In this episode, Jimmy digs further into the details of the mix by editing the arrangement to enhance the impact of transitions between sections and add exciting moments to the vocal arrangement.
See how Jimmy Douglass:
Addresses the synth pad
Makes edits to arrangement to increase the impact of the chorus
Adds call and response vocal delays to the chorus
Balances individual the vocals against the printed effects
Watch Jimmy Douglass, mix "Light Shine Through" from Jared Evan. Only on pureMix.net
00:00:23 I've been ignoring
this one part over here,
the Arcade.
What's he doing?
He's adding to
the 'Ensemble Mystery'.
00:00:33 What?
Quite effective.
00:01:27 So because of that
guitar that's actually
doing counterparts,
the delay is actually crashing into it.
00:01:33 So let's take it off.
00:01:34 Let's be...
00:01:37 Ladies and Gentlemen here and take it off.
00:01:40 Get away, get away. We don't want you.
00:01:44 But remember, we have the right
to change our minds later
because that's what we do.
00:02:35 Delay Vox.
00:02:39 I'm gonna call it 'rip efx'.
00:02:49 Very cute.
00:02:51 Here's the delay vox at first.
00:02:56 Can you spell?
I spelled 'rip' backwards,
that's so weird.
00:03:50 I'm just trying to clear
that little break
so it's more effective
and not rips in your face.
00:03:56 'In yo face'.
Here we go.
00:04:09 Strings are hanging over as well,
whoever they are.
00:04:37 I think I cut everything
that's making that,
hang over
let's see what it sounds like.
00:04:42 Earth, Wind and Fire style.
00:04:55 Someone is hanging out there.
00:04:57 Oh, because you didn't shut them off.
00:04:59 I was in Spot mode,
for a minute I thought I was doing jingles,
the next thing you know
I can't mute anything.
00:05:06 Pushing buttons and...
00:05:08 You gotta talk to your DAW.
00:05:10 I was talking to him kindly
that's how it paid me back.
00:05:14 We're cool now?
He said yes.
00:05:16 Let's continue.
00:05:28 Almost there, I promise.
00:05:30 The part about to popcorn is really good.
00:05:45 Alright, this much.
00:05:51 I think we like that.
00:06:08 It's you!
OK.
00:06:10 Let's do our Arcade.
00:06:26 Let's get these toms up again.
00:06:50 Let put a little
washy reverb and see what it does.
00:06:56 It's probably out of context but... Hey!
Not bad.
00:07:21 I like it.
00:08:06 OK, we're going to just
automate that little
piece for that one second.
00:08:11 Anything else in this track beforehand?
Of course, a million things,
what's wrong with you?
You should have known better than that.
00:08:33 So I believe that it
probably sounds better dry
but if I don't put this thing
here to hear it again later on
we'll never have that moment
to have the decision.
00:08:41 So, let's put it in,
automate it,
it's not a lot of work.
00:08:52 Nice.
00:08:53 Alright, on to other things.
00:08:54 Let's how this record is
progressing in general.
00:08:56 I'll just go randomly
look for some other stuff.
00:09:32 Another information that's been off,
muted.
00:09:35 Let's see what this is.
00:10:38 Let's put the keys back in. Good call.
00:13:34 At this point I'm just kind of going
up and down at the mixing,
grabbing little things that I hear
and wanna
tickle them down.
00:13:41 And we start with a nice
landscape like this with nice
interesting sounds there's not a lot of
concentration of doing
that particular part of it.
00:13:50 It's just a matter of balancing
and continually finding different
little interest and ear-candies
that are already there just to
pull your attention.
00:14:00 Like, 'look here now'.
00:14:01 Now 'look here now'.
00:14:02 It's already there.
00:14:04 Hopefully.
00:14:28 We're gonna see if we're
gonna use this or not.
00:14:31 Let's see what happens if we don't.
00:14:41 When in doubt
leave it alone.
00:16:29 I've been hearing this delay all day.
00:16:32 And
I thought 'naah', but I will just do it,
it will take me 5 seconds.
00:16:37 And I can use it or not use it.
00:17:12 We're gonna just cut all these out.
00:17:42 Come back with my microphone.
00:20:49 I'll put a little delay on that, maybe.
00:21:17 A little automation.
00:21:37 Alright, it's getting good.
00:22:26 That's one of those FX
you should put on there.
00:22:29 If there's a 'shorter' request
you take it off.
00:23:21 Let's try... Idiot.
00:23:23 OK, that's why.
00:27:01 A little EQ to round these
backgrounds up a little bit more.
00:27:06 Cut a little better.
00:27:49 I'm just gonna
recompress that package because
it's neither here nor there.
00:27:55 And that said...
Compressor.
00:28:53 I love when we use
an FX or a plug-in or whatever
and it does exactly what
you thought it was gonna do.
00:29:01 That's progress.
00:29:04 We're about to review
this mix once again
to see some of the little details
that might have been missed.
00:29:12 But
I'm pretty confident of many things here,
it sounds pretty good.
00:29:19 What is this? Let me check out this.
00:29:22 Extra vocal.
00:29:56 That vocal doesn't exist at all in here.
00:29:59 Because he's singing different words.
00:32:12 Raise the tambourine...
00:32:14 considerably.
00:32:39 And move it slightly to the right.
00:33:19 OK. That's now too dynamic.
00:34:37 I have to go back to the other vocal
to hear how this relates to this.
00:35:52 Let's see. We'll EQ that differently,
this little part has turned into
a big part with all the moving parts.
00:36:06 This sounds loud.
00:41:08 It feels very nice.
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Jimmy Douglass (also known as The Senator) is an American four-time Grammy winning recording engineer and record producer, whose prolific career has spanned more than four decades.
During the 1980?s, Douglass continued to hone his engineering skills while also taking on the role as producer. He engineered and produced established artists including The Rolling Stones, Slave, Odyssey, Roxy Music and Gang of Four.
Presently, he continues to display his versatility by remaining current while drawing from his years of experience. Douglass is best known for bringing unconventional techniques into the studio and encouraging artists to transcend genre restrictions. He is credited with bringing a raw edge to sound and specifically bringing a heavy funk bass sound into rock music. His hard work and immense talent has carved a place for him among some of the most respected engineers and mixers in the world.
