Now that the sounds are all dialed in and the programmed tracks are sitting in a good place, it's time to record the entire band and get some takes live off the floor!
Watch As Jacquire:
Adjusts settings as the band's intensity increases when they feel more comfortable with the song
Guides the band to keep the right feel and not push the tempo and groove of the choruses
Reviews the takes with the band to find the master take and options for the final chorus and outro
Checks the additional production against the band's performance
Comps together the perfect master take
Works out the baseline for the bridge and punch overdubs with Paul
Watch Jacquire King produce "Keep The Light On" from Oak & Ash from Start To Finish only on pureMix.net
00:00:23 - Brian, would you play
the hi-hat for me?
Cool. Thanks, man.
00:00:33 I just changed the EQ a little bit,
I brightened it up a little bit more.
00:00:37 - Stand by for click.
00:00:56 - Can you turn the vocal down
in here a little bit?
I'm having the vocal turned down
because it's a scratch vocal
and the pocket of it is not really...
it's not great to have it really loud
so we turned it down
so I can hear the band.
00:02:51 - I felt we were crushing the snare
a little too much.
00:02:53 - I think it's because
he's playing all out on this take.
00:02:57 - The floor tom could probably use
another click down of gain.
00:03:00 - The floor?
- Yes, the floor tom.
00:03:02 - Let's just bring the fader down.
00:03:11 - He's into it now.
00:03:19 - Is the kick drum okay?
It's not clipping too much, is it?
- No, just every once in a while
but I think it's fine, right?
- Fantastic! It's feeling good.
00:03:56 It feels like we're getting into it,
let's just check the tuning
and we'll run it again.
00:04:00 It feels like we're right on track.
00:04:02 - Sweet.
00:04:03 - So the couple changes that we made,
now that they know that they're
actually playing the song
Brian is laying into the drums
a little bit more.
00:04:11 The compression we had set up
on the snare drum
was kind of crushing a little bit too much
so I just kind of backed it off
and corrected the gain.
00:04:19 Danny pointed out that the floor tom
was a little bit too hot
so I just pulled the Output level
on the desk down.
00:04:26 And before we started
I brightened up the EQ
on the hi-hat, and I think that's it.
00:04:36 - Are you all tuned up in there, guys?
- Stand by for click.
00:07:53 - Fantastic! That was a great take.
00:07:55 The only criticism I have is it got...
00:07:58 you were pushing a little bit
too much in the third chorus.
00:08:01 Just be careful coming out of that bridge
that the chorus sort of feels
like the chorus,
that it doesn't rush too much,
but that was awesome.
00:08:09 I would love to do it one more time.
00:08:10 - Are you talking tempo or power?
- Just tempo, it just felt like
it was kind of pushing
the feel just a little bit,
just a tiny bit there for part
of the third chorus.
00:08:19 - Yeah.
- We got a little excited.
00:08:21 - I mean, I don't blame you,
it feels exciting in here.
00:08:24 But...
00:08:26 ...I think it hurts the feeling
of the chorus to push it that much.
00:08:30 So we just got to remember
that coming off that bridge energy,
it's got to kind of settle back down.
00:08:39 Have you checked your tuning?
Are we ready?
- That new intro feels way better.
- Yeah.
00:09:05 - One small change at a time.
00:09:08 - Moved that mountain.
00:11:41 - What...
00:11:42 - Stop.
00:11:45 Well,
sorry, guys.
00:11:48 Listen, that last chorus was great.
00:11:49 We had a little problem in here
on the computer, but...
00:11:53 Yeah, sorry. It happened.
00:11:56 I like the previous take
for the body of it,
it's much, much better.
00:12:00 But I do feel better about
that third chorus.
00:12:03 Just because we had
a little bit of a moment there,
can we just take it from the bridge
one final time and finish the song?
Just so I have another option
for that third chorus
because I do believe...
I guess our second full take
was the one. I just want to have...
00:12:20 ...that third chorus out. One more time.
00:12:24 - From the bridge into the chorus?
- Yeah.
00:12:25 - Cool.
00:12:27 - So, from the bridge.
00:12:29 Everybody ready? Cool.
00:13:48 - Great! I think we can pick
from those last two choruses
for the third chorus, and then
just sort of see what we want
to do for the outro.
00:13:55 But that was great. You want to come in
and listen with me?
- That was awesome!
- Yeah, man.
00:14:01 For what it's worth,
I know the take you liked was better
but I hit a couple of raw notes
in that take.
00:14:07 - That's okay, we can fix it.
- It's cleaner on the previous take,
my particular part.
00:14:11 - Are you talking about
the very first one?
- The last one before this, the last one
where we got cut off at the end.
00:14:17 - Yeah, yeah.
00:14:18 - I thought my parts were
a little bit cleaner in the chorus,
- Okay.
- but they were, like, transitions.
00:14:23 - All the choruses?
Well, but we already said
that we probably want to
recut your chorus guitar
anyways for the sound.
00:14:30 We have the DI,
we could also reamp it.
00:14:32 - So let's...
- Let's listen to the take you like.
00:14:33 - Duly noted. I just want to
listen to these third choruses,
the last two.
00:14:38 Take two, which I feel
is the master take,
right? I want to listen to
take three and take four
of chorus three,
and then we'll go back
and just compare to take...
00:14:48 - Take three being the one that got...
- Exactly, the one that got cut off.
00:14:51 - Is that right?
- Yeah.
00:14:53 - Okay, so this is take three.
- Yes.
00:14:55 - Okay, so we'll hear chorus three
of take three.
00:15:33 - Now can we listen to the last take?
- Yeah.
00:15:35 - Which is take four of the...
00:15:38 - The punch, correct.
- Yeah.
00:16:18 - So, I know that of the last two
that we did
I like the very last one.
00:16:23 So, now can we listen to
the take two chorus?
- Yeah.
- Yeah, let's listen to it again.
00:17:03 - Can I hear the last take now?
- What's that?
- I think I like the last one.
00:17:07 - The fourth one?
- The beginning...
00:17:09 - The timing was weird in that.
00:17:11 - Yeah, the beginning of
the chorus feels like it just...
00:17:13 - It's like pushing and pulling.
- Yeah, it feels like it's pushing.
00:17:16 Let's listen to the last one.
00:18:03 Okay, can we listen to that outro
from take two?
- I think that... huh?
- I don't like that.
- I was going to say I like the last one.
00:18:29 Can we cut...
00:18:31 can we cut the last...
00:18:34 the take four, chorus and outro?
Let's duplicate this and then cut
four onto two.
00:18:45 - In this take, in the last...
00:18:47 my second slide in the chorus,
I missed that note completely.
00:18:51 - Okay, we can punch it.
00:18:53 - Can we fly it from another one
or punch it?
- Okay, let's punch it
because the energy is a little
different when we punch it.
00:18:59 - So, chorus three and outro onto the...
- Yeah.
00:19:02 - All right.
00:19:04 Here we go.
00:19:08 - Let's listen to this transition because
I have a feeling we might transition
before the downbeat in sort of this
last section of the bridge,
but let's have a listen.
00:19:47 - Paul, was that the only thing
that you know?
- Yeah, for me it was just
that one note.
00:20:21 - It just slipped off.
00:20:22 - Can you go punch that? Then we'll
listen down to the whole thing again.
00:20:26 - Nice job, guys!
- Thanks.
00:20:28 - Very nice!
- This board is sweet, man.
00:20:31 - Yeah.
- It is.
00:20:32 - After Paul does that,
I want to take a look at
the downbeat of that last chorus.
00:20:39 I think it's the programming
that has, like, a more 'shhh'.
00:20:43 - Okay.
- There's two cymbal hits going on there.
00:20:45 - Oh.
- I'm clearly coming in...
00:20:46 - Well, there is a swell, so maybe...
- That's what that is.
00:20:50 - Maybe it's...
- I mean, I think it's cool.
00:20:52 I just want to make sure
it was the programming.
00:20:55 - Okay. But are you saying it's maybe...
00:20:57 is it flammy, is it not placed right?
- Yeah, I just want you to listen to that.
- Okay, yeah.
00:21:04 - You good in there, Paul?
- Yeah.
00:21:06 - You'll hear a little bit of context,
a little bit of the song,
a little bit of yourself,
and you'll be in.
00:21:10 - Cool.
00:21:26 - Great. So we're going to
listen down from the top.
00:21:30 Into the third chorus there's a
cymbal swell in the programming.
00:21:33 Can we solo up
all the drum programming
and Brian real quick?
- If I could, I'd like to hear the outro
of the song, just the programming.
00:21:41 - Sure.
00:22:01 - That's what that is.
- Yeah, we shouldn't have it there at all.
00:22:04 - Yeah.
- Okay.
00:22:05 - Where it maybe could work
is from the chorus two into the bridge.
00:22:10 - Cool.
00:22:11 - Yeah, yeah, chorus two into the bridge.
00:22:13 - Because there isn't really a break.
00:22:15 - Yeah, there's no break.
I'd like to hear that.
00:22:17 - Just put it there.
Otherwise we're going to fire it.
00:22:24 - Danny making edits
back in his home state!
- And swells.
00:22:31 - And I'm muting this guy.
- Yeah, exactly.
00:22:35 - Cool.
00:22:36 - The whole track?
- No, the same ones.
00:22:52 - Can we hear it with the whole track?
- That goes into chorus two?
- Yeah.
00:23:19 - Yeah, it kind of messes
with whatever I'm trying to...
00:23:22 - Fire it, fire it.
- Get out of here.
00:23:24 - Bye-bye.
00:23:26 - Okay, so, from the top.
00:23:28 Well, keep in mind that we're
basically redoing the chorus guitars.
00:23:31 - Okay.
00:23:34 - What about the chorus sound that
I'm playing is hitting you the wrong way?
- It's just not beefy enough?
- Yeah.
00:23:39 - Okay, got it.
- Yeah, yeah.
00:23:40 But you like the performance
from... which one?
- Well, let's hear this one. I don't know.
- Okay.
00:23:44 - I felt like the third take
for me felt the cleanest.
00:23:49 - Okay.
00:23:50 - But let's see what you're hearing here.
- Okay.
00:23:52 - I don't remember take two that well.
- Okay, let's just hear it from the top.
00:24:13 Do you guys mind if I mute the vocal?
Because the pocket of it is a little...
00:24:17 - It's a little off, yeah.
- It's still a little distracting to me.
00:27:28 - Nice!
- Cool.
00:27:30 - I hear you're talking
about some guitar parts.
00:27:31 We need to...
00:27:33 we need to
obviously recut a couple things.
00:27:37 Can I hear the second verse?
Play it one more time.
00:28:18 - Okay, all good. Can we go to the bridge?
- Sure.
00:28:48 One more time.
00:29:07 - On the bass,
the little runs,
it doesn't feel like we...
00:29:14 the first one feels kind of
like the right thing.
00:29:16 - I was thinking the end of it
is a little...
00:29:18 - We need to kind of organize them.
- I agree.
00:29:21 - So, can we go out there
and just kind of talk about
what the bass is doing there?
- There's one that I played earlier
that I'd like to...
00:29:29 it was one of our earlier takes,
- I wouldn't mind listening to it.
- Sure, sure.
00:29:33 - If it's easy.
- Yeah.
00:29:35 - Like, earlier today?
- Maybe our second take today, maybe...
00:29:41 How many takes did we do?
Only one before this?
Before we came back in the room.
00:29:46 - We had the...
00:29:48 the one that kind of
had the incomplete beginning because
you were getting headphones together,
and then we did one more that...
00:29:54 - Let's try the second one.
- Okay, yeah.
00:29:56 - Just in the bridge.
00:29:58 Because I agree, I like the way I started.
00:30:00 The last one feels...
I don't quite think it...
00:30:04 - The idea doesn't feel organized.
00:30:07 - Yeah, I agree.
00:30:10 - So that's number five.
- Five. Okay, cool.
00:30:33 - That feels more like a part.
00:30:45 - I want to hear that one again
in the headphones once.
00:30:48 - Okay, yeah.
- I'll go out there, let's talk about it.
00:30:50 - Let's do it, okay.
00:30:52 Can you play the bridge for Paul?
- Okay.
00:31:29 - Put us on Input, please.
00:31:33 We seem pretty solid in the first half,
but play it one more time just like it...
00:31:36 - I want to simplify it a little bit
for this, which I feel like...
00:31:39 after listening to those,
that's what I want to be playing.
00:31:42 - Okay, would you play it again for me?
- I guess when you're on the B...
00:32:17 can you play the part over the B?
And that second phrase, is that
a little bit something extra?
- Can you simplify that?
- It's kind of the same flow
on the same notes there.
00:32:34 Earlier I was experimenting with...
00:32:43 - I like that better.
00:32:50 - It sits in that higher...
00:32:52 - Play the whole bridge now.
00:33:06 Can we hear the whole thing
with the track?
Can we hear the bridge play back
with him on Input? Thank you.
00:33:57 - It feels pretty good to me.
00:33:59 Did we record that? I'm going to
come in and listen to it.
00:34:02 - I'll stay here in case you...
- Yeah, yeah.
00:34:05 I mean, you're certainly not
the featured instrument
in Rich's headphone mix, so...
00:34:09 - Oh, Rich!
More bass.
00:34:16 - All right, can we hear it?
- The second little melodic phrase
doesn't feel quite right to me.
00:34:53 - All right, so let's try...
00:34:55 - So, play me...
00:34:57 we're just listening
for a second on Input.
00:35:00 Can you play me what you just played?
Play that second phrase again.
00:35:18 Play it one more time, from the top.
00:35:30 In the middle of that,
in the middle of the second phrase
you're going to the C?
- That's kind of all I'm playing with.
00:35:42 - I can't quite...
Can we do it with the track?
- What are you thinking about changing?
- It's too high and sticking out a little.
00:35:48 I feel like...
00:35:54 - I think you're good where you are,
it just feels like the second...
00:35:58 You played those little melodic
passing phrases,
it doesn't feel quite right
on the second phrase.
00:36:13 - Wanna try that?
- I'll try it.
00:36:15 - Can we try this, please?
- I didn't love that one.
- Yeah.
00:36:54 I need to go in there and listen.
00:37:01 - Is that a passing in the second phrase
that's not in the first one?
- Yeah, the ending of the first part
in my ears should be the same as the
ending of the second phrase that he does.
00:37:11 They work the same way, it's just
the first two notes are different.
00:37:16 - But the ending could be identical.
- Okay, okay.
00:37:18 - And it would feel
more cohesive, I think.
00:37:21 - And it will be easier.
- Hey, Paul,
I think Rich is kind of explaining
the ending of the first and second phrase
should be the same,
and the difference
should only be the beginning,
the second phrase from the first.
Does it make sense?
- No, it doesn't make sense.
- The first thing you play, Paul.
00:37:39 When you both walk in there
you played a part that...
what I'm hearing is just...
00:37:56 - That's kind of...
00:37:58 - You know what I mean?
The ending is the same on both of them
but the first two notes
are different in both.
00:38:03 - Are you adding a passing note
in the second phrase
that's not in the ending
of the first phrase?
- Yeah, I might be doing that.
00:38:08 - Because I think that's all.
- Can I try one more thing?
- Yes sir, yeah.
00:38:13 - Okay, we're rolling.
00:38:50 - Nay? Yay?
It's...
00:38:53 - Not quite the...
00:38:55 I'm unsure about the overall
change with the...
00:38:58 you eliminated the part
that was bothering me
but I don't think that that's
quite right either.
00:39:01 - Let's go back to what Rich
was just saying, I'll hit that.
00:39:04 - Okay.
00:39:05 - I think I will, at least.
- Okay, right.
00:39:07 Let's give it another try.
00:39:44 - He's switching one note
in the second part.
It just needs to be that...
00:39:48 - Ask him if he wants me
to play my guitar riff.
00:39:51 - Chris and I will come out there
for a second.
00:40:11 - Yeah.
- I think I just added a couple notes.
00:40:13 - I think that
whatever you're playing on the...
00:40:17 the fourth string,
the high string, on the...
00:40:19 - G?
- You started on that but you were playing
a passing note after that
and I think that's what it was.
00:40:24 - Yeah. I was playing that, I probably
just added a couple extra notes.
00:40:26 - Okay. I'm sorry if I
miscommunicated that.
00:40:29 - That's cool.
00:40:30 - So, can you play the part one more time
on your own for me?
So that I can sing in my head.
00:40:46 - What was it again?
- So,
the idea is that it is exactly the same
as the first one.
00:40:57 - Yeah.
- Yeah.
00:41:08 - It's...
00:41:12 Yeah.
00:41:16 Exactly.
00:41:18 Yeah, because you go back
to the root each time.
00:41:26 Right.
00:41:58 - It sounds straightened out to me.
- Let's try it.
00:42:00 - Perfect.
- Good.
00:42:02 - All right, I've tuned up.
00:42:04 - Here we go.
00:42:41 - Fantastic! Would you play it
one more time for me?
- Yeah.
- Sweet.
00:43:19 - Perfect, Paul. That was it.
00:43:22 Okay, so we're going to call it a day.
Once logged in, you will be able to read all the transcripts jump around in the video.
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.
Amazing! Always a pleasure to watch talented people, and Jacquire is such a nice guy "I'm sorry if I miscommunicated it...", so nice with Paul the bassist! I cannot wait for the next episode! Thanks guys!
Pearlpassionstudio
2020 Dec 12
Excellent....bass nailed it, good call...sounds fabulas.
