Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:09,620 --> 00:00:14,429
CLA QA here 2014 I have some questions
2
00:00:14,429 --> 00:00:16,289
from some of my fans some of the people
3
00:00:16,289 --> 00:00:17,550
that couldn't make it to the seminar
4
00:00:17,550 --> 00:00:19,650
that had a few questions do you want me
5
00:00:19,650 --> 00:00:22,439
to answer about mixing or or audio or
6
00:00:22,439 --> 00:00:24,449
whatever and we're going to run through
7
00:00:24,449 --> 00:00:27,660
those right now my first question comes
8
00:00:27,660 --> 00:00:31,430
from Jessie Miller and his question is
9
00:00:31,430 --> 00:00:34,649
what was your most recent mixing aha
10
00:00:34,649 --> 00:00:37,559
light bulb moment did it fit into your
11
00:00:37,559 --> 00:00:39,239
current workflow or was it a one-time
12
00:00:39,239 --> 00:00:42,629
usage event well Jessie that's a tough
13
00:00:42,629 --> 00:00:43,260
question
14
00:00:43,260 --> 00:00:44,370
not really tough but it's an interesting
15
00:00:44,370 --> 00:00:46,500
question what you're saying that I have
16
00:00:46,500 --> 00:00:49,260
an AHA light bulb moment I get those all
17
00:00:49,260 --> 00:00:51,030
the time like I'm surrounded by light
18
00:00:51,030 --> 00:00:55,050
bulbs I'm like Thomas Edison when I work
19
00:00:55,050 --> 00:00:56,910
with projects there's always that oh my
20
00:00:56,910 --> 00:00:59,100
god what was I thinking light bulb thing
21
00:00:59,100 --> 00:01:01,760
I was just mixing Stevie Nicks Iselle
22
00:01:01,760 --> 00:01:06,540
and you know the most important thing is
23
00:01:06,540 --> 00:01:08,369
paying attention to the rough and
24
00:01:08,369 --> 00:01:10,860
getting the rough you know getting what
25
00:01:10,860 --> 00:01:12,780
you're doing to be a continuation of
26
00:01:12,780 --> 00:01:16,229
what they're used to but in her case an
27
00:01:16,229 --> 00:01:18,900
artist like that wants you to create
28
00:01:18,900 --> 00:01:21,150
something different so from doing her
29
00:01:21,150 --> 00:01:23,040
replicants I realized that she wants to
30
00:01:23,040 --> 00:01:24,450
go through everything and take it all
31
00:01:24,450 --> 00:01:27,180
apart so matching the rough was only the
32
00:01:27,180 --> 00:01:27,750
beginning
33
00:01:27,750 --> 00:01:30,659
the aha lightbulb moment was be ready
34
00:01:30,659 --> 00:01:33,540
for anything so you know the lightbulb
35
00:01:33,540 --> 00:01:35,640
can pop up at any time the thing is is
36
00:01:35,640 --> 00:01:38,100
never fall into a pattern always be
37
00:01:38,100 --> 00:01:40,229
ready to accommodate the artist so
38
00:01:40,229 --> 00:01:43,380
Jessie aha light bulb means be ready for
39
00:01:43,380 --> 00:01:47,040
anything now our next question comes
40
00:01:47,040 --> 00:01:50,909
from Patrick Karen C hello Chris I've
41
00:01:50,909 --> 00:01:53,159
listened a lot to your mixes and I love
42
00:01:53,159 --> 00:01:55,290
the way your vocal sound what is your
43
00:01:55,290 --> 00:01:58,369
typical vocal chain when it comes to mix
44
00:01:58,369 --> 00:02:01,290
well Patrick yes the vocals to me are
45
00:02:01,290 --> 00:02:02,820
the very important thing my typical
46
00:02:02,820 --> 00:02:04,920
vocal chain is to kind of actually use
47
00:02:04,920 --> 00:02:09,899
my plugins I came up with plugins so so
48
00:02:09,899 --> 00:02:12,120
you have a go to setting' so there's two
49
00:02:12,120 --> 00:02:13,590
ways you can go my
50
00:02:13,590 --> 00:02:15,780
vocal plugin in my Signature Series is
51
00:02:15,780 --> 00:02:17,760
the best start point for you if you're
52
00:02:17,760 --> 00:02:19,769
working in Pro Tools go right to the
53
00:02:19,769 --> 00:02:21,390
signature plug-in and right there you
54
00:02:21,390 --> 00:02:24,269
have six faders to give you EQ
55
00:02:24,269 --> 00:02:27,660
compression reverb and delay that would
56
00:02:27,660 --> 00:02:30,000
be my go to start up point for anyone
57
00:02:30,000 --> 00:02:32,310
who wants to get a vocal sound
58
00:02:32,310 --> 00:02:34,890
that's like me so Pat good question I
59
00:02:34,890 --> 00:02:37,230
invented that plug-in just to answer
60
00:02:37,230 --> 00:02:39,420
this question so give it a try CLA
61
00:02:39,420 --> 00:02:41,519
signature plugin alright Pat good
62
00:02:41,519 --> 00:02:42,560
question
63
00:02:42,560 --> 00:02:45,690
the next question comes from Tom he's
64
00:02:45,690 --> 00:02:47,670
got a a long question here I'm going to
65
00:02:47,670 --> 00:02:49,799
read it to you from the screen you said
66
00:02:49,799 --> 00:02:52,319
many times you try to do a mix in one
67
00:02:52,319 --> 00:02:55,200
pass how do you still make sure you get
68
00:02:55,200 --> 00:02:57,150
the first impression of the song after
69
00:02:57,150 --> 00:02:58,700
you solve all the problems such as
70
00:02:58,700 --> 00:03:02,700
annoying frequencies etc and still be
71
00:03:02,700 --> 00:03:05,519
able to work from your instinct and do
72
00:03:05,519 --> 00:03:06,900
you ever get to a point where you've
73
00:03:06,900 --> 00:03:08,819
lost the connection to the song during
74
00:03:08,819 --> 00:03:11,099
the mixing how do you then go back
75
00:03:11,099 --> 00:03:13,260
without losing your own excitement about
76
00:03:13,260 --> 00:03:15,060
the song so you continue and go forward
77
00:03:15,060 --> 00:03:17,190
thank you so much for your time
78
00:03:17,190 --> 00:03:20,040
well that's Thomas's question basically
79
00:03:20,040 --> 00:03:21,930
what he's saying I like to do the mix in
80
00:03:21,930 --> 00:03:24,120
one past how can you stay fresh on it
81
00:03:24,120 --> 00:03:25,709
how do you solve all the problems to
82
00:03:25,709 --> 00:03:27,810
stay fresh on that is the ultimate
83
00:03:27,810 --> 00:03:30,599
challenge I look at the clock as your
84
00:03:30,599 --> 00:03:33,540
enemy with mixing and being fresh in a
85
00:03:33,540 --> 00:03:35,519
song it's got like a freshness date like
86
00:03:35,519 --> 00:03:38,489
milk or cheese or yogurt the most
87
00:03:38,489 --> 00:03:40,200
important thing is to try to have your
88
00:03:40,200 --> 00:03:41,970
assistant team or someone helping you do
89
00:03:41,970 --> 00:03:43,980
the prep work so when you come in
90
00:03:43,980 --> 00:03:45,750
dealing with it a lot of the basic
91
00:03:45,750 --> 00:03:47,430
problems have been solved so what your
92
00:03:47,430 --> 00:03:50,010
next problem is is balancing and solving
93
00:03:50,010 --> 00:03:51,859
inner balances in the song andy cueing
94
00:03:51,859 --> 00:03:54,780
not being an audio maid if you're going
95
00:03:54,780 --> 00:03:56,010
to sit there and be an audio maid have
96
00:03:56,010 --> 00:03:57,660
to tune things correct time and get rid
97
00:03:57,660 --> 00:03:59,459
of leakage it's going to give you too
98
00:03:59,459 --> 00:04:02,040
much time with the song so the key is is
99
00:04:02,040 --> 00:04:03,569
to do as much prep work without
100
00:04:03,569 --> 00:04:06,239
listening as long as possible and I
101
00:04:06,239 --> 00:04:09,510
think that's the secret is to try to do
102
00:04:09,510 --> 00:04:12,000
the prep work beforehand Tom good
103
00:04:12,000 --> 00:04:15,859
question the next question comes from
104
00:04:15,859 --> 00:04:19,200
szilárd bull rose hey Chris thank you
105
00:04:19,200 --> 00:04:20,910
for helping us to understand you're
106
00:04:20,910 --> 00:04:23,400
mixing philosophy you really deserve a
107
00:04:23,400 --> 00:04:25,710
Grammy Lifetime Achievement Award well
108
00:04:25,710 --> 00:04:27,360
thanks for that I hope the Grammy guys
109
00:04:27,360 --> 00:04:29,819
think of that some point I have two
110
00:04:29,819 --> 00:04:32,969
questions first please talk about your
111
00:04:32,969 --> 00:04:35,939
philosophy on how you hear drums and how
112
00:04:35,939 --> 00:04:38,879
you approach them technically second
113
00:04:38,879 --> 00:04:41,879
part to his question in your mixes every
114
00:04:41,879 --> 00:04:43,650
instrument vocals etc have a great
115
00:04:43,650 --> 00:04:45,090
separation and clarity because at the
116
00:04:45,090 --> 00:04:47,400
same time it's glued together and so
117
00:04:47,400 --> 00:04:47,939
punchy
118
00:04:47,939 --> 00:04:50,129
can you talk about what your main
119
00:04:50,129 --> 00:04:52,289
framework technical approach to achieve
120
00:04:52,289 --> 00:04:54,810
that and again he says thank you for
121
00:04:54,810 --> 00:04:58,020
your time here the first question is the
122
00:04:58,020 --> 00:05:00,569
philosophy is look being a drummer I
123
00:05:00,569 --> 00:05:03,180
hear drums a certain way I hear them in
124
00:05:03,180 --> 00:05:05,430
your face I hear them have a certain
125
00:05:05,430 --> 00:05:07,860
impact now every song is different some
126
00:05:07,860 --> 00:05:09,689
songs I want Led Zeppelin some songs I
127
00:05:09,689 --> 00:05:12,240
want Sheik so I want I've affected some
128
00:05:12,240 --> 00:05:13,560
I want tight it's kind of based on the
129
00:05:13,560 --> 00:05:16,500
song so the second part of your question
130
00:05:16,500 --> 00:05:18,990
is how do I get all that separation I
131
00:05:18,990 --> 00:05:20,969
think the magic to getting the
132
00:05:20,969 --> 00:05:24,539
separation is keep it simple and monitor
133
00:05:24,539 --> 00:05:27,000
at a quiet level if you monitor quiet
134
00:05:27,000 --> 00:05:29,340
then you can really hear the separation
135
00:05:29,340 --> 00:05:32,009
the louder you turn it up the more it
136
00:05:32,009 --> 00:05:33,960
just muddles together and the more you
137
00:05:33,960 --> 00:05:35,909
don't hear the separation so listen
138
00:05:35,909 --> 00:05:38,190
quietly and keep it simple when I mean
139
00:05:38,190 --> 00:05:40,560
keep it simple don't start right away
140
00:05:40,560 --> 00:05:42,360
with compressor compressor compressor
141
00:05:42,360 --> 00:05:44,550
start with nothing start with just the
142
00:05:44,550 --> 00:05:47,940
balance then season to taste good
143
00:05:47,940 --> 00:05:49,620
question they're in two parts so I hope
144
00:05:49,620 --> 00:05:52,979
I answered that for you the next
145
00:05:52,979 --> 00:05:55,650
question comes from coast men stood out
146
00:05:55,650 --> 00:05:59,159
he says hi Chris knowing you are mainly
147
00:05:59,159 --> 00:06:02,339
using the LCR panning method how do you
148
00:06:02,339 --> 00:06:05,009
deal with the 60v drop in volume net
149
00:06:05,009 --> 00:06:06,810
besides suffer from one listening to an
150
00:06:06,810 --> 00:06:09,569
mono well I think it's need three DB I
151
00:06:09,569 --> 00:06:12,419
think it's three not six since people
152
00:06:12,419 --> 00:06:14,250
rarely sit in the sweet spot
153
00:06:14,250 --> 00:06:16,650
too many to song might sound closer to
154
00:06:16,650 --> 00:06:19,169
the mono version so with LCR what is
155
00:06:19,169 --> 00:06:21,150
your advice on making the mono version
156
00:06:21,150 --> 00:06:23,879
similar to the original and not let the
157
00:06:23,879 --> 00:06:26,310
kick snare bass vocal dominate the whole
158
00:06:26,310 --> 00:06:29,189
mix well that's a tricky question not
159
00:06:29,189 --> 00:06:31,349
tricky but here's my take on mono I
160
00:06:31,349 --> 00:06:34,439
don't care about mono and I have other
161
00:06:34,439 --> 00:06:36,149
words I can use about what I think about
162
00:06:36,149 --> 00:06:37,529
mono but right now I'm just going to say
163
00:06:37,529 --> 00:06:39,330
I don't care about mono here's what I
164
00:06:39,330 --> 00:06:40,500
care about
165
00:06:40,500 --> 00:06:42,510
people that listen in the middle people
166
00:06:42,510 --> 00:06:44,040
that listen in stereo if you're sitting
167
00:06:44,040 --> 00:06:45,300
off to the side of the speaker's it's
168
00:06:45,300 --> 00:06:46,710
not my fault that mix doesn't sound
169
00:06:46,710 --> 00:06:48,900
right you're making the mix for people
170
00:06:48,900 --> 00:06:51,600
that listen in stereo okay so that's the
171
00:06:51,600 --> 00:06:53,880
focus listening in mono could be a
172
00:06:53,880 --> 00:06:56,160
stereo speaker situation that's just off
173
00:06:56,160 --> 00:06:57,840
in the corner where the separation isn't
174
00:06:57,840 --> 00:07:01,860
that wide so what do I do about the 6 DB
175
00:07:01,860 --> 00:07:04,740
drop or 3 DB drop I don't worry about it
176
00:07:04,740 --> 00:07:06,480
I worry about stereo I worry about what
177
00:07:06,480 --> 00:07:08,010
it sounds like in a laptop what it
178
00:07:08,010 --> 00:07:11,100
sounds like wide if I have to go mono I
179
00:07:11,100 --> 00:07:13,290
mean it's not really consideration this
180
00:07:13,290 --> 00:07:16,290
is 2014 this is not 1959 when we worried
181
00:07:16,290 --> 00:07:18,540
about mono so anyway I wouldn't worry
182
00:07:18,540 --> 00:07:20,220
about it I would focus on the most
183
00:07:20,220 --> 00:07:22,080
important thing is how does it sound to
184
00:07:22,080 --> 00:07:24,150
you sitting in the middle so a good
185
00:07:24,150 --> 00:07:28,050
question hope I answered it for you the
186
00:07:28,050 --> 00:07:30,680
next question comes from Philip rotor
187
00:07:30,680 --> 00:07:33,960
Philips question is Chris I love the
188
00:07:33,960 --> 00:07:36,420
drum sound on the rise against stuff you
189
00:07:36,420 --> 00:07:38,430
did could you please elaborate on how
190
00:07:38,430 --> 00:07:40,710
you make today's very static and awful
191
00:07:40,710 --> 00:07:42,780
sample supported drums feel natural and
192
00:07:42,780 --> 00:07:45,270
big at the same time well that's a good
193
00:07:45,270 --> 00:07:47,340
question and here's why you're such a
194
00:07:47,340 --> 00:07:49,890
big fan of rise against a lot of these
195
00:07:49,890 --> 00:07:51,930
bands take a lot of time and effort in
196
00:07:51,930 --> 00:07:55,410
getting a good drum sound the key to me
197
00:07:55,410 --> 00:07:58,080
is if you want good drums you have to
198
00:07:58,080 --> 00:07:59,669
build them in you have to put the time
199
00:07:59,669 --> 00:08:01,230
and effort that's why you like it
200
00:08:01,230 --> 00:08:03,840
those drum sounds are very good and I
201
00:08:03,840 --> 00:08:05,640
don't really use any samples with rise
202
00:08:05,640 --> 00:08:07,560
against now you know what do I do about
203
00:08:07,560 --> 00:08:11,160
other situations it's tough the rule of
204
00:08:11,160 --> 00:08:13,740
thumb here is use as much as the live
205
00:08:13,740 --> 00:08:16,110
drums as possible and only use the
206
00:08:16,110 --> 00:08:18,690
samples as a seasoning the more samples
207
00:08:18,690 --> 00:08:20,490
you use against the live drums for rock
208
00:08:20,490 --> 00:08:23,160
thing the harder it is to balance a drum
209
00:08:23,160 --> 00:08:26,010
so the key is do your best to use them
210
00:08:26,010 --> 00:08:28,050
as much as the live as possible if
211
00:08:28,050 --> 00:08:30,390
you're doing more pop and more hip-hop
212
00:08:30,390 --> 00:08:32,820
music it's the opposite it's all samples
213
00:08:32,820 --> 00:08:34,460
and that's part of the sound so
214
00:08:34,460 --> 00:08:38,219
recording and balancing Philip I hope
215
00:08:38,219 --> 00:08:41,490
that answered your question and the next
216
00:08:41,490 --> 00:08:44,610
question comes from Dan Weston Dan's
217
00:08:44,610 --> 00:08:48,390
question is if there were to be a film
218
00:08:48,390 --> 00:08:50,640
about you do you think Nicholas Cage
219
00:08:50,640 --> 00:08:52,350
would be a suitable actor to play the
220
00:08:52,350 --> 00:08:54,450
lead now Dan
221
00:08:54,450 --> 00:08:56,220
that's a funny question you're not the
222
00:08:56,220 --> 00:08:58,050
first person to think that I look like
223
00:08:58,050 --> 00:09:00,240
Nicolas Cage and I think that's a huge
224
00:09:00,240 --> 00:09:02,280
compliment I think that's funny that
225
00:09:02,280 --> 00:09:03,690
you're asking me a question that doesn't
226
00:09:03,690 --> 00:09:06,750
have to do with drums or vocals thank
227
00:09:06,750 --> 00:09:09,960
God but you know what I totally think
228
00:09:09,960 --> 00:09:13,140
Nicolas Cage is the guy to look like me
229
00:09:13,140 --> 00:09:16,170
he may not be able to say hi you doin
230
00:09:16,170 --> 00:09:19,680
like me but I'm sure I can help dan good
231
00:09:19,680 --> 00:09:23,990
question the next question comes from
232
00:09:23,990 --> 00:09:27,690
Ben Turner hey Chris you make great use
233
00:09:27,690 --> 00:09:31,650
of pitch and chorus type effects can you
234
00:09:31,650 --> 00:09:33,210
go into detail about some of your
235
00:09:33,210 --> 00:09:36,690
favorite uses for them and any tricks we
236
00:09:36,690 --> 00:09:37,560
could be missing
237
00:09:37,560 --> 00:09:40,680
ix tricks we could be missing I love the
238
00:09:40,680 --> 00:09:41,150
tricks
239
00:09:41,150 --> 00:09:43,350
now the chorusing thing and the pitch
240
00:09:43,350 --> 00:09:44,940
things it's tricky I will tell you
241
00:09:44,940 --> 00:09:47,670
because this is not the 80s anymore so
242
00:09:47,670 --> 00:09:49,560
coursing the guitar is like we did back
243
00:09:49,560 --> 00:09:52,020
in the Dokken era our isn't really
244
00:09:52,020 --> 00:09:54,330
working so we really have to hide it the
245
00:09:54,330 --> 00:09:57,120
big time I use pitch and coursing is to
246
00:09:57,120 --> 00:10:00,480
widen keyboards to widen background
247
00:10:00,480 --> 00:10:03,780
vocals to widen widen delays that's the
248
00:10:03,780 --> 00:10:05,760
big thing I don't want to hear obvious
249
00:10:05,760 --> 00:10:07,920
chorusing but I don't want to just have
250
00:10:07,920 --> 00:10:10,800
stuff up the up the middle so I will use
251
00:10:10,800 --> 00:10:13,290
a delay with a very slight course to
252
00:10:13,290 --> 00:10:15,570
make something wide so that's one of the
253
00:10:15,570 --> 00:10:17,760
secrets so the secret here or the trick
254
00:10:17,760 --> 00:10:20,400
here is make it so you don't hear the
255
00:10:20,400 --> 00:10:23,820
chorus obviously and if you do make an
256
00:10:23,820 --> 00:10:26,310
effect live with it you know own up to
257
00:10:26,310 --> 00:10:28,320
the effect and put it up it's going to
258
00:10:28,320 --> 00:10:30,870
be a guitar phase guitar go for it so
259
00:10:30,870 --> 00:10:33,840
yeah pitch effects here 2014 very much
260
00:10:33,840 --> 00:10:36,240
about subtlety widening without being
261
00:10:36,240 --> 00:10:39,450
obvious so Ben hope that answers your
262
00:10:39,450 --> 00:10:43,560
question and I have Paul K Paul's got a
263
00:10:43,560 --> 00:10:47,190
question for me today his is how loud do
264
00:10:47,190 --> 00:10:49,530
you deliver your mixes or a mess to
265
00:10:49,530 --> 00:10:51,780
mastering and how do you get them loud
266
00:10:51,780 --> 00:10:54,360
without sounding pumping and over
267
00:10:54,360 --> 00:10:57,690
compressed but still in your face
268
00:10:57,690 --> 00:11:00,840
another question is do you blend real
269
00:11:00,840 --> 00:11:03,420
drums with samples is let's go to
270
00:11:03,420 --> 00:11:06,030
question one bar one I will tell you the
271
00:11:06,030 --> 00:11:07,200
secret there
272
00:11:07,200 --> 00:11:10,170
and the secret for you is that the lower
273
00:11:10,170 --> 00:11:12,480
you listen to your monitors the easier
274
00:11:12,480 --> 00:11:14,100
it is to get your mix loud because
275
00:11:14,100 --> 00:11:16,139
you're balancing inside a very small
276
00:11:16,139 --> 00:11:20,130
window and it's not all about tons and
277
00:11:20,130 --> 00:11:21,420
tons of compression you know what it's
278
00:11:21,420 --> 00:11:23,070
all about balancing using your ears
279
00:11:23,070 --> 00:11:25,410
listening quiet and pushing these things
280
00:11:25,410 --> 00:11:28,920
together and that's the secret and how I
281
00:11:28,920 --> 00:11:30,720
deliver mixes I deliver them at a
282
00:11:30,720 --> 00:11:32,940
moderate level right up right at zero
283
00:11:32,940 --> 00:11:35,010
I don't live for a Mac I don't deliver
284
00:11:35,010 --> 00:11:36,720
them maxed out to the roof because that
285
00:11:36,720 --> 00:11:38,940
would be fed or a mastering engineer so
286
00:11:38,940 --> 00:11:40,500
usually a mastering engineer is going to
287
00:11:40,500 --> 00:11:42,839
get the mix eight to nine DB louder than
288
00:11:42,839 --> 00:11:43,260
mine
289
00:11:43,260 --> 00:11:45,720
so I just literally have it 3d book
290
00:11:45,720 --> 00:11:49,290
three DB below normalizing so if you
291
00:11:49,290 --> 00:11:50,699
just normalize your mix and don't do
292
00:11:50,699 --> 00:11:52,889
anything else but more normalize it my
293
00:11:52,889 --> 00:11:55,380
mix is usually three DB below that maybe
294
00:11:55,380 --> 00:11:58,010
two so there's some room to breathe
295
00:11:58,010 --> 00:12:00,899
second questions do I blend real samples
296
00:12:00,899 --> 00:12:04,079
with real drums of course I never only
297
00:12:04,079 --> 00:12:06,269
use samples unless it's really just a
298
00:12:06,269 --> 00:12:08,699
sample song something that's basically
299
00:12:08,699 --> 00:12:11,130
samples only so hope that answered your
300
00:12:11,130 --> 00:12:14,339
questions Paul Peters got a question for
301
00:12:14,339 --> 00:12:16,860
Chris here contrary to popular belief
302
00:12:16,860 --> 00:12:18,750
you actually don't compress the drums
303
00:12:18,750 --> 00:12:21,540
all that much you are extremely good at
304
00:12:21,540 --> 00:12:23,820
deciding exactly when to compress a
305
00:12:23,820 --> 00:12:27,000
sound and when to leave it alone a lot
306
00:12:27,000 --> 00:12:28,560
of people will compress the room tracks
307
00:12:28,560 --> 00:12:30,990
on every mix but you don't do that at
308
00:12:30,990 --> 00:12:34,260
all there's more to it Wow my first
309
00:12:34,260 --> 00:12:37,620
question is this is what Peter says when
310
00:12:37,620 --> 00:12:40,350
you decide to compress overheads or the
311
00:12:40,350 --> 00:12:43,260
rooms and why is it to get more ambience
312
00:12:43,260 --> 00:12:44,940
out of the tracks is it to tame the
313
00:12:44,940 --> 00:12:48,360
snare transients second if the drums are
314
00:12:48,360 --> 00:12:50,130
not where you want them to be would you
315
00:12:50,130 --> 00:12:51,839
first try and compress the overheads or
316
00:12:51,839 --> 00:12:53,399
would you rather first try compressing
317
00:12:53,399 --> 00:12:55,769
the room tracks let's say the overhead
318
00:12:55,769 --> 00:12:57,769
room tracks were giving you Plain Jane
319
00:12:57,769 --> 00:13:00,720
well you know Peter I guess you got me
320
00:13:00,720 --> 00:13:02,519
worked out though you got me all figured
321
00:13:02,519 --> 00:13:06,269
out you know to answer all the questions
322
00:13:06,269 --> 00:13:10,290
it's really simple your question is if
323
00:13:10,290 --> 00:13:11,970
it all comes really plain-jane will I
324
00:13:11,970 --> 00:13:13,529
compress the overheads or compress the
325
00:13:13,529 --> 00:13:14,130
room first
326
00:13:14,130 --> 00:13:16,470
that's funny I'll probably compress the
327
00:13:16,470 --> 00:13:19,319
overheads first just to bring the cymbal
328
00:13:19,319 --> 00:13:21,400
energy up just to see if that
329
00:13:21,400 --> 00:13:24,100
I'll probably leave the rooms alone I'll
330
00:13:24,100 --> 00:13:26,560
only compress the rooms if they're
331
00:13:26,560 --> 00:13:28,840
really boring and I need some life out
332
00:13:28,840 --> 00:13:30,730
of it because as soon as I compress them
333
00:13:30,730 --> 00:13:32,950
it takes this excitement it takes the
334
00:13:32,950 --> 00:13:35,620
transient energy away so I try to do the
335
00:13:35,620 --> 00:13:37,000
least amount of drum compressing as
336
00:13:37,000 --> 00:13:38,950
possible and try let the bus compressor
337
00:13:38,950 --> 00:13:40,990
do all that work but yeah I'll start
338
00:13:40,990 --> 00:13:42,130
with the overheads and then I'll go to
339
00:13:42,130 --> 00:13:44,020
the room you know sometimes this song
340
00:13:44,020 --> 00:13:47,080
really wants it to pump and I'll go all
341
00:13:47,080 --> 00:13:48,520
the way with it and that's the only way
342
00:13:48,520 --> 00:13:50,740
to get life out of the drums but Peter
343
00:13:50,740 --> 00:13:52,630
good question so yeah Plain Jane is a
344
00:13:52,630 --> 00:13:54,910
great place to start so one step at a
345
00:13:54,910 --> 00:13:57,160
time overheads rooms and it's all about
346
00:13:57,160 --> 00:13:59,500
balance so Peter hope I answered your
347
00:13:59,500 --> 00:14:06,490
question oh thank you so so that's our
348
00:14:06,490 --> 00:14:10,390
Q&A from CLA here at la Fabrique 2014
349
00:14:10,390 --> 00:14:12,730
hope I answered all your questions
350
00:14:12,730 --> 00:14:15,340
I appreciate you guys making an effort
351
00:14:15,340 --> 00:14:17,760
to send me stuff to uh talk about so
352
00:14:17,760 --> 00:14:22,350
till next time this is CLA from mixla
353
00:14:22,350 --> 00:14:27,030
over here at la febri 2014 doing my Q&A
354
00:14:27,030 --> 00:14:38,980
later
355
00:14:38,990 --> 00:14:40,990
I25578
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.
Afrikaans
Akan
Albanian
Amharic
Arabic
Armenian
Azerbaijani
Basque
Belarusian
Bemba
Bengali
Bihari
Bosnian
Breton
Bulgarian
Cambodian
Catalan
Cebuano
Cherokee
Chichewa
Chinese (Simplified)
Corsican
Croatian
Czech
Danish
Dutch
English
Esperanto
Estonian
Faroese
Finnish
Galician
Georgian
German
Greek
Guarani
Haitian Creole
Hausa
Hawaiian
Hebrew
Hmong
Hungarian
Icelandic
Indonesian
Irish
Italian
Japanese
Kazakh
Kinyarwanda
Kirundi
Kongo
Korean
Krio (Sierra Leone)
Kurdish
Kyrgyz
Laothian
Latin
Latvian
Lithuanian
Luganda
Luo
Luxembourgish
Macedonian
Malagasy
Malay
Maltese
Maori
Mauritian Creole
Moldavian
Mongolian
Myanmar (Burmese)
Montenegrin
Nepali
Norwegian
Pashto
Persian
Polish
Portuguese (Brazil)
Portuguese (Portugal)
Quechua
Romanian
Romansh
Russian
Samoan
Scots Gaelic
Serbian
Sesotho
Setswana
Seychellois Creole
Shona
Sindhi
Sinhalese
Slovak
Slovenian
Somali
Spanish
Swedish
Tajik
Thai
Tigrinya
Tonga
Turkish
Turkmen
Ukrainian
Uzbek
Vietnamese
Welsh
Wolof