All language subtitles for Tom_Elmhirst_Travis-Scott_til_further_notice_part_1_EN

It's this great production
by Travis between him,

James Blake,
Metro Boomin.

You're just getting all this different
taste, and how you choose to sort of

jump from that is, I think,
what turns a good record

into a really
great record.

There's no reflection
to this mix.

It's just an
impression.

Hi, I'm Tom Elmhirst,
and today I'm going to reopen

"Until Further Notice,"

a Travis Scott Mix I did here at
Rue Boyer in Paris a couple of months ago.

Today, I'm looking at a mix
I did in this very building

in a really short
space of time.

I knew I had less than sort of six,
seven hours to mix it.

I was still transitioning in my head
from mixing on a console

to fully
in the box.

With this particular song,
"Until Further Notice,"

there wasn't even the time to sort of
contemplate getting it out of the box

or doing anything that I might have
normally done as a mixer.

Having said that, I spent a
long time in the box mixing.

This isn't unfamiliar to me or new,
but it was definitely a challenge

to try and get what I was hearing
in my head done in the time

I had to
sort of do it.

So, it was a bit of
a surprise call from Travis.

I haven't met that many people
who have even shorter attention spans

than me,
but he's out there.

So, I love that.

It was just it happened so fast
and so quickly, it's really honest.

There's no reflection
to this mix.

It's just an impression,
which is what you're trying to do.

But the story of the song,
"Until Further Notice" by Travis,

it's the last track on Utopia,
I was coming to Paris for a vacation

and not to work
on music.

I'd worked on quite a lot
of music this year.

My good friend Emanuel
invited me to his festival,

and two days before I got on an
airplane and came to Paris,

Travis called and said,
"What are you doing?"

And I said,
"I'm going Paris."

And he said, "Great,
come to Cannes."

So, I didn't go to Paris,
I went to Cannes.

I hung with Mike and hung with Travis,
heard the record, and the next day

I had a hard drive and I was back
in Paris and we started mixing.

I think the first song
we looked at was "My Eyes,"

I think we then looked at
the Chappelle track,

also we looked at
the future SZA track,

but this is the last one
that I got to look at

and I think I had
less than six hours to mix it.

And of course, the night before I
mixed it, we had a really big party

at the studio here, which
obviously helped the mix nowhere.

Anyway, this is
"Until Further Notice."

So, the [inaudible] track,
this is obviously post prep

of my assistant, Adam, looking at it,
so it'll look a little bit different

to what we
were given.

With Travis and this is a Metro
production as well, and we've got

all the drums laid out individually,
which you don't always get

when you're mixing some rap stuff,
can quite often be two track.

So, it's quite nice
to have all them separate.

This song's got
two parts to it.

There's a whole Travis section
in the outro, which is different.

There's quite a lot of the work I've
done, and what I'll sort try and show

a little bit in the computer is it's
sort of me trying to figure out

a new way to work
that's not on a console.

Obviously, this was mixed
completely in the box.

And that's the first
thing I didn't...

At the point where they were with
the record and with all these mixes,

which we were already
sort of in a state of being,

you're not trying to reinvent
the wheel at that point.

You just turn up and sort of go
from there, if that makes sense.

But there was a lot
of different vocal sections,

there's a lot of different parts to it,

and it just needed
finessing here and there,

and I had six hours
to do that.

The track had its
own vibe already.

Like any mix you approach,
I was just trying to see where

I could add a bit more width,
a bit more size, some more...

The fantastic thing about this record
with Utopia and the album in general,

but definitely the tracks I worked on
was the sense of scale available.

It goes from quite small sections, quite
intimate vocals to really Gotham-style

sort of massive reverbs and heavy,
heavy drums and low end

to then just quite sort of
not... really open material.

So, really big options for dynamics,
which you don't always get in a rap track

where the beats
are just the whole way.

We could talk a minute about
the reference to this mix.

They're very
different feels.

There's much more drum heavy,
the reference mix,

if that makes sense, and less musical,
and I just thought that'd be interesting.

And I think what Travis is looking for
from the mixes or the four or five songs

I did was that, a bit more musicality
and a bit more vocal-led

rather than just traditional
really heavy drums.

And that's also my taste,
so I'm going to go there naturally.

That's not to say I hope
I haven't lost the drums.

It's just...

Do you know
what I mean?

There's less sort of
just a whole other...

But at the same time,
this isn't wrong.

It's got loads of sort of ghostly
ghoulish sounds as to it,

and when you are given stuff
by the artist that lends itself

to more treatments,
it's fun.

It was really easy to get
in there and get involved.

Yes, so I remember hearing it and
thinking that the 808 super legato,

long, long-held notes,
the bass drum, heavy mix, say, of the ref

makes the whole thing a bit more
too forth, if that makes sense.

Or I think the first thing is
obviously, it's James Blake,

Metro Boomin,
Travis Scott, 21 Savage.

I'm going to just let them
do what they do

because they're
really good at it.

I'm not going to
interfere too much.

You can see zero processing
on my drum bus.

Nothing.

You can see zero EQs
on Metro's drums or compression.

I'm just going to
leave that alone.

I've left the 808s
alone completely.

If I'd had eight hours on
the mix instead of six,

maybe I'd have done some more.
Who knows?

But when I heard obviously the
reference version that I was given,

well, I was immediately aware
that sort of where I could help

was the vocals, and that's what me
and Travis had talked about quite a lot.

I didn't need to sort of mess
too much with the music at all.

So, my interest went to there really
quickly, and I would say

that's what I spent
the majority of the time on.