The ENTIRE Record Making Process
In this Start to Finish video series, see how all of the pieces of the record making puzzle fit together.
Learn how Grammy winner Fab Dupont:
With over 3.5 hours of non-stop teaching, this is your chance to observe not just the details that going into making a radio-ready record but also how an award winning producer keeps the "bigger picture" in focus and enhances the band's vision for the song.
This tutorial is a fountain of record making know-how and inspiration.
Get ready for tons of tips, tricks and methods that you can apply to your next recording session.
- Setting up and laying out the band in the studio to track together to capture a "live" feel
- Mic choices and placement for drums, bass, guitar and vocals
- Studio signal flow and patching
- Making on-the-fly arrangement tweaking to give the song a solid pop structure
- Double tracking guitars for a full and wide sound
- Vocal harmonies and doubling
- Vocal editing and comping that quickly finds the optimal takes for each moment of the song
- Sonically transforming drum tracks recorded by himself from "pretty good" to a modern, punchy and aggressive drum sound
- Using analog summing and stem mixing techniques for maximum depth and mix clarity
- Adding reverb and delay effects to reinforce the vocal presence and give the mix some "sauce"
- Blending together multiple guitar amps with an amp simulator to create a thick and present guitar tone
- Dialing in the perfect vocal tone and compression for the genre
- Mix bus equalization and compression as well as using the special analog 2-Bus+ processing
- Automating the mix to bring out all of the special moments of the song
- Listening and utilizing a reference mixes playlist
- Using multiple drum crush buses to get the perfect amount of smack out of the kick and snare
- Adding life to entire mix as a whole and piece by piece
- After stepping away from the studio, Fab and Joey return with mix changes big and small
- Enhancing the drums sound with a sample and a little extra EQ and automation
- Tweaking the guitar mic blend
- Refining the vocal sound with EQ and subtle Melodyne
- Altering the equalization on the mix bus
- How to take a song that's been mixed with a "mastered" sound in mind
- Mastering signal flow and workflow
- Metering and loudness
- Matching the tone and vibe with the band's previous record
- Making tweaks to the overall sonic shape and most importantly depth of the mix
- Opening up the sides and cleaning up the guitar tone using mid-side EQ
- Refine your listening skills with detailed "Listen For" exercises all along the way
This is an honest look at the WHOLE record making process, mistakes and all, so you can learn every step that goes into producing a modern rock song.
Even engineers and producers who don't make rock records will walk away with ideas and tricks they can bring from the rock world to their own music.
Don't forget, you can download the raw stems to the full song to hear the results of the tracking session and then try your hand at mixing and mastering the song!
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- 00:00 - Start
- 00:0 - Introduction
- 00:48 - Listening to the Demo
- 02:38 - The Studio
- 03:34 - The Drums
- 06:51 - Tracking Setup - Drums
- 09:10 - Tracking Setup - Bass
- 11:39 - Tracking Setup - Guitar
- 15:29 - The Patch Bay
- 17:10 - The Session
- 18:17 - Gain Staging - Drums
- 26:33 - Gain Staging - Bass
- 30:44 - Gain Staging - Guitar & Vocals
- 36:07 - Replacing the Snare
- 37:35 - Playlists
- 40:30 - Rearranging the song
- 48:15 - Musicians Tip - Starting Each Take
- 49:41 - Recording a Take
- 51:31 - Doubling the Guitar
- 53:08 - Recording Background Vocals
- 58:13 - Recording Group Vocals
- 58:50 - Listening to the Rough Mix
- 00:00 - Start
- 00:0 - Start
- 00:48 - Comping the Vocals
- 08:51 - Setup Stems and Buses
- 15:18 - Getting a Drum Sound
- 27:36 - Getting a Bass Sound
- 33:19 - Guitar Tone
- 37:24 - Listening To Reference Tracks
- 41:10 - Anchor the Bass
- 00:00 - Start
- 00:0 - Adding Guitar Delay
- 01:52 - Drum Crush
- 09:58 - Adding The Vocal
- 14:00 - 2 Bus - Adding Some Glue
- 15:55 - Adding The Background Vocals
- 18:25 - Drums - Adding the Toms
- 25:34 - 2 Bus - Adding More Life
- 26:49 - Reverb - Adding More Space
- 32:39 - Vocal Automation
- 35:38 - Guitar Amp Emulation
- 39:20 - Print - Final Touches
- 00:00 - Start
- 00:0 - Intro
- 02:57 - Tweak #1 - Adding a Snare Sample
- 11:37 - Tweak #2 - Making the Vocals a Little More
- 20:37 - Tweak #3 - Adjusting the Guitar Blend
- 22:13 - Tweak #4 - 2-Bus EQ Adjustment
- 23:02 - Tweak #5 - Tuning the Vocal
- 25:05 - Tweak #6 - Drum Automation
- 28:14 - Final Mix
- 00:00 - Start
- 00:0 - Start
- 02:44 - Step 1 - Setup the Routing
- 06:17 - Step 2 - Inserting a Peak Limiter
- 07:20 - Step 3 - Mid-Side EQ
- 12:39 - Step 4 - Dangerous BAX EQ
- 25:08 - Step 5 - Cleaning Up The High End
- 36:29 - Recap Playback
|Part 1||Part 2||Part 3||Part 4||Part 5|
Good morning children. Today...
we are going to record music for real men.
I know what you're thinking, and I think the same.
Enough of that sensitive singer-songwriter Open E and then that: "My life sucks" "Let me tell you how it sucks" What we are gonna do today is different. Is gonna be more like: "Argh My life sucks... Argh Let me tell you how it sucks" And that's a lot more fun.
And I wore a t-shirt, and a shirt on top of it to blend...
...with the band.
The name of the band is DCO Which stands for: Dry clean only. (Which I love) The name of the song is Ugly And the first thing we're gonna do is listen to the one iPhone demo, that they e-mailed me before we did the session.
Here we go...
A diagram of Flux Studios.
Here is the control room.
This is where I'm speaking to you from.
And this is where Josh is patching.
This is the live room.
Where Ron is gonna bang on the drums, and Connor's gonna be playing bass next to him, even though his amp is in the Iso (booth).
Which is also the mic closet.
Then, Joey is gonna be singing and playing guitar.
Joey is gonna be in the Aquarium, because we want to be able to have Joey and just Joey.
Not Joey with a lot of Ron in it.
He's playing guitar in there, but his amp is in the Sound Lock.
That's the Sound Lock, right here.
That's where the two guitar amps are.
And, in every room, there's a bunch of panels.
Where all the tide-lines and all the mic lines are connecting.
And they all end up here.
At that patch-bay.
That Josh is masterfully setting up.
This is a modern Grid set.
So, they are pretty good drums.
And all the cymbals are new, which means they're gonna be very bright.
I had the drummer switch his very, very bright hi-hats for the studio hi-hats that are much duller.
And the reason for that is that he plays very loud, and so...
And he plays the "hats" very loud. And that's the style and that's cool.
But with "hats" this loud it's gonna be hard to get a good snare sound.
Especially since the snare...
...is made out of air.
If you look at the snare you can actually see through the snare.
I can see you right now.
All this little holes here are just perforated.
I've never seen this before.
I have no idea how it's gonna record it.
So, I'm making sure that I'm covered, between the "hat" and the snare.
For this kind of heavy music the ratio between the hats and snare is always a nightmare.
So, the idea here is to try and get the quieter hi-hats possible, and the most snare, without any garbage in it possible.
So that I can have a great-sounding record.
So this is a Yamaha sub-kick, which is a microphone, that Yamaha actually build by looking at what people do and have been doing for years in recording studios, which is take a Yamaha NS-10 speaker and use the speaker as a microphone. By putting it in front of the bass drum the energy from the bass drum will make the speaker resonate and then the magnet will generate some electricity.
That's a microphone.
And then you, just amplify that and you get something that goes: Boom! So, it's really great 'cos it gets "boom" in a much different way than any other mics do.
That's why engineers invented the idea of putting a speaker in front of the bass drum to get a lot of low end and so in this case Yamaha was smart and they've made a product out of it.
And it's a lot easier, compact and robust than putting an NS-10 speaker in front of the bass drum.
And also NS-10 speakers, used, actually are more expensive than this thing, I think, at this point.
So, this is more constructive and it works great.
And you'll see is a great way to add low end to a bass drum that otherwise would go puck-puck-puck.
By the way, we need one of this thing. And we'll put a template in the video It's an input list with which cable you're using, what instrument, which microphone, what pre-amp, what converter (If you have different converters) which Pro Tools input (If you have a complicated set up) This is your life saver for several reasons.
Number one: It's a way to communicate with the guys.
John was confused about which way was five or six.
I'm able to tell 'em right away without having to use memory, 'cos memory is expensive.
Two: In six months, when somebody comes and says: "Wow that drum sounds amazing" "What did you use on the hi-hat?" "I don't know." I've probably would've done 200 sessions in the meantime.
But this piece of paper will tell me what it is.
So this piece of paper is awesome We have a D112 inside the bass drum.
They are like this far away form the beater, looking at the beater.
Do I know if that's the right spot? I don't know.
John put it in. So I don't know where it is, but I wanna trust John because John works here which means he's good.
Then the Yamaha sub-kick, which I explained earlier.
We have a 57, which is a Shure SM57, on the top of the snare drum.
And something that I rarely do is a bottom snare-drum mic.
Because I usually tend to not use it. But here...
because of the shape of the snare-drum, and the kind of music, I may need it.
So I put an I5.
Actually Josh picked an I5.
We are gonna see what it sounds like.
84 in the hi-hats.
KM84 Neumann, nice.
On the rack-tom which is the one there: a 421.
On the low-toms: 441s.
421 is a cardioid, the 441s are hyper-cardioids, so, we should be able to get a lot of presence and a lot of separation from the drums, or at least more than we would with the cardioid microphone.
And since he's actually play the toms quite a bit, it's important we have a good source sound for the toms.
And we have two 451AKG condensers on the overheads.
This are really not overheads. I lied.
They are cymbal microphones.
And there's one on the "hat" side.
And there's one on the right side.
I always label my drums hat-side right-side, because There's nothing more confusing than left and right.
'cos whose left? My left? Your left? I don't know. So, there's only one hi-hat.
So on the "hat" side is that one. And there's no confusion.
And we are gonna do drums audio perspective...
And then one mono overhead.
Which is a ribbon.
To see if we can get a little of a...
...gentleness in this brash world.
Why mono overhead? Because, I think I'm gonna use a lot of the close mics because he is a loud drummer, and it's like Argh-Music.
And so, I'm gonna want presence and in your face stuff.
And also I want it to sound different from any other record like that, because well, it's been done already that way.
So we are gonna do it this way and see if it feels better.
So that's it for the drums, we should probably move on to as soon as this gentlemen are done wiring everything.
we're gonna move on to the bass.
We have a B12 amp.
A lot of people like to buy B15s, and they are nice and they look manly.
They also sound manly in the room.
But, for me I agree with myself...
I like the B12 better because it's smaller and it's tighter sounding.
Whenever I'm in a different studio, and I use the B15 I have to hi-pass it.
And also it bleeds, and it's loud.
It's just a pain.
So I figured if the B15 is too loud and too fat.
maybe I wanna try a smaller amp.
And the B12's been doing great things for us here, at Flux.
The way the whole system is wired is as follows: Because I want the bass player to be able to be in the room with the drummer and close to the singer, but I want to have the amp separated, so I can have isolation for this kind of music for the bass, what we're doing today...
We have on the panel, in the live room, a connection where you can plug a bass.
straight into that connection.
And that is connected to a super high quality guitar cable that goes under, in the troughs so, we don't have to use any transformers.
All we use is a very long guitar cable, of very high quality, that that's not pick up any noise because it's well shielded.
And then we have a little mini patch made for those things, so we can send those signals either from the live room to that booth, or to these booth.
Which is very practical.
And here, it comes out of here.
And I plug it into a U5 DI from Avalon.
And then the pass through that DI is going to the bass amp.
And then the DI out is going back into the mic lines and feeding to the Neve.
I record the DI on the bass on every record.
Also record the amp, because that's nice to feed the player in his headphones and this amp sound great.
But I always record the DI because I love having the DI on bass.
It allows me a lot of flexibility and to get really the sound I want.
Most of the time, I blend the DI and the amp.
Let's put the microphone on.
That's a FET47 The reason why I have a FET47 it's because that's what Josh chose.
and you have to be nice to your assistance.
I could have chosen something else but I love this.
You don't have to spend $4000 or whatever is the cost this days to put this in front of a bass amp.
It's fun, it's good to have.
It's a nice piece of equipment.
It's well-built, and it has history so that feels good.
But you can get an $800 Clarion or some Shure KSM27 and they'll sound great. They'll sound different but they'll sound great.
As far as where I put the mic on the bass amp.
Like everything else, I put it in front of the bass amp.
This is where we chose to put the guitar amps, I'm gonna use two amps, because I feel that I can get probably more bottom out of one and more personality and grain out of the other.
We have a Mesa Boogie Rocket 44 which is off-the-shelf, easy-to-get amp.
Sounds really good, though.
And then over there is a 50's Gibson.
The Gibson's distort when you look at it.
This you can make it do many, many things.
So this is for me to be able to dial in whatever this doesn't do.
But this will have the vibe.
So I'm gonna have two microphones.
Two Shure's, that I'm gonna put in front of them.
And, where do I put the microphone on a guitar amp? I aimed for in-front of the amp. That tends to work.
I don't really care about, and I used to really agonize about where to put it.
But the fact of the matter it's this, Yes! If it doesn't sound good, I'll move it.
But most of the time there's so much processing.
going on after, for this kind of music that moving the microphone this much doesn't make that much of a difference.
But it feels good though.
Let's talk about the setup. Because it's and interesting setup.
So Joey, who sings, will also play guitar at the same time.
Because this guys they gotta play together, there's where the vibe comes from, I'm not gonna start laying down the drums, and then overdubbing the bass, and overdub the guitar.
So, of course we're gonna have all the strumming of that electric guitar in his vocal mic, and that's fine by me. I don't care.
But he's gotta be separated from the drums.
'cos that drum is loud.
So, Joey will be in the Aquarium, playing guitar and singing.
His guitar is plugged into part one of this studio guitar interface system.
It's really a DI.
There's a send and a receive box.
That's the receive box obviously.
The send box is where Joey is gonna be playing guitar.
He'll plug his guitar into this little sister of this guy.
Plug it in.
And the there's an XLR cable that comes out of that box and it goes into the entire system or snake.
You know, the stuff that's in the wall in every studio on the connection.
And you come back of this box and get back into the other box.
Then we can come back out the guitar level.
Then, I go into one of our DIs, that we've made ourselves.
Just a transformer with a black box with our name on it.
with the P-Touch label on it.
This is the output of the guitar interface system, which is just a big extension cord, that we can go through our rig.
Then we go into the DI. The DI gets back into the box, so we can record the DI.
It's always good to have a DI as safety.
I rarely use it, but usually when I don't record it is when I need it.
So I record it, to make sure I don't need it.
And then the output of that DI, the pass-through.
Goes into this little box.
Which also made by Radio.
And it's an A/B Y-Box So that allows me to have one guitar source and send it to two amps and to chose whether I want to hear A or B or both amps.
So, I could listen to... here, the Mesa Boogie, the Gibson or both.
And then you have a bunch of, like, you know, you can lift the ground, or you can flip the phase, and stuff like that.
And then, I'm gonna put the microphones in front of the amps as I mentioned earlier and I'm gonna assume that the assistants are gonna want them in the next two slots.
Or I see the left mic and mic 2 open, so I'm assuming that they want the first amp in mic one, and the second amp in mic two.
The microphones I chose for this amps are: Shure Ribbons 313s.
We love them. They're really good.
We've been using SM57s forever.
But this have more bottom, and they are thicker.
I don't know, just deeper.
And we can choose how much hi-end we want.
It's easy to add hi-end, it's difficult to remove hi-end from a screaming guitar amp.
So, I like having a mellower sound.
And a very full sound coming down from the amp.
I can hi-pass that and I can open if I want to.
But my teeth don't hurt when I listen to the raw sound, which is nice.
So two Shure 313 ribbons, on the two guitar amps.
For those of you who are confused about this, it's a patch-bay.
It's a big patch-bay.
So, in studios of this size and bigger basically, every piece of gear in the place is connected to this patch-bay.
And then you take a cable, and you connect one piece of gear to the other.
So in this case, up here we have something called far-panel mic-lines.
Well that's the panel that's all the way back, that all the drums are connected into And because the patch-bay is half normal, the far-panel mic-lines are actually going automatically to the mic inputs of the Neve.
So, if I plug a microphone into input one over there, on the panel is gonna go into input one on the Neve automatically that's why you don't see a cable in here.
But then sometimes you just disrupted those automatic connections.
So for example, the singer is in the booth, so I have to have a connection from the booth to the line on the Neve that I want to use for the singer The way we have it set up today is, output 1-2 is going to our monitor.
And then to 3,4,5,6,7,8 are actually being used for the Cue system and we have a private Cue.
So, every musician can make his own Cue so they don't bother me for it.
So I have bass drum, snare drum bass, guitar and vocal all separate And they have their own mixer and they do their thing, it's awesome.
Everything in this studio is connected to the back of this thing.
I'm able to connect anything into anything.
And, Josh has prepared the patch bay, so we are ready to actually listen to stuff while we're talking.
Keith setup the SM7, which is a Shure microphone.
It's really a SM58 but with a different shape. Same capsule.
And, he set it up and everything is connected so we can start getting sounds.
While I was setting up bass and guitar Josh setup a session.
And in this session there's one track per instrument, obviously.
And all the inputs have been assigned.
And you'll basically gonna hear everything I hear.
You'll also notice that Josh has setup the Cue system.
The way we have it set up here is as follows: Every track is gonna go to separate outputs.
That will go to the private Cue system.
So for example, the drums (in green) All drums are going to output 7-8.
Which is a stereo output and it's pre.
So I can make a drum mix up here, and then different drum mix for me, down here.
Here, the bass is going to output 5.
Because is a private Cue system the bass player can chose how much bass he wants, and how much drum he wants.
Josh knows that I don't like to send the DI to the bass player. Because it's an ugly sound.
But it's ready in case the player ask for it.
And then for guitars, we have the two amps going to...
the guitar button.
But no the DI, because that's a really ugly sound.
And then, for the vocal, just one going to vocals.
So now they can do their own mix and I can focus on my mix.
That's about it, so what we are gonna do now is ask the drummer to play.
In some cases I will ask the whole band to play, so they feel connected and they warm up, and they have fun together.
But in this case, since we are trying to learn how we do this, I'm gonna ask just the drummer to play.
And I'm not gonna ask him to play bass drum: boom boom boom Snare drum: bam bam bam 'cos that's boring for him and it doesn't tell me what it's going on in the bass drum when the whole kit is playing So I'm gonna ask him to play the pocket from the song so now I can hear the tempo. How heavy he's hitting, if he chokes the bass drum or not.
And then, if I have a problem Then, I'll ask him and say: "Hey can you play just the toms for a second?" If I need to figure out what's going on.
But most likely, I'm just gonna let it jam and warm up and do my thing.
-Ron -What's up? So just play the song.
-Don't worry about the Cue -Mhm.
Because I gotta do my levels.
So don't even put your headphones on, so don't blow your head off.
-Alright -Right? And, just play, have fun and...
-Stop before you get tire of it, OK? -Alright Alright. Rock'n'roll.
He's playing the cymbals a lot.
There's something that goes on with drummers whenever you push your microphone that you want to hear, that instrument they will not play at that moment.
It's a rule. It works great.
-Can you hear me? -Yeah, I got you.
Could you play some of those toms. That it'd be awesome.
Not like that, that's boring.
In a pocket, but do a two-ah-pocket.
When, then you play a tom fill in the end. Different fills.
So I can hear how they feel with the rest of the set. Thank you.
How about.. I have everything up, but just want to do a quick balance. Can you play the song, please? So..As I expected that snare drum is going to be "super-fun"! but...not bad. The rest is not bad I'm not gonna do any compression I'm not gonna do anything like that. I want to record this raw so, that everybody gets to play quickly and also so that, I can probably do some more intricate processing later, to compensate maybe for some of the idiosyncrasies of the current instrument.
So, I tried to record the balance.
As you noticed, in ProTools my faders are zero.
I don't always do that but in this case it's practical because I know that when we're gonna start to mix I just push all the faders at zero and I have something that resemblances a drum-set.
And I'm doing my balance here on my sense to ProTools This faders right here are my sense to ProTools.
I have the mic pre-amp up here and then it goes to through this whole thing (You notice I don't use any EQ).
And then I'm just balancing here my drum-set so that it's, you know, sounds like a drum-set-ish.
And then I go from there for the mix, or maybe I'll change that once I hear the other instruments, but right now I have a drum-set coming through my speakers and it sounds good, and I'm happy with it.
Now I'm gonna torture somebody else.
-Sounds good, man -Thank you so much Connor, just play something that vaguely resembles the song and then, I mean, as resemblance as possible and then...
Then I'll tweak the bass amp sound here (because it's right here) And then if you like it, cool. If you don't then we'll have to have you come and tweak it for us.
So, just play your thing and then I'm gonna tweak for you.
That's the DI.
Connor What are the settings like on your bass? Right now it's just, I have one volume knob.
-You only have a volume knob? -All I have is a volume knob Could you make the bass a little bit less bright Right here, all I have is the one vibe I can turn it down.
All the other settings are on the amp.
Turn it down I don't have a lot on the headphone either.
-I'll fix that -OK Go for it.
-Can you hear yourself? -Yeah -Now I can hear it. -Do you like the sound? Yeah That's good news. Can I hear the two of you together, like, on the verse for example? Yeah Take it from top.
Bananas In my headphones I need it way up. I can't hear it.
You hear yourself? Like very low. When I play by myself with the drums, I can't.
You have a knob on that white thing to your left.
Look to your left. Not, the other left.
And there's a knob...
that says bass.
-Cool -Try that one How's that? Better Cool. And if you want, I can give you definition by adding the DI on it, check it out That might be better. Let me hear how it sounds with the drum.
And you know, the Cue... Actually you know what? The Cue is a stereo mix for the drums and it's probably gonna sound awful. Like, all cymbals.
I wanna remove the cymbals because you're gonna hear them in the room.
I'll keep the toms low and then I will keep just the main drums.
What have just happened is that, since Connor sound came out a lot thinner than what I'd expected from that bass and it doesn't have a tone control.
That is "what you see is what you get".
So, I've plugged it to the amp but it sounded really thin to me. The DI sounded very thin.
So, what I did is I tried and cooked some low-end from the amp.
Because the amp can do that and keep the DI as clean as possible.
I may use a re-amp system later.
I don't know, we'll see when we grow up.
But I was able to get some sort of a pleasant sound out of the bass by using the amp.
If I was just doing DI this would be really painful.
So, the combination of the two is to me good enough, that we can make music and it's supposed to be raw, and the whole thing sounds very raw and I like that.
But now we have some bass from the bass.
Which makes sense since it's called bass.
OK, Joey can you play, like, the verse into the chorus or something so I can get the guitar tone going be careful with your levels 'cos the levels are gonna change.
I don't want you to get deaf on this.
It's a DI.
So I'm gonna record it, but I'm not gonna listen to it.
The Mesa Boogie has a bit of a head-cold, check it out! The Gibson's right.
The two of them together, I like so..
I'm just gonna keep them this way.
Joey, do you like it? Yeah, you can hear yourself, right? And you dig it. Alright, let's check that we have the vocal life.
Let me see if I can hear you.
Check, check, check. Hey, there I am.
Hey! Check, check...
Can you play the guitar but without singing, so I can hear the bleed of the guitar in your mic? -Sure -OK, go ahead OK, I can manage that.
It's probably better if you get really close to the mic.
Do you need a boom stand or are you OK? -No, this is fine -Yeah? Alright. So, can you sing and play at the same time "por favor"? OK.
The urge is to put a compressor on here. And we could but we have a lot of headroom so I'm just gonna bring the levels down and then I'll do processing later.
Because, It's a high energy band and they're about, like: Grrrh! I'm not gonna refine this. I'm not gonna...
I could put a compressor on the vocal. That would make my life easier or I could just bring the faders down, because I have headroom.
It's digital, I don't care about noise especially with this kinds of guitar, noise is not a big problem.
So, I'm just gonna lower my levels while they play altogether so I can get to the recording part as soon as possible.
So that they don't have to wait for me to, like, "finesse" stuff.
we get to hear the song and maybe it'll change somethings for me.
I'm gonna ask them to play the whole song, altogether right now.
Why don't you play the whole song altogether right now? -Ronnie -Yeah If I were to be bold and say: Hey would you be willing to try a different snare? -What would you say? -Yes Oh, fantastic. I'll be right there.
This is the stand that I'd like Ronnie to try.
It's a GMS.
We call it the blue-meanie.
Because it's blue and it's... mean.
And the reason why I would like to switch the snare, it's because I think that the snare that he has right now sounds a little bit like paper.
It's probably great for live.
But, right now it's just going: Puff! Puff! And this probably will have a little more: Mhmf! So let's see. Maybe yes, maybe no.
Don't know 'til you try. Let's try.
Alright, for reference, this is what the previous snare sounded like All in favor of old snare.
All in favor of new snare.
Let's make a record! Because Josh is smart, he knows how I work, he made a group called the tracking group, which is for tracking.
And what that does is that, now I'm ready to do another take I'm gonna do a play-list.
And everything is gonna go away. But it's not gone, it's just gonna slip right under here and I can refer to it, if I want to.
But I can keep adding layers on layers on layers, and do takes and takes in the same spot so when it's time to edit I can cut and paste in between the different takes.
So, that's cool. Guys, you're ready to rock? Here we go.
-That sounds Bananas! -I f***ed up a little.
Slight, nobody noticed. So, are you all comfortable with your Cue system? Is it fun to play with this Cue system? OK, is there anything I can do? Would you like some compression in your Cue? Yeah, you. You qualified.
Tough guy. Alright cool.
Neh, I don't go that way.
Awesome. I love the song.
And I love the energy of it.
And I'm wondering if you guys would be open to, like, maybe a couple tweaks here and there? So, intro, big tom thing, verse, right? And that:(singing) Awesome.
Then you have kind of a pre-chorus kind-of-thing going.
The part before you hit the chorus.
It just goes...
let's agree to call that the pre-chorus, ok? Because that's really what it is, kind of.
-Then, you go to the chorus -Yeah Which is...? Alright, now... (singing) OK, great.
Now, play the intro of the song.
What if you just mirror that? What if that part that you play after the first chorus was you're intro, verbatim? Like, the same thing.
So, we just start...instead (singing) you just start... (singing) yeah (singing) That's pretty awesome, right? -I liked that, that's cool. -I think that's awesome.
Because what it does is that you get to the the matter sooner.
and also, when I hear it again, I'm like: Hey! That's my old friend. The intro is back.
So you do that. Then, you have your second verse.
Now, you do some funky stuff in the second verse.
can you play the second verse now? Alright. So, I think that...
The whole beginning of that verse, with the stops is awesome.
...the pre-chorus, I don't think you need to do all that stuff.
-This? -Yeah We haven't...
There's no way anyone will have had time to get bored by then, because the song is 48 seconds So...
So, why don't we create...
I like the stops you do at the beginning of that verse, that's awesome. It recharges the energy.
But the pre-chorus, and I think you should, and I'm gonna use a very technical term, I think you should go balls out.
Just like you do on the first pre-chorus So, mirror those two parts.
Let's all focus and define what the pre-chorus is.
Joey, play the pre-chorus by yourself.
That's the pre-chorus, cool? The first one and the second time we play the same way.
Cool. Now, after the second pre-chorus.
In most structures comes the second chorus which is why we love pop-music.
So, in that chorus, you do a cool stop there.
Great. Keep that.
Then, you finish the chorus.
But then you have a weird thing when you play footballs, like, you play long chords.
What I propose is this, make your selection at anytime, either you do it for real or you don't do it.
If you're gonna do it for real everybody stops. You just play...
No drums, no bass. Maybe the root.
But no more pocket. You just go...
If you're gonna do that stop there Let's try and like... (sound) Like, hold note and vocals, hold notes and vocals. Then you get back into the groove.
Or you just don't do it.
But what's going on right now it's basically the energy is going down.
It's not really justified. And I'm not getting a feeling out of it.
You want to try just two rings? Yeah. Let's try it! Take it from the second chorus, into the... yep.
I like it. I think there's need to be something You need a fill to get out of it.
It needs to be sucked back in, right? Yeah.
Rehearse that, from the hold notes.
One, two, three, and...
-It's like a little... -Yeah -There's a hop -There has to be a hop Here's another suggestion...
What if you punctuate that last beat? So, (sings) (singing) It's not gonna work.
(singing) You'll have to do a stop.
If you do a clean stop. Everybody stops on that beat.
Then you don't need a fill.
The silence is the fill. Try it.
Bananas I love it. OK, let me play-list this.
Tuned, right? I was feeling that too.
Yeah, I mean, if you feel like it...
-Tuning is wonderful -I'm gonna have to...
pull out. Is that gonna make a big noise? Ahm, yeah.
(laughs) Just pull out.
(laughs) That was... priceless.
Ron, here's a tip.
If you want to make everybody's life easier later, when we grow up, if we get to edit this I don't think we're gonna edit this because it's so beautiful as it is but if we were to edit this, When I start the recording you hear a number of clicks.
Always start in the same place.
Like, always leave four bars of clicks.
You know what that does? It's that, when we get to edit, they all start in the same spot.
So, you can cut and paste between play-lists.
It's nice! Alright, you're ready? So picked the number... and then you still do your count-off but in your head, the minute the click starts know where you are.
And if you have a good engineer he will always start the transport in the same spot.
So everybody knows where they are. Yo? Alright. Here comes the click.
What happened? You started a bit early.
Yeah, dude. There's four beats in a measure.
-This measure, there's four - I got it. Alright What's rushing your playing? Hey, it's not a given. OK? You're ready? Here we go.
That was fierce.
Let's see if it works. It may work, it may not work to double this guitar.
It's basically the same part. You do the same part every time, right? -Yeah, straight. -OK, great.
So, the reason why I want to double it, it's to put in stereo, besides the many, many, many cymbals there's not much in the stereo field.
So it'd be kind of wide.
We can chose how wide we want it and then we are gonna record it. We may or may not use it.
but, since it's gonna take two minutes and fifty seconds it's worth it.
-Sounds good. -OK, great.
That's a long song for us.
OK, good to know.
Side note: if you notice here, I have the lead vocal on input.
So, that I could hear him because.
The only way I could hear him right now is through his vocal mic.
But if I do that he's not gonna be able to listen to himself sing so what I wanna do: I'm gonna duplicate his track Like this.
For nothing else but to be able to listen to him live.
in the room.
and we can communicate that way.
-Ready? -Yes, sir.
I'm gonna give you the same count off.
It's pretty cool.
It's great. You know, I have other ideas.
We will see at the mix when we get there.
but I think we can do something really cool with this.
-Sweet You felt comfortable with what you've just played? There were a couple of fuzzy parts but they can be pushed back together very easily.
So now, let's talk about vocals.
Do you have any background vocal ideas? Or vocal ideas in general? Yes, so I have that: (guitar sounds) It's an echo, called-response. I'm not a hundred percent on it.
I'd like to get your input. But then there's the other one so in that pre-chorus kind of part, going...
And have 'em a little bit at the background.
I don't know what justice it will do.
I mean, this is no censorship we got to try it. I just... I like get to keep it just crude.
But I like the answer, is cool.
Yeah, the: (guitar sounds) Alright, let's...
Let's start there, that's easy.
I then normally all the other times they sing harmonies.
-What kind? -Like, when we play live.
OK, that sounds great.
Are you comfortable singing without playing guitar? -Yeah, 100% -Ah, great.
Well, we have a track. Let's just record you.
That sounds good.
Yeah, but it conflicts with the lead, I think.
I think it falls too low.
-Could it just be straight? -Try that You want me to push you in just those two lines? Mhmm, no...
-Chorus you got! Here we go! That's great vibe, man. That's really great.
It's grrrr. I love it We're doubling what you just did.
Awesome. Let's hear.
Yeah, it sounds way better.
OK, here we go. Ready? Cool.
Would you please be kind enough to give me a double of the lead on the choruses? -Absolutely -Unison with the lead, OK? Here we go.
What took you so long? Let's get the guys so you can do the answer before you get out.
-OK. -Yes, wait...
Here we go! Cool. Is there another place? Do you think is worth it to do it at the part that's right after that? Or no? Just one? -It feels a little cliché -OK I kind of like that not cliché.
Yeah, I'm cool with that.
Alright, so you'll come...
-...and listen to your masterpiece. -Sounds good Don't forget that this is just microphones into pre-amps.
No EQ and no compression. Nothing.
This is not the way it's gonna sound in the end.
This is the raw material we have, so that we can make a record out of it. Still sounds great to me. I love it And I'm using both guitars right now so you can hear how it feels to have both guitars play at the same time OK, so we're just gonna listen to, like, does it feel good the playing? Are you happy with your performance? Is it true to the song? That's what we matter about. The sound...
that's the next chapter. When we grow up later.
OK? And I'm gonna play it loud...
because you've just been wearing headphones for a while.
Which means you're legally deaf.
So I'm just gonna blast it basically. Hold on to your socks.
Here comes the song...
-How's that feel? -It's fat as s**t OK, fat as s**t is good to me.
I'm gonna mute that last phrase. It's gonna be like this.
-Thank you very much. -I'm happy with it man.
-Thank you very much. -Thank you.
Do you have any idea of what was happening behind your back? No. (Laughs)
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Fab Dupont is a Grammy 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 been nominated for Grammys 6 times, including two Latin Grammys and has received many other accolades around the world, including Victoires de la Musique, South African Music awards, Pan African Music Awards and US independent music awards.
Toots And The Maytals
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