Learn Andrew's "Black Box" Methods
When a session arrives from Zac Brown Band it already sounds 90% done - now learn how to add subtle and not-so-subtle touches to a mix that take it from good to great!
Andrew Scheps opens up his final mixing session for the song "Young and Wild" and walks you through track by track how he applied his tastes and techniques to amp up the song.
Each step along the way he shows you before and after examples of his creative processing that adds the perfect touches to complete the song's sonic vision.
In this tutorial you'll learn:
- Andrew's mixing thought process and mixing techniques
- Tricks to enhance already great sounding tracks
- How to add processing without compromising the artist's sonic direction
- Use creative routing and effects to add an extra sense of space to a mix
- See how the band uses meticulous editing to create a dynamic production
- Work with pre-written automation and also using automation to add more dynamics and excitement to the mix
Don't forget to download the exercise files and practice mixing the song for yourself! The band was gracious enough to allow pureMixers the chance to try their hand at mixing the first section (intro to the first chorus) of the song.
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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
- 01:30 - Session Setup
- 06:26 - Drums
- 34:30 - Bass
- 00:00 - Start
- 13:07 - Keyboards
- 16:13 - Vocals
- 21:50 - Rear Bus
- 26:02 - Background Vocals
- 00:00 - Start
- 00:6 - Stereo Bus
|Part 1||Part 2||Part 3|
Hello children, welcome back to Flux Studios.
I'm Andrew Scheps and today we're going to do something a little different.
In the past I have done some demonstrations of how I would mix the song, or actually mix the song.
And today we're gonna look at a song I've already mixed, And just deconstruct the mix and figure out what I did and why, along the way.
We're working with a song called 'Young and Wild' of the Zac Brown album, Jekyll + Hyde, which has done pretty well. It's exciting.
The title of the album is very indicative of the content.
The Jekyll and Hyde concept was that Jekyll and Hyde are only two totally different people and on this album Zac is about 17 totally different people.
There is a full-on Rock track that he did with Chris Cornell.
There is a big band track with Sara Bareilles.
There is a reggae track.
There is a full-on super Pop dance track.
There's all kinds of stuff but what we decided to do is use the song Young and Wild, which is a little more traditional, a little more in Zac's wheelhouse.
This is very much about the Zac Brown band.
It has a lot of background vocals with the different members of the band.
It has the fiddle, it has all the elements that are sort of the trademark of the Zac Brown band without straying to far outside of what people would normally expect.
So, this is the actual section.
And this is the session where I printed the mix.
At the bottom of the session, on my 'Print' track are 1, 2, 3, 4 and 5. So, we obviously had four rounds of comments before the mix was done.
R5 is my final mix and this would be the file that was sent off to mastering.
So, this is exactly what is on the record.
I don't think mastering really change anything too much.
Certainly nothing substantive.
You should get a really good picture of what's on the record from looking at what we're gonna do today.
The first thing is...
I'm not gonna spend a huge amount of time talking about my templates and the way I lay out sessions.
This session is already laid out.
I spent a lot of time in the other mixing videos talking about track layout.
The big thing is that the tracks go in certain order and they are the certain colors.
I'm just gonna walk you through what's in the session.
And you'll see that my colors are already in, we've already imported from my template, obviously.
And this was done a few months ago so there might be somethings that were imported from my template before my template got to be what it is today.
So, there might be a few unfamiliar things, I don't even know but we'll discover along the way as we look back at this mix.
So, before we start tearing this apart we're gonna listen to the mix, and you'll notice my 'Print' track is in Input, so we're listening to the session live.
And just to double check that everything came up ok, I actually checked this against the printed mix and it does phase out, all you hear is a little bit of reverb and delay effects which of course wouldn't phase out when you check the mix.
So, here we go from the top.
Alright, we just played up to there then obviously we get another verse and a chorus.
It's a pretty traditional song structure.
There is a bridge which we'll have a look at later because it has a couple of elements that aren't in the rest of the song.
But that's the basic structure. We're just gonna play you some of the rough mix because what this will show you is exactly what the session was like when I got it.
And this mix was in the session then.
This sessions were incredibly well recorded and well put together and there was a lot of time taking on the production.
So there's a lot of automation in the session when I get it.
A lot of routing, a lot of processing.
So the mix is pretty far along.
But let me just play you just that much of the song from the rough mix.
Then we'll go through and look at what I did and then you'll get a chance to A/B that later on.
Alright, no surprises there.
You see that all of the sound effects and the little sort of gimmicky things that are part of the production are already in there.
What you will probably notice if you A/B those two is that they are very similar in terms of the aesthetic but hopefully the final mix is just a lot more of everything that's going on.
So, it sounds a little more finished but everything that sticks out, sticks out a little bit more.
Let's have a look at what's in the session to get a better idea of what's around here.
And then we'll see how I did what I did.
We start from the top, there's and acoustic drum-kit.
Lots o microphones.
Four toms which have been cut so only the tom hits are played.
We've got two microphones going into a kick bus.
No, that's actually a parallel.
Like I said before, this section was quite complicated when I got it.
There's a lot of processing that was already in the session.
This kick smack is on a send from...
Here we go! Send from the original kick track.
And this is a parallel compressor just o the kick drum.
But this is their stuff, I'm gonna show you all their stuff before we get to my stuff.
We've got a drum-kit.
I don't think there's anything else that's really that interesting.
They've got a couple of interesting microphones on it just to give it a little character.
Then, down here at the bottom are their Auxes that collect the drums. That's one that's the whole kit.
And they've got a parallel drum smack which is parallel compressor for their drums.
So they obviously watched some of my mixing tutorials and they are already down the path that I'm going to take them event further.
Then we see a lot of the stuff from my template here.
It's the same stuff that's always there.
So, there you go.
Here we have some programed drums, we've heard this drum loop on the intro, as well as a lot of extra like kicks and snares, little 808 hits and things like that.
It's the same drum color but it gets it's own VCA because it helps me while I'm mixing to separate the programmed drums from the live drum.
Nothing too crazy here.
Then we get down into percussion.
The tambourine loop, some live percussion.
There's the good shaker, you can see it right there, that's the good shaker.
As opposed to the bad shaker.
Then we see from my template, I've got my percussion Aux and VCA.
Just like I normally would.
Then here is a group of tracks that are not in every session, these are all just sound effects.
These are sweeps that are part of the way the track is built.
And then below them are a lot of the sound effects.
And they are color coded just so I can find them, these colors don't mean anything in particular to me.
But because they're colors I don't normally use I know that I've got some elements that aren't part of every song that I mix.
So there isn't a color that normally goes with it and I can find them quickly.
We've got two sets of sound effects.
Quite a few of them.
Then we're finally out of drum and sound effect land and we get down to the bass.
Very straight ahead, there's a bass DI and a bass amp.
And there's a second set of tracks there's a little bass overdub.
Now we get down into the guitars.
There are quite a few guitars, there are quite a few guitar players in this band.
And that is one of the things about this band.
There are 8 people in the band.
And they are all pretty amazing musicians.
I've seen them live and it's ridiculous what they pull off.
And without a lot of gimmicks and as far as I can tell, without anything pre-recorded.
And hearing them warm-up before the show was astounding.
Six part harmony in a rehearsal where nobody could hear anything, an upright bass, couple of acoustic guitars and a banjo.
And it was ridiculous.
They can all play, they can all sing.
And for me, while I was mixing, that was something that I really wanted to keep in mind.
I wanted to be able to hear the band, not just Zac witch the backup band.
You need to hear all of the individual voices and all the individual musicians.
So, you got a lot of guitars.
You got Clay here then Coy.
Zac then Hop. Some more Zac.
A lot of guitars going on.
But, they're all just different shades of green, so I can find them.
All of these Auxes, within the guitars are from their original sessions.
You can see, there's a lot of detailed work when I got.
Then we get down into string land.
That's all labeled fiddle.
But there are basically two types of string parts on the song.
There's the pizzicato part which you heard in the intro and then there are more traditional bowed strings which are in the bridge. And it's still fiddle.
It's still just Jimmy playing along with the band and some overdubs to go along with it.
It's very much still the band but it acts like Jimmy and the band when he's play pizzicato and string section when he's playing legato.
So, we'll check that out later on.
Then we've got some keyboards.
Rhodes and glock.
The glock is just in the bridge so we'll talk about that when we talk about the bridge.
But the Rhodes is a pretty major part of the groove.
And then we get down to some of the normal stuff.
There's the bounce of some of this vocal effects.
They have created some very specific delay effects so they went ahead and bounced that.
And then are a couple of extra effects tracks.
And then little bits of the vocal are either copied or doubled and those are going into some delay FX and things like that.
But basically, there's one Lead Vocal and then you gotta a bunch of vocal FX.
We get down into the background vocals and again, this is where you really see the members of the band.
We've got a little 3 part harmony set here with Clay, Jimmy and Hop.
I believe all tracked at the same time together.
They do this a lot when they track in a room, they sing so well together.
This is one set.
Then we got another set down here which is used in the intro and then again in the outro.
It's Clay, Jimmy, Hop and Zac.
Zac is actually muted in here because I think they just decided they didn't his voice as the background and lead.
So, they are sacrificing a note, but that's OK.
So you notice there's no Lead Vocal in that spot but they decided to go with the group of guys, no including Zac and then Zac come in as a new voice in the song.
And then at the end there's some extra cascading background vocal parts which we might not even listen to.
There's some FX and a little overlap.
And that, I believe, are all of the tracks.
Then you'll notice here some tracks you might recognize from my template.
And then there are some FX tracks here.
These are all from the session that I've got.
And then below that we have all of the Auxes that are in my template.
So, some of this should look super familiar to any of you watching the other mixing tutorials.
And some of it doesn't look anything like the other songs.
Except that the track order and the color coding is similar.
OK, now that I've given you the really brief tour of the session I wanna go back through so you can get a good idea of what was sent to me.
And what I added.
Because I think from listening to the rough and then to my mix you can hear that element-wise it's identical.
I'm really just mixing what was there.
And there's a concept that I've used inside my head and also when trying to explain how I mix.
This concept of black boxing things.
And what means is, taking what I'm given and using it as if that is the way it was recorded.
So, it doesn't matter if the sound of the kick drum is one track of audio or it's 2 tracks of audio with a parallel compressor on it and a bunch of plug-ins.
To me, it's the kick drum.
And that's all it is.
And as we move through the session, you'll see that I do leave quite a bit of their stuff alone.
Including the arrangement.
I told them very early on that I'm fine having a session that's a little bit messier because I can decide for it, I'm good with Pro Tools, I know what stuff looks like.
I'm not gonna get confused by having a bunch of stuff in the session that's muted.
One of the first things you see in the drum tracks is there are tons of muted regions.
Some of this is just cleaned up tons.
If he doesn't hit the toms, mute it.
I do that quite a bit, it's manual gating basically.
And just keeps cymbal bleed and rumble and things out of the drum kit until he actually hits the toms.
But there are couple of other things like kick drums that have been moved, turned off and turned on.
There is some automation on plug-ins going on.
Some which I've done, some they've done.
Basically, the reason is because, you can see over here, there's even some extra audio at the end of the session.
These arrangements were very fluid while they were working.
Zac is very creative and would walk in, sing a part and then they would end up rearranging the bridge.
Or they tried with the looped intro then tried with the drum-kit going back and forth and finally making a decision.
But that decision, for the most part would hold and every once in a while they'd say: 'Hey, look, if you look at the drum tracks, these tracks have regions that are muted from this part to this part.
Could you turn those back on and turn off this other track?" And this was a very easy way for me to follow the trail of breadcrumbs that they left from the original tracking through to the final arrangement.
And that really allowed us to be fluid while we were mixing.
It wasn't a whole lot that changed but there were some things.
So, it's good to actually leave some of what they did to get the session ready behind because then it was very very quick to make the changes.
Basically, all of the plug-ins on these drums are from them.
I don't normally use a Q8.
I don't normally use an REQ 6.
It's just not one of the EQs I go to.
I know from looking at this that these are their plug-ins.
The H-Delay, the SSL.
So, it's a lot of the standard sort of plug-ins, EQs, compressors but this is stuff that they had done while their were tracking and then building the song from the overdubs.
And, this is a perfect example of me just black-boxing.
I went back to the kick drum, had a listen to it.
Let me take these plug-ins off for a second, I think you can guess what they are.
There's a live kick and there's kick sample.
I thought, well, that sounds really good but I love lo-fi and I love using that on kick drums so I thought, 'let me just hear what it sounds added to their kick'.
Taking their kick like a black box, putting a little bit of lo-fi on it and let's check out what that sounds like.
Just happier with it.
So, my usual drum treatment is to put a lo-fi on kick drum and I would normally do a bunch o EQ but this kick actually sounded really good to me.
So I just left it alone.
And I'm sure that the thought in my head when I didn’t EQ it was, 'Well, I'll always come back to it if I have to.' As it turned out, I didn't have to.
With we look at the snare, it's very much the same type of thing.
And if we look at their plug-ins, they have an SSL.
Now, one thing that's interesting, as I scroll back through the session you notice this last insert, on Insert E, is bypassing and coming back in.
So, let me disable it for a second.
And you see, I've got a little bit of lo-fi, .4, a little bit higher than kick, that's normal for me.
So here's without.
OK. It's still a little lacking.
So what I did was normally I have a send that is set up going to a Devil-loc.
And, I'm not exactly sure why I decided to put it on the track.
And to be honest, this might be something that they've played with and not kept.
And then I decided to go ahead and sort of finish the thought.
So, I'm using the Devil-loc which is a very distorted compressor.
But you see that the mix is on 4.
I'm keeping the original snare drum and then blending this in.
This is technically a parallel process but it's just for the snare.
And I think the reason it's on the track is that, if we look at the bypass, it's green, which means it's automated, and I'm gonna use my usual Ctrl+Cmd+Click to show me that automation playlist.
And you see that it is ON for quite a bit of the session in choruses.
But where the snare plays in that second verse, I turned it back OFF.
So here's the second verse which should be exactly what we just listened to.
And here is in the first chorus, just as an example, with that Devil-Loc on.
Obviously it's louder but it's got a lot more ring to it.
You hear the snares rattling when the kick hits.
It's just a way of me getting a little more excitement out of the snare without having to do anything that is automating in a place where it can keep me from working on the drums later.
I'm not doing mute automation which is hard to see sometimes, which I hate.
So, it's just a very quick way for me to get a little bit of extra body on the snare just in the choruses.
So, that's our snare with and without the Devil-loc.
And I really like the sound of it and it might have worked in that second verse but I think what we'll find out is it was just too dirty.
And we're really trying to dry up that second verse.
Then going back though the drum-kit, there's not a whole lot else that I did, you'll notice there are a ton plug-ins in this first set.
Some EQ1 to just do some high pass.
There may have been some phase.
This all in the session as I got it.
And I didn't bother messing with it.
Come down to the overheads.
I believe that this is theirs.
This is an SSL EQ and then it's followed by one of my signature EQs which is an EQ3 getting rid of harsh mid-range.
So, let's go to the third chorus and have a listen to the overheads without this EQ.
It keeps the hi-hat bleed and also that ride cymbal just sounding a little more teeny.
It actually brings up the top end by sucking out some of the mid-range.
So rather than making it super bright which would really change the character of the kit, I made the decision to suck out some of the mid-range which would allow that top end to come through.
Excellent decision I might say.
Then looking at the rest of the kit, there's very little going on.
Again, another mid-range seek and destroy EQ.
The close room, which I'm not gonna even bother going through.
It's just the exact same thing.
Sucking out a little harshness, let's you use more of the top end.
And I believe I did it again on a microphone Dave called 'Hot Carl'. Don't look that up.
And this is more of a close microphone.
It's sort of a lo-fi microphone.
Which is a really cool sounding microphone, it adds some of that loop quality to the drum-kit.
Which is what glues it to the song.
When you have a drum loop for the intro and then you switch to a drum-kit it's nice to have some remanent of that kind of lo-fi sensibility mixed in with the kit.
But again, I sucked out a bunch of the mid-range.
Which when is just that kick/snare, it doesn't make a massive difference but what we'll find is that in the track, every time there is a big opened hi-hat or one of those cymbal hits, it just goes through and stays super super smooth which is kind of the idea of this drum-kit.
You hear, there aren't many fills, there aren't a lot of cymbals, and this is meant to have live drums kind of playing like a loop but there's enough live feel.
There are very few edits, all of the edits are just to mute things.
The timing is as played.
Great drummer, really kind of grooving with the song and keeping it sounding like a loop in terms of the part but letting the track breath.
It's a great sort of A/B with the loop.
There's one of the room track and then that's it for the actual drum tracks.
So, all of these drum tracks are going to a bus called DRUMS.
And it's all caps so you have of yell it when you say it.
And that then feeds the mix-bus.
Basically, they just popped and SSL compressor on the drum kit.
I'm final with that, it sounds good.
I'm gonna keep it exactly the way they have it.
So again, this is the idea of black-boxing their drum kit.
I start from where they ended and then take my mix on from there.
Just try and have a bit more of what they're doing.
Then the other thing they got is something called Drum Smack.
And this is off of a send.
This comes off of a few different tracks, comes off the overheads, some of the close rooms, and I'm gonna play you the second chorus where those microphones are playing and you'll hear what's doing.
So, it's kind of subtle but it's doing exactly what all of my usual parallel drum compression would do which is, it's lengthening the kick and making it a little more round, and the way I use the word round may not be the way you use the word round.
Round is a relative term that doesn't actually mean anything.
But to me it means that the kick has more of a shape to it.
Instead of the kick just hitting, it hits and then it blooms and then it gets small again right before the snare hit.
That's what their parallel compression is doing and I like it so I'm gonna keep it.
Then all I did to the drums other than keep what they've done and add a couple of lo-fis is added a couple of the sends that I normally use.
Let's go back and listen to the drums and I'm gonna mute the kick snare crush.
Which is my DBX 160 VU.
And the Fatso which is strangely the Fatso plug-in.
And here is that same chorus without them.
So minus a couple of lo-fis, that's the drum-kit that they sent me.
And then, using my usual parallel compression on the kick/snare and then the kit.
And you notice the kit is being sent off of the Drum Aux.
It's one place as opposed to putting individual sends of every drum microphone.
I'm gonna leave them set at zero and follow main pan so there's no difference whatsoever.
And it gets the added bonus of, since the drums are in a stereo aux, if I decide to EQ them, which I didn't, that EQ would be reflected in the send to the Fatso as opposed to having some overall drum processing that didn't make it to the parallel processing.
So, anyway, now that you completely forgot what it sounded like, here it is with the kick/snare Crush and the with the Fatso.
Alright, I think we're winning here.
It keeps the character, which is very very important.
But everything just sounds a little more exciting, a little bigger, and I little more energetic, which is always what I'm going for.
I'm not gonna actually go through every single one of these tracks, what you'll see, if you look at the programming is again, lots of their plug-ins.
They have a sample of a big kick.
Which sounds like this.
But when I got it, it sounded like this.
Which is cool, but again, this is hinting at being a large kick with a lot of low end.
So, if I want a synthesized low end I love this Lowender plug-in, it's based on some of the old DBX sub boxes.
There's also R-Bass or Max Bass which are two different flavors of the same thing.
Which don't actually low end, they synthesize harmonics of what would have been the low end.
It's more of a psychoacoustic trick to make you hear low end when it isn't there.
In a lot of cases that can be great because you're not gonna mess with thing down around 16 Hz but you make it feel like they're there.
In this case I wanted some 16 Hz.
So, I'm gonna use Lowender to create a bunch of sub.
It just make it a little longer, a little bigger, a little lower.
Happy like that.
We'll quickly see a lot of standard stuff on here.
There's a snare drum sample that they're using.
This their EQ and their reverb, just to get and idea of what's on here.
This is actually the same sort of idea that I have with my snare reverb, which I'm not using on this.
It gives you some stereo width and some length to the snare drum but without making it really sound like reverb.
So, they've done it with the sample into a reverb.
I would normally just take the snare drum itself and sent it in to my ambience.
It's actually just a very stereo reverb as it is.
But I chose not to use it because they were already doing that job with this snare sample.
That way, I didn't have to through and do mute automation on the send to mimic the snare drying up and getting wetter the way they had already set up with the sample.
Other than that, there're just a lot of little programmed drum things here.
Hi-hats, stuff like that.
And then we get down into the percussion which is very straight ahead.
And all I really did here is my usual thing, of taking all of their percussion as played...
Take it into an Aux fader so I can add a little bit of Aphex to it.
Again, this is that vintage Aural exciter that I use quite a bit hiding way down at the bottom of the session.
And we're only hearing the Aphex process.
It just brightens up the percussion and makes it work a little bit better with the top of what's going on.
Here, might as well just go ahead and solo up the percussion.
And here's without the Aphex.
Just a little more present, a little more in your face.
But it's got, I always do this with my fingers when I hear that top end.
I don't know what that means but it's like, with the congas you can feel the fingers on the skins.
You sort of feel like you're more in the room with the percussionist, which I like.
The only other thing about the drum programming and the percussion, before I move on, is you'll see all this sends with an F on it.
These are all sends to that Fatso.
What it means is that all of the rhythmic elements are going into that Fatso.
Not just the drum-kit.
And makes them all work together.
If I solo up all of our rhythmic elements, here is without the Fatso.
It's basically just more of everything but as I'm sure you've learned by now with all my shared parallel compression, what it does is it sort of, everything is louder but nothing steps on anything else.
Because whatever happens at that very instant is loud and pushes down everything else on the parallel compressor.
Then it comes right back up and you hear whatever is happening next.
So, it's different then just turning it all up and I don't think you can get the same sort of effect by directly compressing these elements.
First of all, they will have to go through one stereo compressor, and that would be it.
Which is just a little weird in your signal path to take all of the drums, the programming and the percussion and chunk them through and Stereo Aux just so you can compress them.
But that also, that interaction wouldn't be there.
You'd loose some of the uncompressed stuff.
So, if the kick and the tambourine happen at the same time, this way, the parallel compression gets turned down but both of those uncompressed signals are still there.
So you get both transients.
In a straight compressor, whichever transient was louder would in effect turn down the other element.
It's a very different sound.
Let me just play for you again.
I'll go to the last chorus which is even busier.
Now that with we're done with these purely rhythmic elements, we work our way down past the sound effects.
I'm not really talk about them a lot.
Only because they're very well put together. They're just some sweeps.
I'll play a little bit of them soloed.
So, sound effect stuff, you do hear them in the track.
What I really like about it is it just keeps it from being the guys in the room.
It's like, 'Oh, yeah, this is a record'.
Not, 'This is just a recording of us in the room'.
It's a very well produced song without this stuff.
But on first listen you might say...
'Hey, why is that stuff in there?' But I think that these are the details that make people remember Zac's stuff.
He's just very ambitious and he's constantly pushing it.
He want settle from something that's just...
'Oh, yeah, that's us playing music and that's cool.' No, there has to be something about it.
I think though this is one of the more straight ahead songs in the album, he really felt like he had to have some of these like bells and whistles, literally.
I didn't do too much to them at all other than put them into the Rear Bus which is my stereo unlinked compressor that's used parallel on everything in the song except the drums and bass.
And that's exactly how it was used here.
Once start getting all the other instruments in then we'll talk about the Rear Bus specifically but I don't think there's much point now.
Next down in the session is the Bass.
Our nice bright blue, which always is.
Matt is a really good bass player.
I didn't realize quite how good until I saw them live.
He's sort of ridiculous.
It's very straight ahead, there's DI and Amp.
All I did was a little bit of noise reduction which, I mean, this is something that will happen sometimes.
I think, if I go back a playlist this will be un-noised reduced.
And here's the playlist after Z-nosing it.
And you can hear there are a couple of edit clicks in there.
And that's why I always do this on a playlist.
If those clicks were sticking out at some point, I would have gone back and fixed them.
Obviously this bass note gotta moved a little bit.
I don't know why, I didn't do it.
It's nothing that bother me.
But I always do keep the unprocessed audio around.
If you're gonna change audio in a session, make a playlist, it's so easy.
No reason not to do it.
So I did that to both the DI and the Amp.
And what that gives me, with them together, is just a nice clean bass sound.
And by clean, I mean, it doesn't have a lot of noise all over it.
So obviously, that's still a little dirty but that's cool.
No plug-ins, they ran the bass through a Bass Buss.
And all of these plug-ins are there.
So, I'm not even gonna talk about them.
There you go, it has some stuff on it.
And the, strangely, the bass is actually going to the Rear Buss on this mix.
So, we'll listen to that later on, once we have the whole mix together and you'll really hear how that can totally change the Rear Bus works.
It gives you tons and tons of bass in the mix and you can change that obviously by re-balancing but it will also let the bass kind of drive the rest of the instruments.
So, interestingly that was my choice on this mix but it doesn't make sense to listen to it yet.
Before we move into the rest of the band let's just hear the rhythm sections.
I'm just gonna solo up...
Might as well solo up the sound effects since we said we're done with them.
So here's percussion, programming, drums and bass.
Alright, a lot of detail in the sound effects and programming.
The drums have a really cool kind of lo-fi vinyly feel to them which is that Devil-loc compressor as well as some of taking out the mid-range in those overhead microphones.
You get this nice grainier top end but no real presence on the hi-hat and cymbals which I kind of like.
And the bass is driving the chorus, so that's a very fine thing.
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- Avid Lo-Fi
- Sound toys Devil-Loc
- Avid EQ3
- reFuse Lowender
- Avid Revibe
- Waves Aphex Vintage Aural Exciter
- Waves Z-Noise
- ValhallaDSP VintageVerb
- Waves S1 Imager
- UAD Pultec EQP-1A
- Waves CLA-2A
- Waves CLA-76
- UAD 1176LN Anniversary Edition
- UAD Fairchild 670
- UAD Neve 33609/C
- Brainworx digital_v2 EQ
- Massey L2007 Limiter
Young & Wild is a song by The Zac Brown Band, from their album "Jekill & Hyde", released in 2015 under Big Machine Records and Republic.
The album became number 3 in the Billboard 200 charts, was awarded Gold in the same year and by 2016 it had already sold over 672,000 copies.
Andrew Scheps is a music producer, mixing engineer and record label owner based in the United Kingdom. He has received Grammy Awards for Best Rock Album for his work on Red Hot Chili Peppers' Stadium Arcadium, Album Of The Year for Adele's 21, and also Best Reggae Album for Ziggy Marley's Fly Rasta
Andrew started as a musician, but found that what he enjoyed most was working behind the scenes. This led him to study recording at the University of Miami. After graduating, he spent some time working for Synclavier, and then on the road with Stevie Wonder (as a keyboard tech) and Michael Jackson (mixing live sound). But he found his home in the studio, and he honed his craft working for producers such as Rob Cavallo, Don Was and Rick Rubin.
Scheps is known for his balanced and modern sounding mixes. He is also the owner and president of Tonequake Records
Lana Del Rey
Red Hot Chili Peppers
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