much of it I just
put in.
00:09:25
It's nice, but I probably used the
spread a lot more on
the other tracks, of course, and stuff.
00:09:29
And then there's a space, which is
a trusty EMT 140.
00:09:39
The 3 of them, together.
00:09:50
Not clean.
00:09:52
Then, there's a double.
So, the double
was actually a real double.
It was not
put together from outtakes,
it was
put together as he
sang
a double to himself.
00:10:07
And I thus copied all the settings
and you'll notice that the settings
are the same because it's a
copy-paste because I am lazy!
And it is all the same.
00:10:17
The only thing that's different is
probably the amount of distortion.
00:10:21
There's more distortion on the double.
00:10:23
I remember doing that, so that the
double sounds more awful
than the lead and also you'll notice
a super high
cut on the double.
00:10:30
And a very bright tone of the double.
So, the double with all the
processing, sounds like this.
00:10:39
The lead sounds like this.
00:10:46
The 2 of them together sound like this.
00:10:57
And I did not use any effects on the
double
because I didn't wanna make a mess
and there's
plenty of effects on the lead vocal
and the double is just there to make
the lead vocal dirty.
00:11:07
And it's doing that very well!
And then there's the chorus!
What I did there was soften everybody
with the same A800
and then,
this one, remember? And then..
00:11:59
Added..
00:12:01
a gentler EQ, because I needed
more presence, here.
00:12:04
I wanted the chorus to lift.
00:12:06
If you remember, in the demo,
the chorus doesn't really lift..
00:12:08
as much as it should.
00:12:17
It's kind of a rhythm of sound..
00:12:19
Here I really wanted to come up
in energy.
00:12:21
So to do so, I made the vocals
a little fatter
so I needed a little more 'oompf'.
00:12:27
So to help the chorus lift in
my version
I let the vocals on the bridge
be fatter.
00:12:39
Of course, de-essing, it never
hurt anyone.
00:12:49
Then, this guy, gives you a
little bit of a bite.
00:13:00
Adds some of the original
distortion-like character
of this particular
box and also
is pumping.
00:13:07
I'm making it pump
on purpose.
00:13:17
To create a vibe, then
I crushed it
with a little bit of Decapitator,
because you can't have too much of it.
00:13:32
Let's listen to it, in context.
00:13:43
It still felt too fat. Listen.
00:13:53
This may seem counter-intuitive.
Why not just
lower the energy in the bottom,
right here. In the source track.
00:13:59
Because A) it wouldn't pump
the same
second, I probably came up with
this later.
00:14:03
I did this sound by itself, or
with the drums sounding a certain
way
and then as I added more stuff,
it was too fat
and so I made it thinner.
00:14:12
And then I made it
more aggressive with a little bit of
distortion. So this is the thinner part.
00:14:39
It just sits more forward, it's good.
00:14:41
And then, a little bit of that Sonnox
saturation.
00:14:56
Then, a Microshift.
00:15:21
Does a cool glistening
kind of thing, love it!
And then, the same 3 effects
as on the lead,
probably with more spread.
00:15:36
Let me coalesce the trim
automation so we can
look at the actual values.
00:15:41
We're gonna have trim,
this is how much spread there
is on it.
00:15:44
This is how much Lead Space
there is on it.
00:15:46
And this is how much Short Delay
there is on it.
00:15:59
Check it out without the spread.
00:16:16
Glisten on the transients,
which means
that the lead vocals are gonna
pop up in the chorus without
them being
too loud, so you can keep the energy
of the drums and keep that *tch-tch*
coming in, it's not aggressive, doesn't
hurt your eyes,
it's forward and it's not loud.
00:16:29
It's paradise!
We'll do the background vocals, later.
00:16:48
So now let's go back and listen
to guitars and stuff.
00:16:51
So, guitars.
00:16:54
If you remember, the original
demo..
00:17:02
It's nice and 'creative', as far
as tuning goes.
00:17:06
Because sometimes, when you're
in the heat of session writing a song,
tuning doesn't seem that important.
00:17:11
But then the morning after, of course,
life sucks.
00:17:14
So, here what I did is I probably cut
whichever one I liked the best
and then looped it.
00:17:26
So this guitar is very, very
simple.
00:17:28
I removed some of the bottom because
it's too much.
00:17:30
I'm gonna mute all guitars except
that one, for now.
00:17:38
Hear how it fights with the
lead vocal?
So I am actually lowering
the low-mids, so that there's
room for the vocal.
00:17:51
And then a little bit of grit
with the 1176.
00:18:00
And I'm using one reverb for
all the guitars.
00:18:03
I let the EMT reverb stay fat.
00:18:05
That's why this hi-pass is not
inactive, here.
00:18:14
Like this.
00:18:28
It's subtle right now, but with all
guitars going to this
one reverb, you'll notice
the reverb in
fat-dom, later, when we grow up.
00:18:35
These 2 guitars are going to something
called 'riff sub',
which is right here, I'm gonna move it,
so it hangs with his brothers.
There you go..
00:18:43
That's the riff and I have 2 of them.
00:18:46
And I sum them and sounds
like this.
00:18:55
What's happening here is, these
were recorded
on stun, one of them is clean-er
one of them is just
chaotic.
00:19:06
And so
I put these 2 together and tried
to make a sum of it.
00:19:09
The first thing I did is distort
the first one.
00:19:14
Then..
00:19:16
tame that obnoxious frequency that
made everybody's eyes hurt.
00:19:23
And then compress it.
00:19:32
What I wanted to do there is get
all that grain and
nastiness from the guitar
on the right.
00:19:37
And have the definition for
the guitar on the left.
00:19:39
Don't forget that we're coming
from here, on the verses.
00:19:54
It's a little bit like
going from
junior-high to high school.
00:19:57
Like, you know what you wanna be,
but you really
spread your wings in high school,
that's when you do
all the highly-regrettable stuff
that will follow you for the rest of
your life.
00:20:06
Then, after that,
we have the tape.
00:20:14
Our eyes no longer hurt!
Iz nice!
So this will soften transients
and then I add a little bit
of RVerb,
there's more, there's this guy..
00:20:36
that is a brilliant touch
from those guys.
00:20:38
I heard this, soloed it and
I was like 'yeah!',
so this adds a melody on top
of this riff
to give it a little bit of
texture.
00:20:49
The way I treated that, is,
removed the ring, I'll play it again
flat.
00:20:56
It hurts your eyes, again.
00:21:03
The 2 of them together.
00:21:12
Into RVerb just for entertainment.
00:21:14
And this is what it sounds like
with all those guitars
and the rest of the arrangement,
there you go.
00:21:18
I'm gonna play the junior-high part
and then we're going
to the high school part.
00:21:43
That's good rhyming, these
guys are awesome.
00:21:45
Next part is this part, right here.
00:21:48
Of pre-chorus.
00:21:57
Why this is called:
'guitar drone'?
I am not sure. It's definitely a drone.
Guitar? I don't know.
00:22:04
I got this as a stereo file from
the Fruity Loops session.
00:22:08
And I said 'I love it, I like
this thing'.
00:22:16
On the chorus.
00:22:25
To go with harmony and simplify
everything..
00:22:27
I thought it was awesome.
I decided to
use Filterfreak
to do some automation, I'll show you.
00:22:33
Filterfreak is by Soundtoys
and it's a really good tool to have
so what I did
with the Filterfreak is: I kept the loop
as it was on the pre-chorus
on the chorus, I..
00:22:46
darkened it, so it has motion
during the course of the chorus.
The chorus sounds like this.
00:23:07
Gets brighter and brighter over the
course of the chorus, which is
pretty awesome.
00:23:11
I'm removing some of that
and apparently
I thought it was too bright,
so let's see.
00:23:41
On the pre-chorus.
00:23:51
This is very bad manners:
I used the compressor to get
gain.
00:23:54
Bad! Bad!
I'd fire myself if I were the boss.
All right.
00:24:00
It's bad because I can't A/B at the
same level
before and after and it's bad manner, I
tell everyone not to do it, and I do it,
shame on my family for 7 generations!
There you go!
Next guitar!
There's nothing special, here.
00:24:22
All I did is thin them out, because
obviously
if you play this with the rest:
They don't really lead,
all they made is a mess. So if you hi-pass them
and give them a little peak
at 1k
1k is awesome on those kind
of guitars, because
it sounds ugly by itself..
00:24:47
that's kind of like the sweet spot
for making
presence happen on distorted guitars.
00:24:52
I mean, it can be 1.2, it can be 800,
depends on the key,
weather, what you had for breakfast
but: it works!
They also show up at the end
of the last chorus, check it out.
00:25:23
I discretely cut that up and
put it there..
00:25:25
to see if anybody would complain.
Nobody did so I left it in.
00:25:29
And then, there's this guy right here.
This one's fun.
00:25:32
Check it out.
00:25:39
So that reverb is built in.
00:25:41
And I put a PanMan on it.
00:25:42
Which is an automatic panner.
00:25:50
And also, to make it feel like it was
with the other guitars, I added RVerb
on top.
00:26:00
So because now, the built-in reverb
on the track travels..
00:26:03
but RVerb doesn't really travel as
much, it gives more of a space
and it sounds like this in
context.
00:26:16
Get the fun in the way
you can!
Here is..
00:26:20
This is the leftover from the demo
session, if I remember well.
00:26:27
It's a great pickup to the second
chorus.
00:26:34
That may not change the course of
modern music, but:
I put an EMT on it, to make it
even more obnoxious
and RVerb for the same reason I
just mentioned.
00:26:51
And there it is, in context.
00:27:01
You hear it on headphones if you
really concentrate.
00:27:03
And then:
the crazy solo at the end,
check it out.
00:27:24
So what I did is, soften the transients
again, in solo it sounds like this.
00:27:32
Too much, so: a little softening.
00:27:40
And then it's too fat in the sauce
so I am lowering the low-mids
and I am still
taming a little bit of that 3k
hi-cruncher.
00:27:52
Add some reverb.
00:27:58
And now it's gonna cut through!
Let's turn the keyboards on
and see what we did
there, or also known as 'stuff'!
We have:
A riff, that sounds like this.
00:28:26
The guys were on a Chinese music
thing, kinda kick, they've been touring
China quite a bit.
00:28:30
And so they have influences.
00:28:38
That's a complement to the guitar
part.
00:28:40
And I'm just lowering it a little bit
of the
bottom and compressing it
quite a bit.
00:28:48
And adding some reverb,
and goes with this, obviously.
00:28:58
Without the EQ, it would like this.
00:29:15
So it gets rid of that energy in the
low-mids that
unnecessary, since the guitar really
gives it
and it allows it not
mud things, as much.
00:29:21
And this is used in the choruses.
00:29:26
And then on the choruses we have
these two guys that come in: Rhodes,
I have the settings for the reverb,
right here,
same exact thing as
the guitar.. and then there's this guy:
You want to listen to it along
with the bass..
00:30:03
so what I did is to marry the
two of them
is: I got a little presence on top
and removed the low-mids,
that was an original part, pretty
sure. Yeah.
00:30:25
Chinese rock! That's an original
part.
00:30:27
Straight from the soft-synth.
Love it.
00:30:30
Then we have some more
Rhodes stuff
just interventions on the 2nd verse.
00:30:38
So I put it on the other side
as the Rhodes
of the chorus, just
because
I can!
Diversity, so things stay
interesting and
when you're listening on headphones
they are stuff
taking you to places.
00:30:58
There's this fantabulous
Juno 60-like sound.
00:31:03
Love the Juno 60.
00:31:12
What I wanna do
is remove that thing.
00:31:16
Making it a lot mellower
and give it a lot of reverb.
00:31:22
It sounds like this.
00:31:36
Then there's this part here,
on the chorus.
00:31:46
I listen to it and..
00:31:49
I really didn't like it!
But..
00:31:51
the boys really wanted it.
So I was like
'ok', so I disguised the hell out
of it. First..
00:31:56
I used a Microshift..
00:32:08
it just sounds so much like a plug-in..
that's just..aargh.
00:32:12
But they like having that
shine on top of the melody
so might as well use the sound that's
there and
try and make it less offensive to me.
00:32:25
So that makes it a little fuzzier
and less precise
than this guy.
00:32:35
Naughtier attack and a little
bit of *grr*..
00:32:37
and then, I hi-passed the bottom.
00:32:45
Then a reverb.
00:32:53
We started here.
00:33:08
I cut it in the pre-chorus, I didn't
like the pre-chorus part..
00:33:13
I thought it overshadowed
the amazing guitar
sound or 'guitar'-sound
we had before.
00:33:21
So I just used this, on the intro
it sounds like this.
00:33:30
Without.
00:33:37
You missed it? All right!
And you know what they say:
'the fall guy is always right'.
00:33:50
So, that's it for stuff!
Incredibly sober and restrained
amount of stuff.
00:33:55
Compared to other tracks in
this record.
00:33:57
Which I strongly urge you to listen to,
because it's pretty awesome.
00:34:01
What we have left is
the background vocals!
They sound like this.
00:34:11
So you hear all that gunk, right?
So first thing I did was: get rid
of the gunk,
by removing the low end
and the low-mids an all 4.
00:34:26
Also, listen to the Ss.
00:34:31
Something that we recorded
really quickly, apparently.
00:34:40
So, I am de-essing too much,
I know!
But it doesn't matter.
00:34:43
Because this is to be
layered with these guys.
00:34:54
Plenty of Ss there already,
so you don't need them..
00:34:56
as long as you don't hear
the de-essing.
00:34:58
To further enhance the
blending of the lead
and the backgrounds
over time, I decided that
I wanted to make things
thinner, and because
this had this complicated thing here,
I didn't want to
do it on 4 different tracks,
so I did it on the sub.
00:35:21
A little compression.
00:35:26
Just doing nothing, it's probably doing
something on the chorus.
00:35:38
Just for those 2 notes on the pre-chorus
and then
a Microshift.
00:35:43
Hear that? Kind of like
'weird '80s thing'
and then I have 3 different
space effects in the backgrounds.
I have the tail
which is made a 250..
00:36:14
I have this thing where, if I use a 140
on the lead vocal
I use a 250 on the background vocals.
00:36:19
Because, well, they have different
colors.
00:36:22
Then I have a delay.
00:36:28
Like, on this, probably for
different things.
00:36:30
Or I set it up and then I didn't
like it.
00:36:32
Or I didn't want it.
00:36:33
And then there's this reverse thing,
check it out.
00:36:43
UA RMX, nice and digital
sounding.
00:36:51
In context, they sound
like this.
00:37:01
It probably took me 20 minutes
to automate all that stuff.
00:37:04
For something that nobody will ever
hear.
00:37:06
And that's a warm fuzzy feeling.
Let's see what else it is.
00:37:09
I'm gonna Ctrl+Cmd+Click
on this.
00:37:14
Here, and then I can go to..
00:37:16
a pre-chorus track, and because I
Ctrl+Cmd+Clicked on it.
00:37:20
I can see the automation automatically,
that's pretty neat.
00:37:23
Let's see if we can actually hear it.
00:37:31
You can feel it.
00:37:33
These background vocals are going
straight
to the stem, here.
00:37:45
So cute! But there's no
processing on them.
00:37:53
Because quite frankly, what're you
gonna do? They don't need anything.
00:37:55
It's just a little shine.
00:37:57
And then, there's this awesome stuff.
00:37:59
Check it out.
00:38:00
On the bridge, they have this track.
00:38:08
So, I loved it, I just removed the
low-mids.
00:38:14
And then the bulk in the middle
was too much..
00:38:17
Added a lot of reverb on it.
00:38:22
In the context, it sounds like this.
00:38:47
You know what? Let's give credit
where credit's due, check it out, here.
00:38:54
If you don't have it, it's not the
same!
Check it out!
It was a good idea, I didn't waste
that time.
00:39:11
So, how long did it take me
originally to mix this?
Probably a day..
00:39:15
plus, since it's a 1.2
probably
another hour, maybe twice,
half an hour or maybe an hour
of each..
00:39:23
every time for the .1 and the .2.
00:39:26
It's a lot of stuff, there was some
production, I did some
cutting at the same time that
I was mixing.
00:39:30
I added a Boom thing..
00:39:32
it takes time to do production
on a mix, especially since, when
you mix,
trying to be inspired,
regardless of gain staging
and doing
crazy stuff, is really difficult
to do. So you have to switch brains,
you mix, you make it sound good,
you make sure that everybody's gonna
be happy..
00:39:49
and also, at the same time, still
be creative and be wild and
if something is
wacky but makes you feel good,
let it be wacky as opposed to try
and tame it
to being a record right away. And that's
a very difficult thing to do.
00:40:00
I'm still happy with this mix and
it's been
about a year, now.
00:40:04
And,
I've been listening to the master. So
when you're being used
to listening to the master for
a year
and then you listen to the mix,
usually it's like.. 'ugh, rough!'.
00:40:14
So, this is sitting in a good place.
00:40:16
Makes me happy and I get
no chills of disgust in
my lower back. So that's good!
What's left to do is:
listen to the whole thing,
in one block
as opposed to all the little
instalments.
00:40:27
And also
as the session goes by, remember all
those details we just looked at.
00:40:32
Before we do that, I just wanna
point out that
processing-wise, in hardware,
I have
3 clicks on the Paralimiter
and..
00:40:42
6 clicks of the Transformer,
on the 2-Bus+.
00:40:44
So that's about it.
I'm also hitting
my converter a little hard..
00:40:47
this is mixed
loud,
I use the converter a little bit
as a clipper, I'm
not being very metrosexual
about it.
00:40:56
I'm being kind of like
'rrr!'. And that gives that edge
which I kinda like.
If you look at
the recording levels, here..
00:41:12
it's definitely in the red.
00:41:13
And I was experimenting with
that..
00:41:16
the sound of a converter going
*sounds*
I don't know.. I like it for
this kind of stuff..
00:41:21
a little crunch..
00:41:22
and I use the output master
of the 2-Bus to actually
hit the A/D converter a little
harder
to be able to get that
like.. compression, if you will,
that..
00:41:33
transient..
00:41:34
softening..
00:41:35
from..
00:41:37
the 2192, as opposed to do it
with a plug-in. So this is like..
00:41:41
hardware abuse.
00:41:43
And it gives a little bit of
that edge. It's nice.
00:41:46
Let's make sure that you control
it, otherwise..
00:41:49
you hate yourself in the morning.
Again.
00:41:51
Let's listen to it from
beginning to end.
00:41:54
Knowing everything that
we know, now.
00:41:56
You can hear all the details,
that I've been putting there
in our little,
very important, reverb throws,
and all those little things that
make it a very special mix.
00:42:07
For a very special song!
Those guys are awesome.
00:45:21
Et voila'!
Once logged in, you will be able to read all the transcripts jump around in the video.
- Avid Dverb
- Brainworx Bx Boom
- Dangerous BAX EQ
- Massenburg Designworks EQ
- Massey Tape Head Saturator
- OXFORD Compressor/Limiter
- OXFORD Gate/Expander
- OXFORD Inflator
- Sonnox Oxford EQ
- Soundtoys Decapitator
- Soundtoys Devil Loc Deluxe
- Soundtoys EchoBoy
- Soundtoys Filterfreak
- Soundtoys Little Microshift
- Soundtoys Panman
- UAD AMS RMX 16
- UAD Buss Compressor
- UAD Dbx 160
- UAD EMT 140
- UAD EMT 250
- UAD Fatso
- UAD Lexicon 224
- UAD Little Labs IBP
- UAD Marshall Amp
- UAD Maximazer
- UAD Pultec EQ
- UAD SPL Transient Designer
- UAD SPL Vitalizer MK2-T
- UAD Studer A800
- UAD UA 1176
- UAD UA 1176LN
- Waves RBass
- XILS DeeS

Fab Dupont is an award-winning NYC based record producer, mixing/mastering engineer and co-founder of pureMix.net.
Fab has been playing, writing, producing and mixing music both live and in studios all over the world. He's worked in cities like Paris, Boston, Brussels, Stockholm, London and New York just to name a few.
He has his own studio called FLUX Studios in the East Village of New York City.
Fab has received many accolades around the world, including wins at the Victoires de la Musique, South African Music awards, Pan African Music Awards, US independent music awards. He also has received Latin Grammy nominations and has worked on many Latin Grammy and Grammy-nominated albums.
David Crosby
Queen Latifah
Jennifer Lopez
Mark Ronson
Les Nubians
Toots And The Maytals

Eternal unshaven kidults playing hide and seek at the frontier between the organic and the synthesis, the three boys in COLT SILVERS create their own intense sound, made of bright pop intervals and silky electronic layers, spangled here and there with angelic voices.
2 Hearts
CLICK_HEREMusic Credits2 Hearts
By Colt Silvers
Eternal unshaven kidults playing hide and seek at the frontier between the organic and the synthesis, the three boys in COLT SILVERS create their own intense sound, made of bright pop intervals and silky electronic layers, spangled here and there with angelic voices.- Artist
- Colt Silvers
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