00:00:22 So, in all of our excitement
we forgot to record the Outro.
00:00:27 Rich will have to hit the Outro
one more time.
00:00:30 I think, let's listen to make sure
that we don't have redo anything else.
00:00:33 And then, if we do, then I can,
I know when I'm
just going out there,
exactly what I need to do.
00:00:39 Let's listen first.
00:00:40 I like that plan.
OK, cool.
00:00:43 The delay compensation thing,
we need to...
00:00:46 Let's first figure out where this
is supposed to fall.
00:00:50 There's a little bit of an issue
with the delay compensation.
00:00:53 The Auto-Tune path for the vocal
is falling a little bit behind
so we need to figure out
where to slip it forward.
00:01:00 I think in reality,
because Rich is listening to the
Auto-Tune version when he was singing,
it's comfortable for him but
he was singing a little bit ahead.
00:01:09 So, to slip it
all the way forward to where
the clean is, is not the answer.
00:01:13 With the Lead Vocal we're just gonna find
what our shift needs to be
and then we can listen to the whole thing.
00:01:19 And then we'll also move the
background vocals the same amount.
00:01:22 My thinking is that
we'll probably start with like half
or three quarters of a shift
towards where the clean is.
00:01:30 Because in reality,
probably he is singing
a little bit ahead because of
the way he's hearing it.
00:01:34 OK.
00:01:34 What was the amount of samples
that you have measured it?
The amount of samples that
we shifted by was 4338 samples.
00:01:43 OK.
00:01:44 Well, let's just start with half
of that and see how it feels.
00:01:47 OK.
So, half of that.
00:01:48 2154.
00:01:52 I'll select it all.
00:01:55 And before we do that,
can we just make
a duplicate of the comp
before we move anything?
We always wanna path backwards.
00:02:06 We'll call this 'sld' for slide,
take it out of our group,
so we're just our using our Auto-Tune bus
and then shift it forward,
using the minus key, 2154 samples.
00:02:20 Let's give us a listen.
00:03:05 I feel like it still needs to nudge
forward just a little bit.
00:03:07 - You moved it...
- 2154.
00:03:09 2154.
00:03:11 Now can you put it in milliseconds
and give me another
40 milliseconds?
Sure.
00:03:19 And then just start in
the middle of the Verse,
I wanna hear the second
half of the Verse through...
00:03:24 - the beginning of the Chorus.
- Sure.
00:03:30 - ...seems too ahead.
- Yeah.
00:03:32 So, can you do 20 milliseconds,
so, just undo that
and do 20.
00:03:41 OK.
00:03:43 Middle of the Verse.
00:04:03 - I feel better about that.
- Yeah.
00:04:06 So now to measure,
we can just take
this distance
and tab into it.
00:04:14 And let's go back in samples, yeah.
00:04:16 Back to samples so it's
3114, so that's our magic number.
00:04:23 Alright. So, 3114. That's what we moved.
OK, fine.
00:04:29 OK, so now that we've decided what
the amount of samples is
that we need to slip
our vocal takes forward
on the Lead vocal top playlist
we're just gonna go
in all the take playlists,
we're gonna shift everything
in the Lead vocal takes
and the background vocal takes
forward that same amount.
00:04:50 So just a little quick aside,
about this forward back thing
in terms of
the way moving something
and the language we're using
in relationship to the grid.
00:05:00 I think some people think about,
and it's totally fine,
I just wanna clarify
the way I think about it.
00:05:06 Some people think about like, if you're
gonna move something forward in time
that it might be going to the right
because it's almost like travel,
like you're going forward,
but if you talk about the way
someone is playing
rhythmically to the metronome
or the pocket,
you would say: 'You're playing ahead.'
Or 'You're playing behind.'
And if someone is playing ahead
that means that they're playing in front of
the metronome.
00:05:30 And if they're playing behind,
they're late.
00:05:33 So, I also think about,
if we're moving something forward,
we're moving it ahead and if we're
moving it back, it's behind the grid.
00:05:43 Ahead to me, or forward,
is to the left and back or behind
is to the right.
00:05:49 I think we're ready to listen.
00:05:51 Now, right off the bat you said...
00:05:52 Well, for example,
the first line of the song
I know I'm gonna wanna change that.
00:05:56 What did we pull this from?
This is from 27.
00:06:00 - Was just the first line?
- There are a couple lines.
00:06:02 It just felt like I wasn't giving
as much energy on that one.
00:06:05 Just the way I was singing.
00:06:06 Let's listen to 26 for the first Verse.
00:06:08 OK.
00:06:09 26.
00:06:49 That first half of that
was much much better.
00:06:52 I would agree with that.
00:06:53 Can we listen to 24?
Some nice stuff in there.
00:07:33 I liked the last line
of the first stanza,
the 'if you're feeling alone', I like that line.
00:07:38 I'm having a hard time
pinpointing
what I like and what I don't like.
00:07:43 That's fine.
00:07:44 There's just so many lines.
00:07:45 How would be easier for you
to kind of get...?
I just need to hear all of them.
00:07:49 OK, cool.
00:07:50 Where do we start liking what
we were doing?
Let's see...
00:07:54 21 was
a better change
and then 23 was marked
as excellent as well.
00:07:59 Let's start with 21 and 22.
00:08:01 Cool, that sounds good to me.
00:08:02 21.
00:08:03 21.
00:08:24 Yeah, that line was really good.
00:08:26 'stuck in reverse'
'You know I got more do to'.
00:08:28 - That was 21?
- 21.
00:08:30 OK. Let's just listen to the
first 4 lines, the first stanza.
00:08:33 OK.
00:08:43 One thing I don't like there
is the word 'too'.
00:08:46 I like everything else.
00:08:47 - I think 26 is so better.
- Yeah.
00:08:50 OK.
00:08:51 I liked the last...
00:08:53 - Do you wanna listen to the other options?
- Yeah.
00:08:56 What happened to
the end of that one?
- This line here, the second line.
- Yeah, OK.
00:09:20 Can we hear that one more time,
just the beginning?
- That's nice.
- Awesome.
00:09:41 Comp this up.
00:09:42 Do you wanna to stick with 26
for the first 2 lines.
00:09:45 - I think so.
- OK, cool.
00:09:46 I liked it.
00:09:46 I did too.
00:09:48 A great punch-in,
loud and proud.
00:09:51 So, the first 2 lines from 26 please.
00:09:54 And now I'm gonna edit it.
00:10:05 The only other question is
the words 'spiraling track',
maybe there's something else better,
although I like it.
00:10:12 Let's listen for options.
00:10:39 I like it but...
00:10:41 I would not choose any of that.
00:10:43 Cool.
00:10:44 So, 23.
00:11:17 I'm starting to feel like I should say...
00:11:22 This 'I' bothers me.
00:11:23 The 'I know'?
The 'I know', I feel it could just be...
00:11:34 I just gotta figure out.
00:11:42 I need to find a different,
I think a different way...
00:11:44 Cadence?
Different cadence, yeah.
00:11:46 Just the 'know'.
00:11:48 OK. I got it circled.
00:11:50 What else?
- On to 24.
- Yeah.
00:12:00 That was nice, the 'spiraling track'.
00:12:03 Cool, do you wanna use that or re-listen?
I liked it the best so far.
00:12:07 OK.
00:12:08 So, the 'spiraling track' goes up.
00:12:15 - Onward, listening?
- Yes.
00:12:17 OK, cool.
00:12:45 I don't know how you feel about this
but the "we've"
kind of sounds nice there,
I don't know, I can go either way on that.
00:12:51 I can either,
I was just pointing it out because
you're singing it differently
than what was written.
00:12:56 Totally, but listening that,
that actually sounds really nice to me.
00:12:59 OK. That's fine.
00:12:59 Can we listen to the comp
that we have so far?
- Would there be alright?
- Yeah.
00:13:23 Let's find that line,
it shouldn't be 'I could have been...'
it should be...
00:13:29 Cool, cool.
00:13:30 What number is that we have?
That was 27.
00:13:33 I was liking 24 there.
00:13:35 - OK.
- OK.
00:13:36 Just the 'too'.
00:13:38 Let's try that.
00:13:40 Let's just listen to it.
00:13:52 I don't really like that.
00:13:55 Go to the next.
00:13:56 Yeah.
00:13:57 25, we didn't sing it there.
So, 26.
00:14:06 Let's listen from the
beginning if you don't mind.
00:14:08 Sure.
00:14:38 That line,
it's 'drew my heart...'
and 'I left it behind', starting there.
00:14:44 Just to change it to 'knowing'
instead would be a cleaner thing.
00:14:51 OK, shall we
figure out 'what keeps it safe',
'one day at a time'
and then sing the 'I left it behind'
and 'knowing'...
00:15:02 And just let me sing the rest.
00:15:04 I'll re-sing 'left it behind', 'knowing',
'keep you safe', 'one day at a time'.
00:15:08 - Here to here?
- Yes.
00:15:12 ...That is so much cleaner...
00:15:14 All the way through it.
And I think also, as a sentence
- it feels better to me.
- OK.
00:15:19 Can we just listen to
the end of the first stanza,
the 'know that I feel it too'?
I agree.
00:15:29 Can we just listen to options
for that? Because I don't like that?
I agree.
00:15:33 - What number was that?
- That was 21.
00:15:35 So,
here's 22.
00:15:39 I...
00:15:40 Well, we've listened across 22, 23 and 24.
00:15:44 You said we didn't record 25,
can we hear...
00:15:46 - Let's hear the last two.
- Yes, 26 and 27.
00:15:49 OK. 26.
00:15:59 27, please.
00:16:08 I have to punch that line.
00:16:10 OK.
00:16:12 So, the 'know that I feel it too'.
00:16:14 I'm marking stuff too.
00:16:15 If you could just...
00:16:17 If you could just mute it out.
00:16:19 Yep.
00:16:20 OK, so let's listen to the pre-Chorus.
00:16:23 Alright, let's go to 21.
00:16:25 21.
00:16:29 OK.
00:16:33 No.
00:16:39 Next.
00:16:44 - Better.
- It's closer.
00:16:47 He didn't sing 25. So, 26.
00:16:54 And then 27 is what
we have in the comp.
00:16:56 - Well, 26 is better.
- 26 sounded good to me.
00:16:59 Put it up.
00:17:01 But it might be good just
because it transitions so fast,
at least to take the word 'time'.
00:17:05 The 'time I know'.
00:17:07 Yeah.
00:17:12 - Yeah.
- There it is.
00:17:13 If you just switch over
to the second
Verse really quickly,
you'll hear what I'm saying
about holding it longer.
00:17:20 Let's just choose that now.
00:17:22 I feel like it's better to hold it
longer like what I did on the demo.
00:17:25 The 'go'?
I wouldn't mind actually using that
same line for both pre-choruses.
00:17:29 Totally.
00:17:30 Let's just see if we find it...
00:17:32 Any notes on...
00:17:33 The second pre-Chorus,
is there a place for us to start listening?
For that last line, 32, which should
be in the comp.
00:17:39 OK.
00:17:40 That was the most solid.
00:17:41 And also, let's hear
the 'but I know' as well,
we might as well see if
that's just better overall.
00:17:46 OK.
00:17:57 That's a 'we'.
00:17:58 I think I like 'we've'.
00:17:59 - So, can we...
- And I don't like that 'but I know.
00:18:02 By the second pre-chorus
we've made that...
00:18:05 we were doing just 'wes'.
00:18:08 Then we need to sing
the pre-chorus again.
00:18:09 I'll do the pre-chorus again.
00:18:12 - Both times.
- Just do one....
00:18:13 Do once...
00:18:15 and we'll put it in both spots.
00:18:17 OK, so we're singing the pre-chorus.
00:18:20 Let's...
00:18:21 Can we sort of stay on
Verse Mode and do Verse 2 next?
Yeah, sure.
00:18:25 Yeah, so we're just
blanking this guy out as well.
00:18:29 Cool.
00:18:34 Here's what we have.
00:18:52 I didn't really love any of that.
00:18:53 No. What else you got?
31 was another liked one.
00:18:56 OK.
00:18:57 Here's 31.
00:19:12 Play all of them for me
if you don't mind.
00:19:14 Start from the top.
00:19:16 Let's go for it.
00:19:17 - 28?
- Yeah.
00:19:26 - OK.
- Negative.
00:19:39 That was the best so far.
00:19:41 Go ahead.
00:19:42 I don't like it enough
to move it up.
00:19:44 Yeah.
00:20:00 I like that...
00:20:02 The 'help me go on'.
00:20:03 What number was that?
- 30.
- I'm gonna make a note.
00:20:05 Let's just keep listening.
00:20:06 Cool.
00:20:07 31 was what we already listened to, right?
So, 32.
00:20:25 - OK.
- OK.
00:20:26 33.
00:20:42 That was 33?
Thirty three, and this is 34.
00:20:57 That's all we've got.
00:20:58 OK, interesting.
00:20:59 I don't remember
- disliking it as much.
- Yeah.
00:21:04 OK, just for the moment,
can we just do something
really quick just to listen to it?
Can we use
32 for 'my eyes get too heavy'?
OK.
00:21:14 And then for 'my hands start to shake'
- can we use 33, the next line?
- Yep.
00:21:22 I guess 32 for 'I need to hear your voice'.
00:21:26 And then 'to keep my body awake',
from 33.
00:21:31 And 'yeah to help me keep on'
from 30.
00:21:35 And see it this does
anything interesting.
00:21:38 OK.
00:21:56 Yeah, just redo it.
00:21:57 - OK.
- It's fine.
00:21:59 OK, Chorus.
00:22:00 So, this is what we have in the comp.
00:22:32 That was pretty good.
00:22:33 Let's just listen...
00:22:36 Can we hear with the background?
Sure, sure.
00:22:39 That's fine.
00:22:43 If it's helpful for you...
00:22:44 - I think it is.
- OK.
00:22:46 ... it's hard to tell on concepts.
00:22:48 - Let's just listen to it all please.
- OK. Cool.
00:22:51 Number 3, great.
00:23:02 - Number 4.
- ...Too early.
00:23:17 Do you wanna do this line by line
- or do you wanna listen...?
- Kind of.
00:23:20 Yeah, I do too.
00:23:20 It's still a little bit
too much to try on...
00:23:22 Yeah, it's too much.
00:23:22 OK, so...
00:23:24 It's sort of hard to share
this private moment isn't it?
It's difficult, yeah.
I'm having a really hard time.
00:23:30 - We'll get through it.
- Yeah, yeah.
00:23:32 OK, can we listen to playlist 5?
We're just gonna
listen to the first line.
00:23:44 I like that whole thing.
00:23:46 - Five is...
- Drag that up for now.
00:23:48 Cool.
00:23:50 Drag her up.
00:23:51 Number 6.
00:24:01 Seven we already decided we didn't like.
00:24:13 - I'm fine with it.
- I like 5 too.
00:24:15 Great. And I feel
good about that.
00:24:17 Yeah, me too.
00:24:18 OK. Number 3.
00:24:25 Three is our first take,
I think we can skip that.
00:24:27 I think we were still
working on headphones.
00:24:29 Cool.
00:24:30 - So, number 4 please.
- Number 4.
00:24:39 Number 5.
00:24:48 I like the last note of that.
00:24:50 - The 'On'.
- Yeah.
00:24:52 Yeah.
00:24:54 Well, let's just kind of move on,
I'll make a note.
00:24:56 I'm just marking it in the...
00:24:58 That was...
00:24:59 Number 5.
00:25:01 Number 6.
00:25:10 That was nice.
00:25:11 OK.
00:25:13 Number 7 was in the comp
and moving on to number...
00:25:16 Can we hear it anyway?
- Sure.
- Yeah.
00:25:25 OK.
00:25:26 Number 8.
00:25:35 I still like 6 the best.
00:25:36 Six, yeah.
00:25:38 And I feel like that's great.
00:25:41 OK.
00:25:42 Number 4.
00:25:43 'I hope you understand'.
00:25:48 Number 5.
00:25:54 Number 6.
00:26:01 Number 7, comp.
00:26:07 Number 8.
00:26:13 Can I hear the demo vocal please?
Sure.
00:26:17 Please.
00:26:18 I need some kind of context.
00:26:20 I felt like when you were singing
you were doing better than what this...
00:26:24 It's also like a weird
mix for me right now.
00:26:26 The vocals are so hot,
like they're,
I don't know,
for my ears they seem very very hot.
00:26:31 Like, in the mix.
00:26:32 We can turn them down.
00:26:33 It feels like
it will be harder for me to like
anything because it's like so in your face.
00:26:39 OK, let's turn them down.
00:26:41 Let's listen to the demo vocal.
00:26:44 Just same spot?
- Yeah.
- Cool.
00:26:50 Also, like, the doubling,
might help that part.
00:26:53 Sure, sure,
we haven't doubled anything yet.
00:26:58 So,
play the whole thing please.
00:27:00 Yeah.
00:27:09 That volume
to me sounds like the right volume
for that...
00:27:14 You guys know better,
you sunk in more
automatically it sounds
a million times better.
00:27:25 OK, we can turn our vocal down,
that's also doubled but it helps.
00:27:29 Just the feeling of it,
because there's a little bit
of chorusing going on.
00:27:33 So, just turn it down a little bit
and let's listen to what we
currently have, I guess.
00:27:37 Sure.
00:28:07 'I hope you understand',
can you start there?
The green, please.
00:28:15 That's not good.
00:28:21 Can I just hear the 'hold my heart in
your hand', just options for that, please?
Sure.
00:28:29 Next.
00:28:46 I'm just skipping over the comp.
00:28:52 Alright, so the comp is the best one.
00:28:53 - We can re-sing it.
- Yeah.
00:28:55 - OK.
- Let's re-sing that.
00:28:57 So those two lines...
00:28:58 Yeah.
00:28:59 OK.
00:29:00 Yeah, those two, exactly.
00:29:02 I like the next line.
00:29:03 I think that that's good,
the last line I do not like.
00:29:06 Let's listen for the very end.
00:29:08 Cool, like...
I agree.
00:29:14 Mute all the...
00:29:16 all of the backing tracks on that line.
00:29:18 They shouldn't be singing that.
00:29:19 It should just be
that one vocal there.
00:29:21 Yep.
00:29:22 Sure.
00:29:23 All of the...
Exactly.
00:29:24 And now let's find the comp for that.
00:29:26 Yeah.
00:29:27 Alright, starting at 3.
00:29:36 OK.
00:29:45 OK.
00:29:58 That's what we had.
00:30:00 This is
the last option.
00:30:06 I like that one the best,
- but I think...
- Me too.
00:30:09 The 'light' is too quick.
00:30:10 Yeah.
00:30:12 OK.
00:30:16 Yeah.
00:30:16 Play the beginning
of that Chorus again
because I'm not happy
with that one either.
00:30:20 OK.
00:30:21 Do we need to sing
the whole chorus again?
I don't know.
00:30:23 Just play one more time.
00:30:24 Yep.
00:30:32 I don't like that.
00:30:33 OK, that's fine.
00:30:34 OK.
00:30:35 You gotta like it man.
00:30:36 Play the second line again.
00:30:38 Cause now we are...
00:30:39 now we are in...
00:30:50 I don't like it.
00:30:51 - OK.
- The only thing I like is
that last part, unfortunately.
00:30:55 That's alright.
00:30:56 Can we hear the third and
final Chorus
because maybe there's
something flyable from that?
I think that we just need to redo the choruses.
00:31:32 - That too? OK.
- I don't know.
00:31:35 - Alright man.
- I'm just not feeling it for some reason.
00:31:38 Honestly, we might just have to do it like,
I don't how you guys feel about this,
but I might have to do it off camera.
00:31:44 I might have to just go in there and...
00:31:46 I don't know,
OK.
00:31:48 Something about the vibe of it.
00:31:51 We're gonna need to put the
end of the Bridge on a separate track
but can we listen to the...
00:31:56 Maybe just hear the comps of this
before we shoot it down.
00:32:00 OK.
00:32:00 Cool.
00:32:01 The only part I wasn't digging
is the 'I hope you understand'.
00:32:04 OK.
00:32:04 But...
00:32:05 OK.
00:32:06 So...
00:32:17 The next option.
00:32:27 I like that.
00:32:28 OK.
00:32:29 Put it up temporarily?
That's our last option.
00:32:33 Isn't that what...
00:32:35 Something different
from the last.
00:32:36 Whatever one you like better.
00:32:37 I like the last one that we just heard.
Can we listen the comp again?
- I like that better.
- OK.
00:32:50 How are you feeling?
I don't know.
I'm having a hard time processing it.
00:32:54 You're feeling conflicted.
00:32:56 Yeah. I'm having a hard time.
00:32:57 I think I just don't like the overall
sound of the vocal.
00:33:00 It's like...
00:33:02 I like it the way that demo is,
doubled...
00:33:05 It's hard to tell, I guess.
00:33:10 I like the notes that are in there.
00:33:12 Well, I mean, OK.
00:33:13 The thing about the demo
is that we really did it quick
and it was like...
00:33:17 Yeah, that feels good,
I had you double it before
we sat down and kind of listened to it.
00:33:22 So, I understand the sound of it
and the only way to
get past that is we just
have to get something
that we like for the Chorus
and then sing it to double it.
00:33:31 Yeah.
00:33:31 I agree.
00:33:33 Or...
00:33:34 So maybe that's what it is.
00:33:35 Maybe what we have is good enough
but maybe it just...
00:33:38 - It could be.
- I'm feeling...
00:33:40 But we'll work through it.
00:33:42 Because we like the demo vocal.
00:33:44 - Right?
- Yeah.
00:33:45 Generally speaking.
00:33:46 Generally speaking.
00:33:48 Without the line that's different
in the Chorus, yes.
00:33:50 We like the feeling of it, right?
Because we can
pull these tracks up.
00:33:53 What if we change the line
in that?
Because that's pretty easy to do.
00:33:59 And then we, use it
as a double to sing to?
Yeah.
00:34:03 Because I've been listening to it,
you've been listening to it
and it feels good.
00:34:07 We already agreed that we
wanted to sing
the whole second Chorus over, right?
Yeah.
00:34:13 Besides that one line,
I think...
00:34:14 Yeah, we can keep that,
we might as well sing it.
00:34:17 Let's listen to the Bridge
and make sure that we're
good with what we have.
00:34:22 - Sure.
- And then we'll,
then I sort of have a plan on my mind,
how we can go forward.
00:34:26 Let's...
00:34:27 Let's get the Bridge
decided on.
00:34:32 For the moment,
can we listen to it
so that it's not cut off,
so that note comp finishes?
Yeah. Just that.
00:34:41 Great, got you.
00:34:42 Alright, cool.
00:34:43 Bridge.
00:34:59 That's the last take, right?
- Yes.
- I'd like to hear the first take.
00:35:04 For the whole Bridge, please.
00:35:06 Got you.
00:35:35 I just wanna hear the last one,
if that's OK.
00:35:37 I know that the second
wasn't as good.
00:35:38 OK, cool.
00:35:49 I like that 'left'
but can you take the 'oh yeah'
from the first one?
Yeah.
00:35:53 Yeah, because it's a little bit longer.
00:35:58 And that will be a good comp.
00:35:59 Yeap.
00:36:00 So then let's listen
to the next line here.
00:36:11 Now listen if there are options.
00:36:13 - Sure.
- Listen.
00:36:14 I like it though.
00:36:15 OK, I do too.
00:36:23 And our first take.
00:36:33 I like the last one too.
00:36:35 Cool.
00:36:35 So that's already there.
00:36:37 And here's our first take for...
00:36:39 Yeah, can I just hear the last one,
the last note please?
Because we haven't been able
to listen to that one yet.
00:36:44 - Sure.
- We did listen to the other ones.
00:36:46 - Yeah.
- I wanna hear this.
00:36:57 OK. And the first one?
I think that one is better.
00:37:13 Can we just hear the middle one?
Oh yeah.
00:37:26 - That's my favorite.
- Yeah, I agree.
00:37:28 OK.
00:37:29 OK, cool. So that's the...
00:37:31 That's the Bridge, we have it.
And I feel good about it.
00:37:33 Yeah, I feel good about it too.
00:37:34 Let's pull up our demo tracks.
00:37:37 Let's change
the lyric line
and then
try singing to that.
00:37:43 Would that be...
00:37:43 Yeah, I'm fine with it.
00:37:45 Or...
00:37:47 Just to be clear, we're not
using that eventually as a double?
I don't think so.
00:37:52 This is like,
just because you
were saying like,
you like the sound of that better...
00:37:56 I think it might just be...
00:37:58 I'd like to just hear
the demo vocal
with this vocal.
00:38:03 Whatever we just comped,
I think it would be
useful to hear it with it,
to see what the potential of it is.
00:38:08 OK, that's fine.
00:38:10 It just feels so alone right now.
00:38:12 - Alright.
- It's hard for me to like it.
00:38:14 Even with the lyric
mismatch in that one line?
I guess we're gonna
have to replace that one line.
00:38:20 Let's listen to it
and we just note that one line.
00:38:24 Just...
00:38:24 Because I want you to
get to some place
where you're feeling.
00:38:27 Yeah.
00:38:27 It just like, yeah,
if I was at home and I recorded that vocal,
I would immediately go back
and record another one.
00:38:32 Of course.
00:38:33 And I would try to
get a friend for it.
00:38:35 It doesn't sound
too hot on its own.
00:38:38 I know we're just
trying to find a version.
00:38:41 And we're gonna
listen with all the stuff in.
00:38:43 Or just Chorus 3?
We're gonna listen to Chorus 3.
00:38:46 OK.
00:38:46 But we need to bring back
the demo vocal.
00:38:50 From the tracking day that we did...
00:38:51 Yeah.
00:38:52 So, we have a lead
in the double though.
00:38:55 We have a lead and a harmony.
00:38:57 We do not have a double vocal?
We never did a double.
00:39:00 I did a double
on the demo that I sent you
when I redid the lyrics,
I added a double.
00:39:06 That's what is within that stem.
00:39:08 OK.
00:39:09 I don't remember that.
00:39:10 But then all we can do is...
00:39:12 actually...
00:39:13 We'll just double what
we have.
00:39:14 But that's fine.
00:39:15 Let's just listen to this
as the double.
00:39:18 Sorry,
I didn't remember.
00:39:21 That's it,
that's what we're listening to.
00:39:22 And just Chorus 3 out.
00:39:25 Sure.
00:39:26 - Cool.
- We'll just listen to Chorus 3.
00:40:00 Like, even that last line to
me sounds better.
00:40:04 Better, it's hard...
00:40:05 The pocket is a little out.
00:40:07 Yeah.
00:40:08 OK.
00:40:09 What do you feel
like you wanna do?
What I would like to do
is redo this Chorus,
get it to where we're
very happy with it,
once we have that,
record a decent double over it.
00:40:21 OK.
00:40:22 So,
where do you feel like you are
on the third Chorus from now?
I feel pretty good about that.
00:40:27 Listening back on it I feel pretty good.
00:40:29 So then, can we do this?
The first thing that we do
is go out and double
that third Chorus.
00:40:36 And then I want
you to come in here
and we'll listen to how that feels
and then if we like that
then I have you go back,
we'll work on that second Chorus.
00:40:46 I think that's great.
00:40:47 Then when we get that,
then we'll do these Verse bits.
00:40:50 Great. Awesome.
00:40:51 That sounds like a good plan.
00:40:53 Recording can be very hard.
00:40:55 You have to...
00:40:57 There's a lot of
pressure on everybody.
00:40:58 I wanna do the best
job I can for the artist.
00:41:01 The artist is feeling the pressure
of doing a great job.
00:41:03 And sometimes the environment
can, you know,
you feel very vulnerable
and
it can create a lot of anxiety.
00:41:12 And then, you know,
we're in a situation where we're
documenting this whole process for you,
so we have...
00:41:18 we have the cameras
that we're communicating
with you through
and it kind of makes
for a difficult situation.
00:41:28 In this case I'm just trying to do
the best possible job I can
to assure Rich that we're
gonna do whatever it takes.
00:41:34 We're gonna take our time
and just try to be really paying
attention to the cues that he's given me
where he's not feeling settled.
00:41:42 And,
you know,
it's awkward
and it can be difficult
and you just have to patient with it.
00:41:49 Sometimes you have to call a time out.
00:41:51 We're in a place
where we have a plan
where can move forward.
00:41:54 We're just taking a
little bit of the time
and we'll get there.
00:41:58 It's just we've got to navigate
a difficult feeling moment.
00:42:03 It's just very normal on
the recording process.
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Award-winning Producer, Engineer, and Mixer, Jacquire King, has worked with some of the world’s most influential artists in every role you can imagine in a recording studio. From being an acclaimed recordist to mixing and producing multi-platinum records (9X in the case of Kings Of Leon) by superstars like Kaleo, Modest Mouse, Kings of Leon, Tom Waits, Norah Jones, Buddy Guy, Cold War Kids, MuteMath, Melissa Etheridge, and James Bay.
To date, Jacquire has received several awards for his meticulous attention to detail and unique approach to creating records that withstand the test of time.
His discography is well-known for the variety of music encompassed from the past 20 years. When you see Jacquire’s tutorials on pureMix, you will have the chance to sit next to a true master at work, who strives to enhance the artist's vision and serve the songs he helps deliver to the masses.
As an artist myself, like most of us prob, I gotta shout out Rich on these. Everyone handled themselves beautifully. Really impressed with each member of the team and the whole band nailed their parts like session vets. Rich, though...beastmode. Singing is so personal. To get these takes with the spirit, pocket, and punch that he did, with all the cameramen buzzing 'round his zone is incredible to me. Who knows, maybe it would create a painful brand of inspiration, but I'm really not sure I could do it. Big ups to you, homie.
shane.l
2021 Jan 14
As a Singer i find what tends to happen is you are so accustomed to a particular performance, his demo for example, and when it's time to "Record the Vocal for real" you miss elements of the previous performance that hinder your ability to like the new one. I completely get it as it has happened to me. I have a strong feeling that once he is removed from his previous vocal, the demo that I'm sure he's heard many times, he would realize the new tracks are much better than he is perceiving at this time. His head is getting in the way of his ability to objectively "hear" what he has. my .02
Adrianj
2021 Jan 12
Another great video. The reminder to always leave a trail of bread-crumbs really helps drum it in! It’s understandable how the artist can feel things a bit magnified under the circumstances, but the entire vibe is really cool from where I sit. I also think it’s easy to get yourself bound up in details, (like you’re buying a house but you’re worried about the washer and dryer.) Really, seems to me they’ve already got the record on tape and those vocals might end up subjectively “better” but they’re already awesome… So no worries! Thanks for letting us in your session.
Pearlpassionstudio
2021 Jan 10
Jacquire and tech are doing a great job. Some parts I saw no difference and would have moved on, meter is running. Excellent series, thanks much for doing this and taking the time documenting to show your approach.
yarrowharvey@msn.com
2021 Jan 09
This series is incredible. Thank you so much for not editing out the unsettled bits. I love it that the gear and all the technical stuff has taken a back seat to the humanity and emotion of making music and that everyone in the room is working together to get the best take. Thanks to the band and to Rich for being willing to allow our group of students into this session. Thanks to Jacquire for the master class in positive, steady guidance. Thanks to Kolton and Danny for for the engineering and pro tools bad-assery that kept the session focused on the song.
kirk-leo
2021 Jan 09
Great music is made by great human beings... , thank you guys to share with us !
mataran
2021 Jan 09
Jacquire's wrap up at the very end of the video is the essence of what I love in those series. I'm feeling so fortunate to be a witness of that amazing production process. Thank you so much guys!
studiosix
2021 Jan 09
How Jacquire acts is spot on. He's technical side is inching forward but he pauses and actually hears the artist out and accommodates well.
snarebuzzstudios
2021 Jan 08
It's so refreshing to see Jacquire's approach and how supportive he and his assistant are to trying different ideas and hearing the lead vocalists comments. I've been in the same position myself and it's so important to hear the artist & provide them the safety & support they need to get the best takes possible. Great job!
White Cat Studio
2021 Jan 08
Another great episode!!
And the words of Jacquire at the end are fantastic. Music is about feelings and sometimes, it could be hard to manage them...
Thanks Jacquire!
bjackson81
2021 Jan 08
The emotional back and forth during the comping is really cool to watch. This is such a wonderful series.
