00:00:00 So let's get into the drums,
let's see what they're doing.
00:00:03 In fact,
I wanna start simple,
we've got the shaker.
00:00:27 I can't tell but it seems a little,
timing wise,
moving around.
00:00:32 I'm certainly not gonna
get into fixing right now.
00:00:34 Let's listen with the drums.
00:01:12 OK, so you saw there
that what I did was
just listen to the section
and try to determine
what parts are doing what.
00:01:21 I'm feeling like these room mics
are just a bit much for me.
00:01:25 It's pushing it over the edge
where I wanna hear those walls,
I'm not gonna turn them off
because they are doing something.
00:01:31 I'm gonna just lower their volume.
00:01:33 But first I've got to
figure out is this mono mic,
adding as much as I think it is.
00:02:00 So, I'm gonna mute the
mono mic for now, overall.
00:02:03 It's just doing something
that I'm not happy with.
00:02:31 I'm just focusing on the section
that I wanna lower here.
00:02:36 And I'm just gonna lower significantly,
so you hear much less.
00:02:40 OK, let's listen to that transition again.
00:03:24 That's interesting.
00:03:26 Everybody heard that long cymbal
that cuts off there.
00:03:31 I guess we're gonna
assume that that's intentional.
00:03:33 But we'll see.
00:03:34 So, that's a direction.
00:03:36 Let's get a sense of where we are.
00:04:35 I'm having significant
issue with this vocal.
00:04:38 And it's really because the vocal
doesn't fit in with my idea.
00:04:41 So, obviously I've gotta change
my idea.
00:04:44 I'm gonna try and force
that square peg into my round hole
but let's see if it can happen.
00:04:50 I'm also gonna try
adding this synth ARP bit here
and see if that carries over.
00:05:30 I wanna see if I can get that
synth to sort of
be slightly wider
or some kind of reflection
over on my left side.
00:06:16 I'm gonna keep work on this new part
that we haven't
really paid much attention to.
00:06:21 This sound is another great
sort of vintagy, synthy
kind of sound.
00:06:26 I'm trying to figure out how I can
really make it help
us get this vibe across.
00:06:32 I'm kind of feeling like
I want more space.
00:06:35 So maybe I have to create another space.
00:07:11 Still not really doing much for me.
00:07:14 I haven't found the right magic yet.
00:07:17 And I'm not sure what that's gonna be.
00:07:19 So, in cases like that,
you know, maybe I'll go more drastic.
00:07:26 Maybe these guys.
00:07:29 See how far this thing needs to go.
00:07:35 I'm looking for something that's
gonna have some saturation involved.
00:07:39 I don't want too much detuning
because it's already kind of shaking.
00:07:44 So, I want it to sit on top of the mix
but it will be a little bit
more watery, maybe.
00:07:49 OK. I'll try that one
and see what happens.
00:08:26 I've got a couple options here,
I'm gonna stick with this for the moment.
00:08:35 It's got all the things
that I had just talked about.
00:08:37 I've got a bit of saturation,
I've got some detuning.
00:08:41 I've got EQ emphasis.
00:08:43 I've got a tape reference.
00:08:45 There's definitely some
things here that are useful.
00:08:48 The imager,
it's quite nice, it's subtle,
it's got great character.
00:08:54 The vintage limiter,
I'm not doing much with.
00:08:57 So let's see how this works.
00:11:52 I don't seem to have found
the magic yet on this ARP part.
00:11:57 But I am going in a good direction.
00:11:59 And I like what the Ozone is doing.
00:12:02 So, we're gonna hold on
to it for a minute.
00:12:06 It's an important part.
We've gotta figure that one out.
00:12:09 Now, the vocal I immediately want to,
I wanna have a duplicate.
00:12:18 I feel like these parts
are different
than the other parts.
00:12:25 So, I'm going to focus
these parts
on separate tracks
so that I can try and have more
control over this, so let's see.
00:12:57 OK, interesting.
00:13:14 So, we need to get rid of the
Devil-Loc in at least one of them.
00:14:10 I'm not liking the Devil-Loc so much
but I'm liking the concept
so I'm gonna leave the
Devil-Loc for a moment
and see if I can find
something I like better.
00:14:24 I'm gonna start with the Scheps.
00:14:29 And I wanna see if I can
get the drive I want out of that.
00:15:48 So, this is definitely going
in a better direction,
the part that comes in the middle
is really sort of sitting between the two,
not in a good way,
so I need to figure that one out.
00:16:02 Maybe that one just gets
a simple
Saturation Knob.
00:17:31 So I listen
obviously quite a lot there,
and I did quite a lot,
and I think that
I've got a framework at this point.
00:17:39 I'm gonna listen from the top
because it's been a while.
00:21:17 It's definitely coming together
but you can see that
these are broad strokes.
00:21:21 I still haven't really dug in
any serious detail.
00:21:26 There needs to be detailed
work done on the vocals.
00:21:30 The 'ss' need some control here and there,
so sometimes I do that with clip gain.
00:21:35 Obviously,
effects are still not quite right.
00:21:39 There's a good bit of work here.
00:21:42 I'm feeling the female vocal better now,
which I like.
00:21:45 The 'Bridge' has a reason
to be at the moment,
which is a positive.
00:21:52 There's plenty of work to do
but the ideas are there.
00:21:56 And that's the important part.
Once logged in, you will be able to read all the transcripts jump around in the video.
Tony Maserati is an American record producer and audio engineer who has worked with many mainstream artists including Lady Gaga, Beyoncé, Jason Mraz, James Brown, Mariah Carey, Notorious BIG, Black Eyed Peas, Destiny's Child and more. His work encompasses worldwide sales in excess of 100 million units. He won an Award for his work on Beyoncé Knowles' No. 1 single, "Crazy In Love", a Latin Award for Sérgio Mendes's Timeless (2006)
Maserati attended Berklee College of Music in Boston, Massachusetts for production and engineering. He relocated to New York City during the early days of the record-making business in New York City and was trained by the technical and engineering staff of legendary Sigma Sound Studios as well as the steady stream of R&B, Dance and Rock luminaries who booked the rooms there.
Maserati is a Class Man. I wanted to have half of his style
iamryanparker
2021 Mar 18
Of the many mixers who've worked on the Lifeboats series, only 2-3 have noticed & fixed that out of tune synth early on. The rest continue to torture our ears by looping it over and over without ever seeming to notice how painful the tuning is
ruyoliveira1@gmail.com
2021 Mar 17
I think it's time to use another song
Dgutshall
2021 Mar 16
Oops - Lifeboat, not Lighthouse. You guys know what I meant, right?
Dgutshall
2021 Mar 16
I'm really enjoying this series, but I gotta tell you - The slightly detuned ARP in the chorus is beating in my ear terribly and driving me MAD!! Hadn't noticed it in the other Lighthouse sessions...
Denis Boucher
2021 Mar 15
Tony seems to have a lot of trouble mixing this thing...
rcmiller127
2021 Mar 13
Format is the worst.
Danbouch
2021 Mar 12
Why not try panning those synths?
Pearlpassionstudio
2021 Mar 12
Short but great tutorial. The session is not that big. Sure coming together. Thanks for doing the series, well enjoyed
Michaeltn86
2021 Mar 12
also love the series, but this new format also annoys me. it was a lot easier to watch videos that were about 1 hour long.
Matías M2O
2021 Mar 11
Hi, nice series, but why are you (puremix) making now this short chapters... the concept gets lost with 20 or 30 minutes each week... same with STF series, at the begining the chapters lasts an hour or so in STF series and Life Boat versions were done in one long chapter. Love the series but it's kind of annoying this new format.
