While Kolton Lee is over in the Fabulous Room doing the final touches on the vocals for "Keep The Light On," Jacquire and Danny Pellegrini complete the editing for the instrumental tracks and augment the drums with the samples they recorded from Bryan's kit.
Watch as Jacquire and Danny:
Clean up the release of the Juno pads in the pre-chorus
Check polarity on the electronic samples, and replace where needed
Create custom samples from the recording of Bryan's kit and load them into Slate Digital's Trigger plugin
See how Kolton:
Imports the vocal work he did in the Fabulous Room to Jacquire and Danny's latest version of the session
Dials in the vocoder tracks with the latest editing and tuning
Renders different chords with the vocoder to match the harmonic structure of the song
This is a chance to see the extra bit of polish that world-renowned producer and mixing engineer, Jacquire King, adds to his productions before entering the mixing stage.
00:00:23 Kolton is off to the other room
to work on the vocal stuff
we've been talking about,
so Dany and I,
we have a small to-do list here
which we're gonna tackle real quick.
00:00:33 The Juno part at the end of the choruses,
I think
Rich stopped like a 16th note too early,
we just need to kind of fix that first.
00:00:41 So...
00:00:42 We just need to clip off the last note
and move it over a sixteenth.
00:00:45 Got you. OK.
00:00:47 I'll make a new playlist.
00:00:51 And I'm going to
duplicate that out.
00:00:56 And drag it.
00:00:58 Let's put a cross-fade in there
and see how that sounds.
00:01:01 Cool.
00:01:07 -Would you mind turning that up?
-Yeah, for sure.
00:01:13 Actually I think it should
hang over just a little bit more.
00:01:16 OK.
00:01:20 Something like.
00:01:24 So.
00:01:34 Just do that thing at
the second Pre-Chorus.
00:01:38 -And that will be done.
-Cool.
00:01:47 Listen.
00:01:50 That's fine.
00:01:50 Yeah, just drag out the ends of these.
00:01:52 Cool.
00:01:53 Yeah.
00:01:54 Put a little fade in there,
I think we need to do the
same to the other one.
00:01:58 Cool.
00:01:59 OK.
00:02:00 Simple stuff,
the next thing we're gonna do is,
there's a programmed kick drum
that I wanna try to...
00:02:05 that we have muted the whole time,
I mentioned it very early on
when I was going through
the programming.
00:02:10 It's still in the session,
I want to
use it as a
kick drum sample to put with
Brian's kick drum.
00:02:19 We just need to cut oneS of them out
and treat it as a sample.
00:02:22 You know, actually, we could
just make it a mono thing too.
00:02:25 Cool. So let's split that into mono.
00:02:30 Get rid of the right side.
00:02:32 You can go ahead and hide that guy.
00:02:37 OK.
00:02:39 All exactly the same.
00:02:40 Yeah, just grab one.
00:02:45 So this guy.
00:02:48 I'll just make a duplicate of it.
00:02:51 So right now we're picking a sample,
it visually looks like
the transient is actually
moving down so
he's gonna quickly flip it
and then we're gonna make
this sample a tight start
and finish and then we'll take it
and put it in Slate Trigger
and trigger it off of
the kick drum track.
00:03:10 In order to find the spot with the sample,
if you're making a sample,
you wanna try and get
pretty darn close to
where the transient starts
and then cut it at that point,
because, if you don't
then you might have a delay
when it's triggered.
00:03:27 So it will have phase issues
because it will be hitting slightly later
than what you're trying to trigger
or the source that
you're trying to trigger.
00:03:34 So, we try to get right up on it,
we're gonna make one more playlist.
00:03:39 Just because we're gonna
get rid of these other guys.
00:03:43 And we're gonna blow this clip up
just to make sure that
we're not missing any audio
on the tail end of it.
00:03:51 Which looks like we're not.
00:03:53 I'm going to go into it
and just create
a slight cross-fade on the end.
00:03:58 Just a slight cross-fade
on the beginning as well
so that we don't have any
issues with pops in the end.
00:04:06 And then what we will
do is we'll consolidate it.
00:04:10 You're consolidating it
so it's its own unique audio file.
00:04:13 We're gonna name the file specifically
so that we can easily find it
when we load it intro trigger.
00:04:18 We'll call it KTLO and
then we'll call it PROG.
00:04:22 So that we know it's a
programmed kick drum
rather than a live kick sample.
00:04:26 And then we'll call it 'Kick'.
00:04:30 What we can do is just
export this
to an external folder.
00:04:38 We'll
export it 'multiple mono'
rather than 'interleaved'
so that we're not making a stereo file
out of something that's mono.
00:04:46 So, since we don't have
our sample drive today
I'm gonna put it in the 'Bounces' folder.
00:04:50 Make this track inactive and hide it.
00:04:52 We're done with it.
00:04:54 So now we're gonna go and
duplicate the kick drum track...
00:04:58 And we're going to keep
our active playlist but
not the alternate playlist,
so we're not creating a mess.
00:05:05 And then we're taking the automation,
sends and group assignments
off for the time being.
00:05:12 And then we're gonna call this
'Kick Trgr'.
00:05:17 So that we know that
that is the kick that
was triggering our sample track.
00:05:22 Then what we will do
is go to our plug-in list
and look up Steven Slate.
00:05:28 Trigger 2, we're gonna do mono.
00:05:31 So that we get a mono sample,
because we made a mono sample.
00:05:37 And we're going to the correct directory,
Bounced Files,
and open that.
00:05:44 If we go to our browser now,
we shall see that we
have our bounces folder
and we will just load this
KTLO Prog Kick
into Trigger.
00:05:58 And just to test it
we will
play the track and it
should be triggering.
00:06:15 It seems like it's
triggering appropriately.
00:06:18 So we're doing this as a one-shot sample,
what that means is that it's
the same velocity every time,
that we're not having
it follow the dynamics
of how the kick drum was played.
00:06:27 Because I'm just gonna be blending
this as a supplemental sound.
00:06:30 And I just kind of want the
dynamic of it very consistent.
00:06:33 So, in order to do that
we just take our dynamics
all the way down.
00:06:38 We put our velocity at 100%.
00:06:41 And then our range is gonna be 127 to 127.
00:06:45 That means that it's at the full volume.
00:06:46 You could do this in real-time
but usually what we do is we just
commit the track,
so you can do
Shift+Opt+C.
00:06:55 Usually, I like to
click the selection
that I'm going to edit,
if you don't do that and
then there's something
way off in the distance in your session,
that you're not even aware of,
especially with a track
that has samples on it,
like we do here,
it's gonna commit it
all the way through the other samples
and that will take a lot
longer than you expect it
because it's gonna be
rendering a bunch of space.
00:07:17 And then,
we bounce it offline.
00:07:20 We're gonna do nothing
to our source track,
for now, because we will need it.
00:07:25 It says:
'Insert after last selected track'.
00:07:27 What it means is it's gonna
create a new track
and place it underneath
what we're working on right now.
00:07:32 So, if you go ahead and do that.
00:07:34 The new file has been created and placed
in a new track underneath its source.
00:07:38 So we're going to now go to the
source track and create a new playlist.
00:07:43 And then we'll call this new playlist
'Kick SMPL' for kick sample.
00:07:49 And then we'll just drag
this track right up top.
00:07:54 And then we don't need
this committed track anymore.
00:07:56 So we're just gonna get it
out of the session.
00:07:58 And there you have it.
Now we'll deactivate Trigger.
00:08:02 Now comes the fun part
where we just spot check
everything to make sure that
everything is phase accurate.
00:08:08 So yeah, we will just
start at the beginning,
and we'll just 'tab to transient'
all the way through the arrangement.
00:08:14 So, in order to put the
'tab to transient' on
the quick command is Opt+Cmd+Tab.
00:08:20 And we will literally just hold down
apostrophe,
zoom in pretty close
and just what's going on.
00:08:31 The sample is not gonna
be absolutely perfect.
00:08:33 It's in an acceptable range.
00:08:36 If we're tabbing through and
it looks something like this,
or this,
that's the issue that we need to fix.
00:08:42 And that will happen
occasionally on certain hits.
00:08:48 If I might, I just typically hold it down
and let it speed through
and then, if something catches my eye.
00:08:59 That's done, so we're gonna just do
a similar process
but we're gonna take actually one of our
recorded snares
and make a sample of it.
00:09:08 And do the same thing for the snare.
00:09:10 So that I have a very
consistent version of the
snare that we recorded
to kind of blend in
with the snare that has
the played dynamic with it.
00:09:19 Also, with this sample,
I might send it
to the reverb
discretely,
as opposed to sending the
recorded snare drum track,
which will have the
leakage from the kit.
00:09:30 It just gives me an option to have a
certain amount of focus on the snare drum
with the snare drum
sound that we recorded,
then also be able to send it
to the discrete reverb.
00:09:40 Now,
what's gonna be interesting about this,
if we could go out to our samples.
00:09:44 We're gonna listen and identify
the snare drum that we want to use.
00:09:47 What's interesting about this
is the snare drum sound will be
potentially a capture of
a sound created from all the microphones
that are capturing the drum sound.
00:10:00 So we might re-balance it
or we may just,
literally take the snare sound
from that one track only.
00:10:07 But the first thing we're gonna do
is listen to the snare drums
and just pick the best one.
00:10:27 I'm picking the third one.
00:10:28 The first one doesn't have...
00:10:31 It's hazy sounding,
it has a good tone to it
but that wasn't struck very sharply.
00:10:38 The second one has
almost got too much transient.
00:10:40 The third has a nice transient,
nice body, I hear the snares,
the room sounds balanced in it.
00:10:46 It sounds like it's hit
very much in the center.
00:10:48 I feel like that it's going
to have a consistent sound,
as a sample, with the drum-kit
that I'm pairing it with.
00:10:55 And then the last one
sounded OK, it was a little off-center,
it had a little bit of an overtone
that in the low-mids,
that I really wasn't wanting.
00:11:03 It had too much of a note.
00:11:04 So that's why I've chosen the third one.
00:11:07 Unsolo the kick.
00:11:09 Maybe the room.
00:11:10 Let's get rid of the hi-hat,
and the toms.
00:11:14 And let's hear the sample now,
with that sound.
00:11:19 Great, can we just turn the Dr. Sample
and the Mono Room down a little bit?
Sure.
00:11:24 In the blend.
00:11:26 Can you get rid of the
reverb sound please?
-Yeah.
-Perfect
I like that balance,
so if we could just bounce it like that
and then import it.
00:12:10 I've changed my drum balance
to make the sample
so I'll have to take a minute
after we get this
together and reinstate
the drum balance ahead.
00:12:26 So we're going to our browser,
which is pointing to our bounced files
where we bounced
KTLO Snare SMPL1.
00:12:33 And we will load it
into our Trigger plug-in.
00:12:37 And then we will play
the track, just to make sure that
everything sounds on the up and up.
00:12:53 And what's happening
is it just sounds like
it's getting louder,
I don't hear any flamming.
00:12:57 That's a good sign.
00:12:59 That's it's combining
with itself, the same drum,
it's not the same recording.
00:13:04 It's getting louder,
that's a great sign.
00:13:05 And that's what I'm after,
I'm after a little bit more punch,
clarity and focus.
00:13:11 We're gonna do the same process
as we did with the kick drum.
00:13:15 We're gonna commit this,
it's gonna place it on a
new track underneath.
00:13:18 We'll create a new playlist
and move that file up to
our snare trigger track.
00:13:25 Which is now gonna be called
Snare Sample track.
00:13:28 Let me really quickly re-balance
the drums with that in there.
00:13:59 I re-balanced the drums a little bit
and I was playing it...
00:14:02 I turned the samples off, that we just added,
and then turned them back on.
00:14:05 They're just adding a little bit of punch
and clarity and forward feeling
to the kick and snare.
00:14:10 I'll solo the drums up, for us.
00:14:12 So what we're gonna
be listening to, first,
because the new
samples are not in the group,
is just the drum-kit as recorded.
00:14:21 I will add the snare sound.
00:14:35 And I added the kick drum sound in there,
I'll do that one more time.
00:14:54 Alright, there we go.
00:14:56 I think that is everything
on the to-do list.
00:14:58 I think it's now time to
back this up and see where
Kolton is in his process.
00:15:04 Kolton and I finished our individual work
and he's back in here with me to import
the session work that he did
back into our main session master drive
that he can populate it across all the
sessions and then we're going to
do a vocoder treatment
and then
the next will be moving in to the mix.
00:15:26 I've got my travel drive
that I just brought over from
the Fabulous Room and we're gonna bring in
the information from there.
00:15:35 On the master here,
I'm gonna open up my 'Keep the Light On'
session on my
little travel drive.
00:15:42 I'll bring over my session
to the master folder.
00:15:46 And I wanna grab my
session file backups to bring in
as well.
00:15:55 Let me make sure that I didn't create
any new audio files,
which I did, so I wanna make sure
I grab all those.
00:16:02 See where do we leave off at...
00:16:06 my last one was...
00:16:13 Let's see.
00:16:15 I need to bring over my Melodyne folder.
00:16:19 And let me see if anything else.
00:16:22 It looks like I need to update
the files.
00:16:26 That is just a little curious.
00:16:34 Alright.
00:16:41 Great. So now,
I'm going to make a new session.
00:16:45 I'm gonna title it
'19.Imports'
so I can import the work I just did.
00:16:54 I know that
I did work on the lead
and I did work on
the lead in the Bridge
and so I'm going to
delete these two tracks
for this particular session because
I'm gonna import them from my session.
00:17:08 Now I'm going to
'Import Session Data'
'Keep the Light On',
go to my 17B
which is from the Fabulous room.
00:17:19 These are the things that
I worked on in that room
and they're above the click.
00:17:23 And those are the ones
that come in to this session.
00:17:28 OK, so now I can take these two tracks
and hide and make inactive.
00:17:47 Great.
00:17:48 Now we are up to date with each other
and we have all the same information.
00:17:53 That's fabulous.
00:17:54 We're gonna do a vocoder
print for the second verse,
we're gonna get
something figured out there
and then we will transition
into mix prep and mixing.
00:18:02 To make this vocoder track I know that
we wanna do it in
the second verse
so I'm just gonna duplicate the lead,
delete all the stuff that I don't need,
just work from the second verse.
00:18:13 Align as right in here.
00:18:16 And then get rid of the rest.
00:18:19 And I think, actually, we're gonna start
somewhere in there. Yeah.
00:18:29 I'm gonna pull up the UAD Vocoder here.
00:18:33 It's usually a pretty good one.
00:18:36 We're in the key of D
so I'm gonna do a little
D chord here.
00:18:42 F#, I think.
00:18:44 Thank you.
00:18:52 So, on that last line we're
gonna have to change
some of the notes to go along with the
chord change here
but we'll get it set for the
first couple lines first and
then we'll automate that in.
00:19:30 So, I'm just kind of pulling around
the stereo width knob where it feels
wide but not too crazy because with this
stereo width knob,
if you go full it can get really
phasey and weird
and it almost starts to
just work against itself.
00:19:46 I'm trying to find the sweet spot there
and just where the bands feel the most,
I guess, appropriate for the song.
00:19:53 I'll play it and I'll pull around
the stereo width so you can kind of feel
it affects the sound so
I'll start with that mono.
00:20:06 As it went by I pulled it up to halfway
and I'll leave it halfway and
go full as it goes by this time.
00:20:16 You can feel like,
as it gets more to the full it almost
feels like it gets back to the center
and it just doesn't feel quite right.
00:20:23 I felt like somewhere
around here felt pretty good.
00:20:26 Like,
10 o'clock ish range.
00:20:29 Listen to it in context.
00:20:37 It feels pretty good there.
So, I need to
one or other notes we need
to switch over to here.
00:20:47 This is a G.
00:20:50 B and G.
00:20:51 It sounds right.
00:20:55 Let me do it.
00:20:57 UA plug-ins do not
allow you to do the quick...
00:21:00 No, you can't do the quick,
you have to open the thing...
00:21:03 You gotta do it this way.
00:21:05 Search through the extremely badly
named parameters.
00:21:07 Thank you guys.
00:21:08 We could just make a playlist
and render one with the G chord
and one with the.
00:21:15 Yeah.
00:21:16 That's the smart way around it.
00:21:18 Or I can give you a midi
keyboard and you play it.
00:21:23 I'll do a duplicate here
and this will be our
first one.
00:21:29 In a lot of plug-ins
there's a quick command,
when you click on a parameter
of a plug-in, it will automatically
ask you if you wanna
put it in automation.
00:21:49 I got that one, so now,
that's our first chord change
and I'm gonna change it over to B,
I'll commit that and
I'll stitch them together.
00:22:02 This.
00:22:09 This guy needs to go up top.
00:22:11 I'll mute this for the moment.
00:22:25 There we have that,
I'm just gonna hide and make
inactive the other track and
put a nice little fader in here.
00:22:35 Make sure we sound nice and tidy.
00:22:38 If we could, there's the vocoder
track that exists for Verse 1,
if we could put them on the same track.
00:22:43 -Yeah.
-Throw that on the...
00:22:44 Let's also gain match.
00:22:46 Gain match the guys.
00:22:49 Who would you like to go down or up?
Let's bring this one
up to match our general
gain range of...
00:22:55 -Of the other dude.
-Yeah.
00:22:58 I want them essentially at a similar gain
because if I do any processing on them
I wanna to go through the processing at
the same level.
00:23:08 And then, also,
I'll be able to set an overall
volume
that will probably be a good base
starting point for each verse as opposed
to immediately having to
do some sort of automation
to get it audible.
00:23:20 Turn one down, turn one up kind of thing.
00:23:34 Can we give this one more dB?
Yeah.
00:23:46 It feels great.
00:23:47 I've got all the to-do list that
I had in my mind done.
00:23:50 The moment one need
to take here is we're gonna...
00:23:53 We use a backup software
that's not on this computer
so we're gonna have to
just pause for a second here.
00:23:58 Kolton has updated the master
and so
this session...
00:24:03 We should actually probably save,
this is 20 now.
00:24:05 Now that we've done our imports.
00:24:07 We just wanna get it
populated across the other drives,
the backup
and the drives we have with us.
00:24:13 And then we'll come back and
we're gonna start working on the mix.
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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.
Very interesting...never knew a wave file can be used in Trigger2..Always thought .tci files...But I see the ambience dynamics were created before making a sample...Cool, thanks for the help. Great job on this tutorial.
