All language subtitles for Tom_Elmhirst_Travis-Scott_til_further_notice_part_3_EN

I seem to remember Travis came
by here for the afternoon.

With this record in particular,
I just sort of got on with it, did it,

and we'd send it to Trav
and go from there.

For whatever reason, this mix was
literally the second ref mix we sent.

But I think it took
a minute to process.

Quite a lot of work done
in really short space of time,

and if you'd been living with the mix
and I'd think he'd had the mix

he'd had for a minute,
it just took a minute.

I think again, he's probably lucky
that it's Trav who's obviously a producer>

as well as artist, that he's going
to have access to these parts.

This is Metro's drum,
separated that.

It's not available
to everyone.

You're usually going
to get a two-track.

I'll be honest,
I was surprised.

And if you give me drum parts,
I'm going to do stuff.

But all you can see I've done
there is a couple of places

I've dropped
that hat there.

It starts to slow down
into that verse, why?

Because Travis is about
to come in and scare us all

with whatever
he's going to say

and you've got an opportunity
to make that a little bit more.

I don't know,
[inaudible].

This is it,
back in...

Trap hats took out.
You can see.

And this one
to the second, the drop.

I think, again, with
all these tracks, the balances

and Travis had these tracks
going on for a long time.

They've been going for a minute,
while you're waiting to collate verses

from people and parts
and so on, but...

So, in my head
I'm like, don't...

You're not trying to
reinvent the wheel.

But there was definitely room,
and I talked to Trav about it

and that's
what he wanted.

He wanted me just
to have a go and have fun.

So, that's super liberating
when you're mixing.

And we often talk about trying
to put yourself in a place

with whatever you're doing where
you are not predetermining the outcome

because that's
going to fuck you.

Again, the beauty of this particular
track for me was that I only had

an X amount of time to do it,
and therefore I'm looking at it now

and I'm having a couple of
regrets about some little things,

but at the same time,
that's what it was then.

I was talking to someone the other day
about critiquing work after the event.

What would you call that?
Hindsight.

And you've got to remember the record
that comes out or that

becomes available at that point,
at that time, everyone who worked on it

agreed that that's
what it was.

So, when you sort of pull apart
a mix or pull apart a production

or whatever, it's not rude,
but remember that at that moment

everyone was agreed that that was
solid gold, and that's something

I try and sort of
respect as well.

So, you've got all
Metro's drums at the top here,

then you've got all
the 808 stuff going on here.

It's got
its own bus.

And I'm running a music aux,
which there's very little going on.

Again, like I sort of mentioned,
I was still figuring out a way,

my template,
let's call it.

And I'm still working on it because
you can really quickly in the box

just get lost in just
endless subs of auxes.

It's just hell.

And I can't handle that
and I'm not going to handle it,

so I just have to try and keep it
quite straightforward.

Although this might look a bit
chaotic down here, it's not.

It's actually really...
it's all quite sort of simple.

I've still got traditional auxes going on,
and I think some of these were inherited.

These came
with the session.

So, and then below that,
I've got what looks like a sort of

effects tracks, if that makes
sense, sort of vocal effects.

All this
is pre-made.

And then I've got the majority
of all the sends, which, maybe not.

It's pretty
traditional layout.

So, it was really interesting to me
the idea that underneath

all the James Blake stuff, it's much more
swimming, much more low-end driven.

And anything that's got long-held
legato information I'm going to use,

so that when we get to that savage
drop again, it's going to feel

even more like a stop.

The punctuation will be greater.

And I've also got to try and
save some shit for later on.

This is a fascinating track where the
artist, the principal artist,

doesn't come in
'til three minutes in.

You don't hear Travis until that
drop in the middle eight.

It's really different,
the low end on that.

Again, when you've only got
six hours to mix a song...

I knew going into it
I only had six hours.

It doesn't make your decisions finite,
but you're really going to be

trusting your instincts
at that point.

From what I remember,
I'm working in a room I've never

worked in before, so all
the obstacles were sort of

stacked against me,
if you like.

A room I don't know,
speakers that I don't completely know,

other things going on, physically,
that are destructive

to my sort of mental
capacity to be calm.

But I suppose that's
all the reasons why...

that's when you better
get on with it and...

It's really smart
to get...

Part of production is obviously using
different mixers and different...

And I think where it works in the collage,
you got to remember I hadn't heard

the other 17, 16 songs on
the record or whatever by then,

but you're going to get these
different tastes coming really.

It's this great production by Travis
because you're just going to get

these different
feelings.

If all the mixers had the feel of
the reference, that's just going to be

the flavor for the whole record,
and he didn't want that and had enough

between him, Mike Dean
and lots of other people.

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.

What I'm surprised by is just
the sheer speed that it happens at.

But that's
part of it.

That's what
makes I guess...

I hope now you can keep the mix
exciting that way, I think.

This is Savage's.

His vocal needed
a bit of work.

I'd say some of these plug-ins
on Savage are inherited again

because
I don't use RVox.

I'm trying to be as sort of
unproprietary about this as possible.

If it sounds
okay as it is

and they've had it working like that,
I'm not going to change it.

There was just
so many people involved.

By the time you've got to this stage
of this song, so many other engineers

and producers
have been involved.

I'm not trying to
reinvent the wheel.

This is totally
inherited.

I didn't do anything to Savage's vocal,
unless I did some stuff here, which I did.

So, these tracks down here again,
my fun tracks or whatever,

I can do all that and not interfere with
any of his preset halls or reverbs.

We're just going to
leave all that.

But if we solo all his vocals and then
we can add all this stuff down here.

So, I can just do quite a simple
delay track running underneath,

really quiet leaf, and then some chorusing
happening on a couple of lines.

Nothing extreme.

Like I said, in terms of sort
of the architecture of this mix,

by the point where he drops
in that second verse,

it's like the beginning
of the song, really.

So, you're leading up to that point,
and that's quite an important moment.

The whole timbre, if you like,
of the song becomes a bit darker.

His voice
is menacing.

I'm just trying to sort of picture
things that will make that more

dramatic for the mixer...
for the listener, sorry.

And the mixer.