Original subtitles

so this is super unusual

I don't actually know what's going to happen next

now I know that I have to

you know maybe resink some things

maybe like replace a couple of lyrics here and there

um but it's a bit unusual

it's a kind of unusual process

for me to kind of go about it this way

I don't usually

finish the entire song form this early on

so let's just listen to it sometimes

sometimes stuff like this will happen it's like

listen to the whole form and see what needs to be added

it's always good to come back to things with fresh ears

I like it I remember it that's a good sign

so right off the bat

like really loving this

I wanted it to be like a single vocal before

but I think there

I think the chorus could use some like

I'm trying to think of something that I like

I never do like

usually I lair whole like

ooze and stuff down on the chorus

but I never really do among

like individual words like Sam Smith like stay dah dah

so maybe will that sound good

you always have like

play it back in your head and see

let's try it

and if it doesn't work

we can just say we tried it

but I think it could work

let's see so I

I wanna just like a

like very percussive like well

fun day and like

reverb it out

stuff cause

I don't want the harmony

notes to go higher than the melody

if that makes sense then

because I don't want that

then the melody becomes ambiguous

and people don't really know what to sing along to

like we'll stack the hell out of these

and then it'll kind of be in the background

just like as a little bit of support

but I never do stuff like this so

let's see what this sounds like

just like very very short normally I'd go one

but right now we're just gonna drag these down here

next couple next couple one

kind of hit an F there horn

well that would be nice one

make it a little bit lower one day

it's like not completely a minor

it's like a sus or a sus court or something

I was gonna double the weed cause

yoh nice

sing into the note you know

very do be brothers ish like ballad do We Brothers

just a little bit

and I probably make it just a little bit lower

and same thing on that

you're splitting up the word so you gotta like

super pronounce it so it doesn't get lost in the sauce

like what the hell is he saying

little singing trick too

if you really wanna super pronounce something

my friend roscolen told me that

he's a really good songwriter

he told me this five years ago just like over smile

like creepy dude at Disneyland smile

once never then it gets the super high end siblings out

and just the last note

let's lead into those ooze just with like

these are just like bridge transition

little ooze

little bits of ear candy

because you don't want to go too complicated

on something like this

well that's kind of nice

sick more

what should I do for the I did sees here one more

making those harmony super super full and thick

starting on the seas

just another layer let's see what that sound

I think one more note let me just hear so

so we're going to the a minor

she had to remember not to go to the F on the bottom

facing up

gotta go way down there now to the low C

it's gonna be super filling

I never that was hella uncomfortable on the theme

on the theme of going uncomfortable that was hella low

but it sounded nice

I just had an idea

Omnisphere that's so I don't forget it

I know it kind of sounds like the Beach Boys

kind of harmonies

one more let's see

we know we can do

okay so let's

let's say those are really

really good and away

let me just copy and paste these over here first

before I lose my train of thought

oh listen to the difference alone

so I was wrong I thought oh has to be alone

like I I hate it because it's like so wishy washy

and everything

but I love it because it's something like

completely like that I would probably never do

but that's how you push yourself I this is

LA LA LA LA LA

you go like endless possibilities um okay so let's

these are really good

but there's a way to make them thicker

it's a really

really good trick to know it's

I did it once

and now I will do it another time

this on you

open up something like omnisphere or whatever has like

a lot of like

great vocal samples

very very powerful

go to sample and a and isolate all your samples

um human voices I used

Japanese school boy choir on See You Again

for all uses this all the time on his song

maybe that humming kind could be just as like a lip

that's actually awesome

okay so you don't want it to be overpowered so

see how it like cuts off

so the whole purpose right now is like

layering your voice cause

see how cuts off though

so I wanna record all these separately

and then we're gonna do some custom fades on them

it's like its own little release

so clean

do a little suspended hmm

that was that wasn't

see okay so print these

we're gonna just like hide these into the

to the other ooze

so ah

still a little fade out one day

kind of the same value but

I don't want those suspended quarters anymore simple

filling all these cross fades here

boom boom I want to fade these things because one

but they're still

I want them to kind of like meld into each other

so just you know just throw a little delay

take the feedback down

you can do this in H delay too I just using this one

but maybe you can automate it

but maybe just put on different track

for some extra control

because I still want the

particular type of delay on here

uh huh

clean

and then just repeat it there's

I try so hard hmm let me have some dynamics

maybe now so now that that's in there

I kind of have another thing

you want to like have rhythm without rhythm

that's kind of what we were doing

like when we put the tremolo on the noisy roads

although I think we can take that one step further

what is that one hmm

hmm

so let's let's stay an atmosphere I think

let's go to sense let's go to the hmm

let's to try this boom boom

it's a little bright so

something really like a weekend base or something

like enough versatility to like move it around

it's nice and deep

it's like normally I wouldn't go down that far

but that's kind of nice down there gives it some

some attitude

I wanna go up on that OCTA there

I try so I like that dichotomy

like super deep and then into just Bam

nothing super weird

kind of goes well

sometimes I'll do active mixing let's print this

I like what it did okay commit it forget about it

Phineas produced this song for uh

for Selena Gomez called Lose You to Love Me

it also didn't have like

like a rhythm section

but it was really ingenious because it had like

kicks and just the pizzicatos on the strings

that might be where the strings could come in

uh they were kind of acting as active snares cause one

so we could do that here as well cause one

great kick that everybody should use always and forever

big head No. 2 works with everything oh baby

maybe we'll muffle it a little bit

cause one yeah

that's all that's pretty intense cause one

let's take let's take some top out of it

sound like that

just a heartbeat cause one

something kind of important here before we do this

something important

you want to do this

I'm playing an a here

for that sorry that's that's like that's the base

that's kind of like a

the resonance is like a C sharp to a d

so you might wanna just like

to make it blend even better with the base

just pitch it down

sharp a little bit

it'll naturally get longer

so just kind of trim it up a little bit hey

now try it

cause one cause one

it just tucks it in a little bit nicer

hmm cause well

then you can kind of

put the kicks all on here

maybe kicks like this just play around with it cause

building it something with a little swing

maybe try like thing

just drag it over you know

it sounds very robotic but boom

I might not seem like a difference

but when you're um

kind of putting another kick before another kick

it might be make sense to just gently pitch it down

ever since like that

might not make a huge difference but

make it a little less open

transient down

hey there we go 1 2

maybe just another one here how

just make a separate kick track here

kicks our guests I didn't anticipate this

but kicks will be the main drum focal point here hmm

is this too much but everything comes fine

see what that sounds like as a loop

you don't wanna get too crazy

ah that's too that's that's too much cause

it's

enough to do do do do

isn't that oh well

um might be a little much

I wonder

I kind of fuck with that

for some reason doesn't feel good there

maybe it's cause of where the song is doing

but if I take it

Denton Denta I think it's calling for

oh yeah I move so much better

see you never know it's getting too comfortable cause

it's a very very

very very very Blanco kind of thing to do

and then we have that extra four bar here

so we insert this

or maybe we don't need anything there

lot of things

but it's so is it cool if the drums are in here

let's see I don't know I beg

I bet you I like that I'm keeping it

this needs to have a let's use the one knob 1 pumper

how do you spell knob 1 is one

didn't think I was gonna go this way

ah ah

kind of like has a SG Lewis

SG Lewis why am I talking like that

has like an SG Lewis warm kind of vibe to it

this is what

so I guess the point

like we started off like

a little uncomfortable

and then it's kind of

slowly got back into comfortable land

but ended up making something

that I don't think I would usually make

which is exactly what I want you to do

wondering if it will

one thing you can do to

to make your kicks not sound so stagnant just type

go to splice and type in vinyl or something whoa

that kick has some little at the end of it take it

actually like the beginning of this

let's save that for something else

like yet you know how the front of this kick has like

a little whoop to it maybe

make it rhythmic

oh that's nice

so I took the front of the old kick

and now when you play together before

it's good but little character

go back in and put it on like every fourth one

I begged her wish and I could go back in time

or maybe every second one

I begged her wish and I could go back in time too much

so we just have like some little

I did that on the tension kick too

just a little

makes a difference white noise essentially

I'm wondering if it will

little little scratches out there

great trick Max taught me

just delete everything there

makes everything hit cause

a little appropriate face cause why

the strings on the second half

you do that's kind of a cool little melody

you can do with the strings

this back into contact for the strings

pizzicato

have a great built in compressor in here

where the heck is it though

performance

oh well

you know it sounds like Anya now it's like

so I want these little on this MIDI here

I hate MIDI and Pro Tools so much you do

t papa so you gotta just highlight that and take that

all Quantai

turn dun dun dun dun

the hell

and then you have something like this

which is you take care of it

okay let me just add a couple more things

sometimes I love to put the eight o eights in

in contact as it makes it this nice little

it gives it this nice little piano roll

so keep contact open

hmm what's a really good one

oh my God Ronnie has a really really

it's nice kind of sounds like mine

I think it's better though

some of these are like

we do with the click there

sometimes like cause

I just like to elongate

one note and to do that

Pro Tools has like

a really good audio stretch mechanism

polyphonic started off there

hmm

it's good with me x form thumb

I met

like that hmm hmm

and there's a loop right there

don't even need to pay attention anything else

hello

Bing Bill

smile

isn't the round

moon

well

I go around

Bing do do do

maybe something I wouldn't normally do on an 8:08

spirit of being uncomfy maybe

imagine if it like sounded super destroy the whole mix

there's

something dope about that maybe not but

let's make sure your base and your 8:08 aren't clashing

listen to it low

lower the 8 away bring up a little base

you know I'm going anywhere

does it sound just dope as this

I tell you all this extra shit doesn't mean nothing

it does not make it better I promise

that's the realization I'm coming to right now

I could mute all it's just

it's just extra

doesn't sound good

like I could use the strings

yeah but like

no like that doesn't sound good

it's just too much doesn't need it

I'll keep the base if anything

yeah I promise

like that that doesn't need anything else like that

all that extra shit just make kind of convoluce

it doesn't sound good

okay so I think that's a great place to

end that section there

you know what I'm really glad happened

I'm I started adding too much stuff

and I never want you to think that like oh

every decision I make is a perfect thing

and it's all gonna be like

I make mistakes too

and I was thinking that like

I got too carried away

like it started off good

and then I started getting a little too comfortable and

like doing things that I would normally do

like add um

some rhythm to it

but it just didn't need it

the song is kind of like

speaking for itself in a way

and I think it's really gonna come to life

when everything is like

super polished and everything

it's just sometimes less is more

so my art teacher used to tell me

when I used to put too much Elmer's glue on my starfish

when I was trying to

just make something cool for my mom

so I encourage you to add

you go crazy

add a bunch of kicks

add almost too much stuff

and then subtract

which is harder to do

I encourage you to do that

it's what I did here

and I think the song ended up better

much simpler

all that other stuff was convoluting

getting within the way of the lyrics and stuff

so that's what I encourage you to do right now

and I'll see you for the next lesson

and I can't wait to hear what you come up with

we're gonna find two things now