With a mix in place that Fab is feeling good about, it's time to bring Adrian back to hear it. As Fab and Adrian revisit the mix, they address revisions and continue to add on to "Some Summer Day."
See how Fab Dupont:
Reviews the mix with Adrian
Cleans up the arrangement edits
Adds several automation moves to create memorable moments and scene changes throughout the mix
Explains how to create depth
Creates an exciting outro to the song by editing extra parts and creating a compelling guitar solo
Revisits the mix the next day to tweak the overall tone
Controls the ess-ing on the vocals
Talks about A/Bing between bright and dark mixes
Watch Fab Dupont, mix "Some Summer Day" from Six Of One. Only on pureMix.net
00:00:13 All the stops, all the changes,
that beginning keyboard.
00:00:16 - You changed that.
- I did.
00:00:18 And now it sounds good.
00:00:20 OK, great.
00:00:21 I just grabbed something and,
and, you know, "I'll use this."
It was good but I felt
it was better to have a dirtier texture.
00:00:29 I'm happy, it doesn't,
because it's a bit of a
departure there was a lot
of parts that were cut out.
00:00:36 So I'm happy that
you're zen about that.
00:00:39 I have some changes.
00:00:41 I have taken notes.
Do you have some changes?
I just heard one thing that,
the second verse,
when it comes in to the second verse,
I heard something,
I'm not sure what.
00:00:50 Some glitch, some automation?
Yes, there was a little
glitch that occurred to me.
00:00:54 Let's find out.
00:01:00 Something is not properly edited.
Some French dude
went and did not do a very good job here.
Check this out.
00:01:08 So there's this.
00:01:09 Oh, no. Shuffle is against the rules.
00:01:15 This is probably what
happened actually,
somebody was working in
shuffle and then everything slipped.
00:01:20 And that's why we have this...
00:01:21 Somebody who has to have awards.
00:01:30 We're gonna find out.
00:01:33 So, let's mute the vocals.
00:01:35 And see what the problem is.
00:01:44 This is cut off.
00:01:46 It's cut off because I did all that
you know, kind of deep cuts.
00:01:52 So, some of the full cuts actually
cut off the cymbals.
00:02:01 So the stuff must be in the vocals.
00:02:04 Let's find out.
00:02:09 Yeah, for example, I could have cut up
the first word you say.
00:02:12 - Yeah.
- That's what I was hearing.
00:02:15 I'm a professional, don't try this at home.
00:02:17 Alright, let's see.
00:02:20 I wanna go and look at all
those scenes because I did do
a non negligible amount of cuts.
00:02:42 Cool.
00:02:43 The only other thing I heard,
that wasn't
something you did,
it's my guitar playing.
00:02:48 The squeaky strings, in the high-end
you hear the squeaks?
Do you like the squeak?
Some people like the squeaks.
00:02:56 Do I like the squeaks?
No, I don't like the squeaks.
00:02:59 It's my bass
calluses or something.
00:03:01 That must be it,
I thought you played well.
00:03:03 Yeah, there's those squeaks,
there's nothing you can do
without ruining the sound.
00:03:06 I like the sound.
00:03:08 The overall sound is much better.
00:03:09 If you wanna be able to do that
and not have the squeaks
use flat wounds.
00:03:15 Oh, OK.
00:03:16 I'm not really a guitar player.
00:03:19 Well, that doesn't show.
00:03:20 I was playing while on TV.
00:03:22 That's great.
00:03:23 Alright, so that's fixed.
00:03:25 So you heard this,
let's make sure I fixed it.
00:03:37 OK, great, I have my problems.
00:03:40 So, the top is cool and super wide.
00:03:58 It goes so narrow.
00:04:00 And narrow really bothers me.
00:04:02 It's just a pet peeve I have.
00:04:03 So, I'm on to try something.
00:04:05 I wanna try and automate the pan
of just this one time.
00:04:10 And put it to the right.
00:04:12 See what that does.
00:04:27 I think it works, maybe I went
a little obnoxious.
00:04:31 I'll do a little less.
That's the beat
and then you'll see that
the guitar is on the right now.
00:04:46 OK, good.
00:04:47 So, that makes me happier.
00:04:49 The other thing that I have
a major problem with is...
00:04:54 I think the guitar
reads as too loud in places,
but the thing is don't think
it's the guitar's fault.
00:05:01 I think it's my fault.
00:05:08 I wanna try and
intensify the drums.
And to do so,
I want to push this up.
00:05:18 So, I'll show you.
00:05:20 I'm gonna put the 'DRUM CRUSH',
this dude...
00:05:24 Not this one.
00:05:28 This thing.
00:05:32 I wanna put it in trim
and
I'm gonna raise it a few dB.
And I'm also gonna lower
the tabla in it,
or the loop in it
and see how that goes.
00:05:50 So, we were here.
00:05:56 Now we're here.
00:06:09 I think that's gonna be
better, it's gonna feel thicker,
specially when the beat comes on
here.
00:06:29 It's way way stronger, and for the
first Riff, when it comes back in.
00:06:47 Still a little too much so I'm gonna
switch to trim mode
because I know that I was
pretty consistent there after,
and take it down 1 dB.
00:06:55 I just got in love with
the part, so let's see.
00:07:08 So, the vocals, basically what I did
is I
put the energy into them
and I'm using the 1176 to make
them distort a little bit.
00:07:17 I de-essed quite a
bit, I made them loud
but the most interesting thing is
I separated one of the vocals,
made them the lead
and them all the other ones and the
doubles are considered more like a choir
so I can do different
things to them
and I can send them to different amounts
of reverb so it gives a distance.
00:07:32 Well, there's so much more definition.
00:07:34 Before I couldn't get any depth.
00:07:37 I couldn't separate anything.
00:07:40 All was one big mush.
00:07:42 The thing is that
you were fighting that loop.
00:07:45 It's really difficult
to be able to organize,
because to be able
to to that depth
that you were looking for,
you need to have...
00:07:52 Depth is contrast.
00:07:53 So if you want something in the front
you have to have something in the back.
00:07:57 And for that to happen
usually when you have drums
and you work on the bass drum
to make it come forward
and the snare further
behind and the vocal all here
you can't do that with the loop.
00:08:08 And plus your loop has
a guitar and a tabla
and the drum and it's mono.
00:08:12 So that's the worst possible scenario.
00:08:15 So, that's why I went and I added drums
and I did all this
like shenanigans here
to try and get some relief.
00:08:23 The sound that you gave
that is just amazing.
00:08:26 Well, I'm glad you dig it.
00:08:29 I wanna make sure that what
I just did did not ruin
our fantastic Chorus, the Shout section,
because I really liked it and I wanted
to make sure it is still as good.
00:09:05 That's my other note.
00:09:07 Here, I did not do justice to this line.
00:09:12 What I have to do is make room
for people to be able to hear that,
thus I must lower this quickly
without nobody noticing.
00:09:22 It's a good thing that nobody is watching
so we can do whatever we want.
00:09:26 - Thank god.
- Yes, that would be really tragic.
00:09:30 And then I wanna raise it.
00:09:32 I already did.
Well, I will that again.
00:09:34 There you go.
And we'll see what that does.
00:09:48 It's punching now, it's like...
00:09:51 Good, I gotta do this...
00:09:54 I gotta do the same thing here.
00:10:02 Because that's the key line
so I wanna lower this dude.
00:10:12 And
drums a smidgeon.
00:10:17 That's cool.
And raise everybody here.
00:10:22 'Double submix', 2 dB.
And then...
00:10:27 This dude. It sounds like this.
00:10:47 This is cool.
00:10:50 I like that effect.
00:10:52 I wanna actually go further
and make a little throw.
00:10:56 I think it deserves a little more love.
I'm gonna call it 'THROW'.
00:10:59 And so I created and auto Aux.
00:11:01 And I'm gonna make it yellow
so we know that is an effect.
00:11:06 I could use the trippy delay
but I wanna be able
to automate this just the way I want.
00:11:11 Go back to Echoboy.
00:11:13 Make it all wet. Echoboy is dope.
00:11:16 It's from Soundtoys, it's so wonderful,
it's awesome.
00:11:21 And Ken put that
low-cut in here for me.
00:11:25 Put 'Memory man'.
00:11:28 This automation was off so I was kidding
myself the whole time.
00:11:37 This is a classic case of
think you're doing something
but do nothing.
00:11:43 My levels are at -4.9.
00:11:45 I'm gonna put this back on read.
00:11:48 The automation was not reading
my movements so basically
I thought I was automating but the
whole time the thing stood stationary.
00:11:54 Professional.
00:11:56 It happens a lot.
00:11:57 It's just like you're tweaking an EQ
for 2 hours and realize the EQ is off
but you were really happy with
your work the whole time.
00:12:02 It never happened to you, right?
No, no.
00:12:19 That is awesome.
00:12:22 So, I'm gonna try and
create a tail out of that.
00:12:39 A little louder.
00:12:47 Let me it make less clean.
00:12:53 That... But less loud.
00:13:02 What it would sound
like with an eight-note?
That's more the vibe.
00:13:14 Or...
00:13:26 - You like the style?
- I love it.
00:13:27 OK, great.
Basically, because you have a loop
the idea was make as much
newness out of it as possible.
00:13:34 And as surprising as possible.
00:13:36 I love to mix stuff like that.
00:13:38 So, that's cool.
00:13:40 I have one more idea
I'd like to try.
00:13:44 See what happens.
00:14:01 Trying to find something interesting
to put in that spot
as opposed to just the hang.
00:14:18 The first one was kind of freaky...
00:14:20 It was a little in the
freaky side of things.
00:14:24 This is still a pop song.
00:14:26 Well...
00:14:26 Yes.
00:14:28 "This is not a Pop song,
this is not a Pop song."
Yeah, it isn't.
00:14:34 Let me see.
00:14:35 What can I find?
Is that the problem?
Maybe this will go since
there's no harmony to it.
00:15:05 We would have to record something new.
00:15:08 So that's not gonna work. Bummer.
00:15:16 If you feel like you need something
I had that whole other folder
that I forgot to tell you about,
with all those extra overdubs.
00:15:26 I have that folder.
Let's go look.
00:15:29 There's a whole bunch of
guitar overdubs, drum overdubs.
00:15:33 Let's find out.
00:15:35 Overdubs, that's it.
00:15:36 That's it, coming right up to a Pro Tools
session near you.
00:15:40 You know what, instead of reading
them from the browser, which sucks,
I'm gonna
just drag them and then
we're gonna sweep them out.
00:15:49 Hi everyone.
Oh my goodness, that's a lot of tracks.
00:15:53 So, one by one, let's find something.
00:15:55 I can't remember which one it was,
that I liked.
00:15:57 We'll figure it out.
00:16:05 I could use this as a lift.
00:16:07 What else do you got?
This?
That's interesting.
00:16:21 It might be what I was hearing,
leave that on with the track.
00:16:24 Let's try that.
00:16:27 It's almost in the right spot,
one second.
00:16:44 They're out of phase, they phase out.
It's kind of cool.
00:17:06 It's playing during the verse too.
00:17:08 We'll find it,
let's see what this does.
00:17:36 We've got to take care of that.
00:17:38 But you said you heard him play
a high note held.
00:17:50 I heard that little rhythm thing
but I think it was during the verse
it was coming in like...
00:17:55 So, maybe that's what it is.
00:17:58 I should probably do...
00:17:59 The structure is so different now,
because I
cut your song ruthlessly.
But let's see.
00:18:08 Is this here,
that looks interesting rhythmically?
Here's the verse.
00:18:24 That's the Chorus.
00:18:30 The verse would be here, right?
OK, what's this?
Oh, that's the clean version.
00:19:02 Ohh, lethal!
Wait one tiny second.
00:19:11 No one is watching, we can do this.
00:19:16 Oh yeah.
00:19:35 It's like a different...
00:19:38 It's in a different key.
00:19:39 Actually,
it's different everything,
but the thing is,
it's because it's not in time,
because everything is so ahead.
00:19:47 Let me help that first.
00:20:16 There are too many clanks.
00:20:20 It's too bad because that could
have been cool,
I could put a 55 on this
and
just try.
00:20:32 This thing is insane.
00:20:38 Yeah, I like it.
00:20:41 That's just some many other issues.
Maybe we could shorten this.
00:20:48 Is there a good pick-up?
Major third, that's not necessarily
a good idea.
00:21:21 Let's just imagine that he didn’t play it.
00:21:31 So, let's see.
00:21:33 In his defense,
I did tell him not to think...
00:21:35 No, this is great.
00:21:37 I mean, he has good ideas
and good chops too.
00:21:40 But, it's like...
Everything else is sounding so close.
00:21:43 This vibe is good, it's good lift
but it doesn't have the level, I think.
00:21:48 That's quite as refined as
it should be for this level.
00:23:00 And then I can get rid of that one note
because I need only half of the time.
00:23:05 This is where 'relative grid'
is your buddy.
00:23:23 I get it. Do I get expressed permission
to cut your song?
I did it so much of it without your
permission. Let's do an 'Alt 2',
just in case we have morning
sickness or whatever.
00:23:37 I'll get rid of this,
'Time', 'Cut', thanks.
00:23:42 And then...
00:23:44 I have to face all those sins, I know.
00:23:46 Let's find a good moment.
00:23:56 So what I wanna do is
gain one bar this way.
00:24:01 And try to avoid that major third.
00:24:11 And then we can take
this and replace this.
00:24:23 That's fine, that's just kind of like
an "I don't care" kind of ending.
00:24:46 It's coming,
so I may do something despicable.
00:24:54 So let's move this too.
00:24:57 So, this is the kind of forensics
that you'd think don't happen.
00:25:02 They do, right?
All the time.
00:25:08 Transpose.
00:25:16 Oh, come on.
00:25:26 OK. Plus one.
00:25:41 That works, nobody will ever know.
00:25:43 This is our secret.
00:25:46 And I wanna lower the synth
because there's some rubbiness there
it's nice as a sauce,
it just can't be too loud.
00:25:53 I pushed it quite loud because
there was the synth solo before.
00:26:24 Let's make this brown, it's a guitar.
00:26:26 Let's get rid of this guys,
keep them in the session, just in case.
00:26:30 We never know.
00:26:31 I like to clean up my sessions,
when I'm done, from the stuff that
become irrelevant so that when I open it,
you know, in five years, I'm not like:
'Why is there a bass thing muted?
Did I forget something?"
I know that feeling.
00:26:43 You know that feeling?
Yeah, it's a bad feeling.
00:26:45 And also, I tend to
try and get rid of the
plug-ins I don't use.
00:26:50 You know, when you're at the process
and you're like
"Oh, I don't need this anymore"
then you remove it. Again, in six
months, when you open it, you're like:
"Was that for real? Or was not?"
Or if your assistant recalls it
then you're screwed because
they can't know.
00:27:03 This stays because it's automated.
Pro Tools will not let me remove it,
because it's automated.
00:27:09 But I know this because
I'm paying attention.
00:27:10 Alright. So, that's it.
00:27:13 The ending is taken care of.
00:27:15 Anything else?
No, I think it's perfect.
00:27:18 OK, perfect is good enough for me.
00:27:21 I'm glad you loved it.
00:27:23 The problem though is that your time,
because of that,
I suspect, a shuffle edit,
the time is getting
like, you're loosing
1/30 second of a note every section.
00:27:35 It's going faster and faster.
00:27:37 Which creates a certain urgency,
I kind of dig it.
00:27:39 Of course it makes editing on the grid
a phenomenal amount of fun.
00:27:42 But...
00:27:44 But it does do the trick and this is raw
and so for a first
mix I'm happy with this.
00:27:52 We're gonna listen to it
and then we're gonna
have some wine.
00:28:32 It's wonderful. Thank you.
00:28:35 I'm glad you dig it.
00:28:37 Great, I have a thousand more ideas.
00:28:39 But I think that...
00:28:44 One more thing.
00:28:46 Just one more thing,
my name is Steve Jobs.
00:28:48 One more thing.
00:28:49 I think we can do better.
Check it out.
00:28:51 The sound, I think it's delightfully
dirty just the way it should be.
00:28:55 But what we just did,
there was not enough reflection in it.
00:28:58 It's just an idea,
it didn't have time to
just mature, but check this out.
00:29:03 I think that
we're using that riff too much.
00:29:06 So, I wanna save.
00:29:08 What if we did something like this?
To be clear,
we come out of the turnaround...
00:29:32 Cut the second half of this, or...
00:29:40 I'd like to try that,
to see if it makes more sense.
00:29:44 We have heard this riff a
significant amount of time.
00:29:46 Hold on a second, I'm gonna do this.
00:29:48 I wanna save it as.
00:29:52 One more clear cut in the song.
00:29:55 And...
00:29:57 This.
00:30:00 I'll had them quick pick up.
00:30:02 And make sure...
00:30:10 And then...
00:30:12 This one.
00:30:17 I don't need the downbeat.
00:30:25 Then cymbals...
00:30:29 And then
the bass drum way ahead of time.
00:30:34 This and then...
00:30:37 We're gonna cut this.
00:30:39 This we're gonna keep.
00:30:41 This riff right here, and then...
00:30:45 This. And so we give it something like so.
00:31:07 I think that's better.
The beauty with this system
is that I don't have to
reprint the whole song.
00:31:13 I can just go down here,
do an alternate.
You always do an alternate.
00:31:16 No matter what you do,
in case, just in case.
00:31:19 So, I wanna
duplicate it. Call it 'ALT 3'
and I wanna come here and I'm just
gonna start recording in the middle.
00:31:36 So that's it.
You have yourself a record.
00:31:38 So, et voilà again.
00:31:40 - Et Voilà!
- Magnifique!
Actually, not quite.
00:31:45 Welcome back.
00:31:47 This is the morning after,
Adrian is gone,
back in Ohio.
00:31:51 And, as I always do,
I listen to the mix in the morning
while drinking my
first of 18 espressos.
00:31:58 What I heard is what I suspected
last night, at the end of the mix,
is that it feels a little crispy for me.
00:32:04 And
the reason for that is,
I spend most my energy trying
to make the music happen
and less energy making
sure that the balance
of tones is right.
00:32:16 And, when you make music,
at least for me,
the
sound quality part of my brain
just shuts down
and all I think about
is the pocket, the structure,
and stuff like that.
00:32:29 So, in a situation where,
in a session like this,
where
I like the song and I think that
the core of it is great
but it needs to be augmented,
like we did yesterday,
then I really,
I don't pay attention to
the tones as much, the general tone.
00:32:49 So when I listened to it this morning,
so for you it's in line, or maybe you wanna
wait till tomorrow, I don't know,
it feels crispy.
00:32:56 Like, it feels bright,
the vocals feel forward.
00:33:07 And I don't think that's necessary,
I think that it can be fixed very quickly.
00:33:11 This is something that could be sent
to mastering and it would do well there.
00:33:16 But, we're not that kind of girl
so we're gonna fix it.
00:33:19 So I'm gonna look a little bit
to what I have in line.
00:33:22 And I'm gonna get rid of all
high-end addition here.
00:33:26 I wanna darken
the high frequency
reproduction from
the 800 on the sum mix.
00:33:34 And I will be able to A/B
through the whole process
of getting this back in line.
00:33:39 So, this is where we started.
00:33:46 This is where we are now.
00:33:56 It's progress.
So, we have a problem with this loop.
00:34:04 That's just one block of sound,
that's what we've been dealing
with the whole time.
00:34:08 This is good,
I wanna just darken the hell out of it.
00:34:11 And rely on the other
drums to pump through.
00:34:16 Just so you know what this sounds like.
This is all the way up.
00:34:27 I dig that. And I think
that the bass drum could use...
00:34:30 This bass drum here.
00:34:32 Which I'm gonna activate into a group.
00:34:36 New. And the Globals is fine.
00:34:39 I wanna put it in trim.
00:34:42 And jack it up like a half dB or something.
00:34:54 We were here.
00:35:07 So the bass is in the way
but I'm hearing that
the background vocals,
the way I treated
them is awesome.
00:35:12 It's just a little too much of that...
00:35:18 We're gonna back up
the warmth on the
compressors on both the lead
doubles and the backgrounds
and I'm gonna look
at what I can do for the lead vocal.
00:35:32 We could de-ess a little more.
00:35:35 See that the energy
is not properly
analyzed here.
00:35:44 That's cool.
00:35:45 I like the shine of it.
00:35:49 I'm just removing a little bit of the
boom
at the very bottom.
00:36:00 It's a bit much.
00:36:10 Actually,
let's do the same here too.
00:36:33 I'm loosing a little bit
of the apparent level,
it's becoming difficult
to judge if I'm doing a good job
or if I'm kidding myself.
00:36:40 So, I'm gonna open my limiter,
and I'm actually gonna jack it up
one dB into the limiter.
00:36:45 The reason why I'm doing that,
instead of just raising this one dB
is I like the sound of this limiter,
even when it's not limiting
it has a little bit of a
thing going.
00:36:54 And so, I want to try
and coax a little
more of that stuff.
00:36:57 If I get a little bit of
transient control here
nobody will sue, I hope.
00:37:10 So, we came from here.
00:37:25 I dig, I think we can
darken the vocals from their
respective A800s also.
00:37:31 Specially the Chorus ones.
00:37:34 I'll make sure
it's all good. Yeah.
00:38:15 I really like this track.
00:38:18 The Chorus sounded like this before.
00:38:25 Now.
00:38:41 We can probably help
the snare a little bit.
00:38:43 I darkened the loop.
00:38:44 Let's see what this does.
00:38:46 Probably in a section where he plays
it will be easier to listen to,
like the verse.
00:38:56 Just a little bit of a shine.
00:39:04 This is without.
00:39:26 That's nice.
The other thing I just noticed
in the context of this is that now,
that it's louder,
and the loop is darker,
my bass drum is starting
to sound electronic again.
00:39:42 I dig what it does and it's
punchy and stuff but...
00:39:45 So, I'm gonna just
make it darker.
00:40:30 I dig.
00:40:31 The last thing that is
bothering me is the bass.
00:40:39 On its own it's cool, it's got vibe,
but there's something not gelling,
I can't tell you what it is quite.
00:40:49 Basically, it's in the way
of the loop and I can't do
anything about the loop.
00:40:53 And I tried several things
but I'm gonna be a little more...
00:40:56 How would you say? Obnoxious.
00:40:58 I'm worried about this Fairchild.
00:41:01 I put the Fairchild to make it sound
thicker and more together
but I don't think it does that,
check it out.
00:41:24 It's actually emphasizing
the frequencies that are in the way of
the loop. Check it out, with the loop.
00:41:29 I'll start with the Fairchild on the bass
and then without.
00:41:45 Actually better without
but that note sticking out...
00:41:50 is a pain in the butt and I really don't
feel like automating the whole thing.
00:42:16 A little more.
00:42:35 Let's see in the context.
00:42:45 To be fair
let's put the Fairchild back on
to see the difference.
00:42:57 A little bit head coldy.
00:43:07 So we have to make absolute sure
that the cool riff on the
shout section is not lost.
00:43:20 Yesterday's mix was like this.
00:43:27 It feels bright now. Today.
00:43:45 It works. Side note.
00:43:48 When you're A/Bing
between two mixes
and the bright one
feels bright
as opposed to the darker one feeling dull,
you're in good shape.
00:43:58 Usually, just like loudness,
the brain likes bright.
Which is why
a lot of modern microphones
are voiced
ultra bright so that
you go to the store
and you go...
"Wow, dude!"
But in practicality, it's not cool.
00:44:14 It's not useful
in the record making environment
because you know if you're
gonna track a vocal
and it's bright to start
with you're in hell.
00:44:22 So, if you're A/Bing two things
and the dark one feels better,
you're in very good shape.
00:44:27 Most of the time the
bright ones feel better
and you start having second thoughts
and freaking out and stuff.
So, in this case, for me,
I think the darker one feels better
and the thicker one feels better.
00:44:38 The bass is better placed,
the bass drum is more
accurate in the style,
the little shine
on the snare helps.
00:44:44 Lowering all that shine
and saturation that I thought
felt good yesterday, felt like
60s kind of like tape distortion vibe,
it didn't feel good this morning.
00:44:54 I kind of dig this,
let's listen to the whole thing.
00:44:57 I noticed I did not save as.
00:44:58 Bad bad puppy.
00:44:59 So I'm gonna save as
and a call it "1.1".
00:45:03 So I know which is which.
00:45:04 And let's listen from the top.
00:45:39 Now that they are darker
the vocals could get
a smidgeon love.
00:45:44 I don't know if automated the
trim, I don't remember,
so I'm gonna coalesce the trim
and jack my trim up say, 1.5 here
and 0.5 on the doubles.
00:45:57 And 0.5 on
the backgrounds,
hoping that it's a linear
issue, not just the top of this verse.
We'll see.
00:46:12 It feels a little loud on the lead,
let's compare. Verse 2.
00:46:20 Verse 1.
00:46:28 It's good in the second verse.
00:46:30 And look at the vocal.
00:46:32 And...
00:46:34 What's going on?
Let's just bring the trim
automation back.
In Pro Tools,
you can trim manually, like this,
so you have a trim fader,
it's a like a VCA trim
and if it's not you can push it back on.
You could also automate the trim.
00:46:47 So now, if I do this, I can't move
the trim fader anymore.
00:46:51 So there’s pros and
cons to both techniques.
00:46:53 Some people put plug-ins
on the last slot and
automate the output level of the plug-in
to be able to have the live trim.
00:46:59 That is way too many
layers of thinking to me.
00:47:02 So, I am gonna just lower
my trim back to zero,
automate it, on everyone,
and if that works, awesome.
00:47:09 If it doesn’t, we will dig deeper.
00:47:12 Here we go.
00:47:40 It's amazing the
difference a half dB makes.
00:47:43 Let's keep going.
00:47:48 And then there's a
little 'hummm' on this.
00:47:49 That really pissed me
off this morning
I heard it and was like:
"Wow, what was I thinking?"
It's the other one.
00:47:58 Here.
00:48:03 I'm gonna see the end.
00:48:08 This is really idiosyncratic
to this one thing here.
00:48:11 I'm gonna use Pro Tools as
a per clip EQ,
just as a quick fix to this issue
and I'm expecting it to be in the
200 and something range,
this EQ doesn't really
speak to you much.
And also,
the graphic rendition is weird as hell.
But it's very practical.
00:48:34 Without.
00:48:40 Let's add a filter.
00:48:45 Listen to it in context.
00:48:56 This was like this yesterday.
00:49:17 This tabla is pissing me off.
00:49:19 Here's what I'm gonna do.
00:49:21 Not in the riffs, the riffs are cool,
but in the verse...
00:49:29 So I think I'm just gonna take it out
of the Drum Crush,
just for those sections.
00:49:36 The automation is off on this track,
I'll make sure everything is cool,
I'm gonna turn the automation back on.
00:49:42 And I am going to, just
take the Drum Crush send from the loop
and kill it in the verse
part 1.
00:49:52 And see how that feels.
00:50:04 I am going to listen
quietly on small speakers
to make sure it's not peaking through.
00:50:17 We were here, a minute ago.
00:50:29 It's subtle but it's nice.
00:50:30 I'm also gonna lower the
loop in itself a little bit
by just lowering the
pre-compressor amount,
a completely guesstimate amount, down to 4,
to see if I can hit that
compressor even less,
just for the verses.
00:50:46 And that's gonna create a
nice balance for the Choruses.
00:50:49 Or for the Riffs.
00:50:50 So, say, end of Turnaround 1
into Verse 2.
00:51:21 I can't really take it down any
further because if I do that
I take the original snare,
the original kick and the guitar down.
00:51:26 So, it's really
kind of like a puzzle,
a game of more or less.
00:51:33 Alright, let's move on.
00:51:39 I forgot my little fade here.
00:51:41 So it goes...
00:51:42 I heard that this morning too.
00:52:06 I'm lowering it 0.4 dB.
The reason why I'm using
the trim even thought there's
no automation on this track
is,
by using the trim,
I know that I've lowered it
0.4 dB, I don't have to keep
the number in my mind like:
"Oh, I'm gonna lower this 0.4."
If I wanna bring it up to where it was
I don't have to memorize a number,
I can just have remove the trim.
00:52:24 It's practical.
00:52:25 Maybe it would be fun to
do a little crescendo here.
00:52:28 Ah, rabbit hole, rabbit hole.
00:52:43 Just a smidgeon less.
00:53:00 And I'm noticing I'm missing two snares.
00:53:03 Here.
00:53:15 I think that's it.
I like this a lot better.
00:53:18 Let's compare the second verse
to the old second verse.
00:53:20 Second verse now.
00:53:57 I think it's a better look.
00:53:58 I'm gonna print it.
00:54:01 And then I'm gonna send it to Adrian.
00:54:03 And we'll see what he says.
00:54:04 So,
et voilà!
One more thing.
No, just kidding, this is the real end.
Once logged in, you will be able to read all the transcripts jump around in the video.
Fab Dupont is a 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.
Lots of producing required on this one. It was a fun session to watch. Thanks, guys!
jaredvp
2020 Sep 04
I always enjoy these videos where you interact directly with the clients in person because that is such a huge part of getting recommendations, return clients, being successful, etc. You understand the clients, show humor, humility, and positivity. You're great at showing how to suggest changes to the arrangement in a way that won't offend the client. Not just this video but all of the similar videos. And your tutorials are always entertaining and funny. I just wanted to say everything in one comment haha. Thank you Fab.
Melodic Dreamer
2020 Sep 02
Sounds a lot better.
One thing though... I noticed when the guitar solo ended and the main riff came back in there was something a little off. I think the beginning of the guitar riff is cutoff which in return makes it sound a little weird.
Overall though what you did with a song that has a single loop with multiple moving parts is astounding. Kudos bro.
Pearlpassionstudio
2020 Aug 29
Excellent work Fab.
2nibroo
2020 Aug 26
Chapeau Mec me suis régalé de cette série .. juste au cas où tu me prêterais tes oreilles... :)
à bientôt j'espère
love PureMixe et tous ses précieux Mentors
2Ni (in French only)
see you
