Making great music, and how we do it. We hold ourselves ourselves to a standard of timelessness, and every step of our creativity is built around results that are greater than the sum of their parts. Collaboration and trust above all.
Everyone has a list of memorable songs and albums they listen to over and over again. No matter how many years pass, those creations never tire or lose their significance in your life.
Those are the creations that deeply inspire us, and that we strive to bring to our audience.
We create and publish music as a collective, spearheaded by flagship artist Chloe Kay, but with a broadening span of genres and artists to come.
Interesting stuff to learn . Thanks for sharing . How do you use the paint brush techniques on vocals or whats ur approach when compressing different genres types of vocals ?
Had to do it that way. It's very easy to prime yourself with what is already there and create a predisposition to either go the same direction or drastically different. Final Fantasy Tactics is one of my favorite games but creatively it would demand a more "old school" soundscape. Fire Emblem is the most modern equivalent to FFT that's out there that I had never played, so that's why I chose it. Thanks for listening :)
That's a fair criticism. There are some gaps in the audio design as this was mainly intended to demonstrate spell/ability design more than UX design. I had to stop short of finishing since I have to move my studio, and chose to leave some minor sounds unfinished. I'll be making some breakdown videos later on and will utilize them to design effects for any omissions as part of the video. :)
Bro u just answered all of my questions man. This is a great video! Im at 9:55 rn so im not sure if u answered this question that i am about to ask. My question is, once i do this, will it cut through the mix properly now? Obvs every song is different ik but for the most part…? I have mixed around a thousand songs and this is the point i am at because the vocals dont sit exactly how i want them to in 2 track mixes. Ik this is one of the main culprits. Also is this appropriate for mastering as well?
Ayyyy thank you! If you search an artist named Chloe Kay she's been releasing her album song by song on streaming services. I recorded, produced, mixed & mastered the whole beast. Love how it came out.
Just wanted to pop in the comments to say thank you. I'm always roaming RU-vid to learn and become a better engineer everyday. Every one of your tutorials has opened my mind tremendously! Some of the best material I've ever come across. Your passion and knowledge is gold. I know it's been some time, and your most likely a very busy man. Would LOVE to see you in your element of gain staging some day. If it pops up, I'll be here to see it! Thank you again!
Ha! That's a topic I've received a lot of grief for discussing because it's become this whole snake oil like concept when it's fundamentally very simple. Improvements are usually attributed to some DAW summing magic when it's really just people performing a lot better because it forces people into better auditory structure and organization.
J'ADORE LA FRANCE! J'étais à Lille juste avant le covid et ça me manque tellement. Je tuerais pour un palmier et un café. C'est en France que je prendrai ma retraite. <3
@@MoonlitMusicGroupyou're welcome. Also it's worth noting that I teach music (guitar, improvisation and synthesizers, since 2014 at least) and I'm used to learn and to watch tutorials. That being said, the way you explain and teach is really efficient and enjoyable ! Encore Merci :D
As my guitar teacher used to tell me: if you spend all your time trying to sound like Hendrix you might end up missing out on sounding like you...and sounding like you could be the next Hendrix.
Just what i do...1 of my dirty lil secrets is.. i will throw a compressor on 1st. Squash it so my breaths and esses are exposed...then clip gain them down.. then when done, remove compressor and start from there...works everytime! BOOM!
You forgot to mention that it could be your mic.... For example the AT 2020 is harsh at 8-900 and 11-12.4k and theres NOTHING you can do do fix it... You can cut all you want but it takes too much out if the rest of the vocal.
A "good" mic for singers is really just a mic with a response curve that favors their particular vocal resonances. A mic won't create the inherent harshness of a vocalist, but it can make those specific frequencies louder or softer relative to the other audible frequencies.
That's enjoyable to hear because I was kind of unsatisfied with the way these videos came out. I think I can make it a better experience for the viewer.
Hard to fuck it up? For me it's hard to make it at least sound alright. I can successfully use any other compressor but this one, no matter how lightly I use it, it never does what I need and just distorts everything in an unpleasant way.
Try these settings for tracking and thank me later. Attack at 2.0 | release at 2.5 | ratio at 5.1 | output to 12 | threshold at 20 | and change the attack/release knob to Fixed
So my question is can I just hook my analog cl1b up to my Apollo Quad 8 with out buying a preamp and just use the unison preamp and if so how do I bring that in do I bring that in as a mic input or line in Or do you think it would be better to just buy a analog pre amp and if so for rap vocals which pre do you think would be better for rap vocals 1. Neve 1073 Spx 2. Avalon 737 3. Neve 1073 mpf Bae with Eq
You can route the output from your apollo quad into the CL1B and then run it back into your Apollo quad. But to have the flexibility of the pre amps you listed you cant go wrong. The BAE 1073 sounds just as good as the Neve 1073. The Avalon is dope to.
You can't go wrong with any of these tbh. I personally think that the Apollo UAD interfacing was invented to not have to bother with physical gear anymore so I personally would just do everything self-contained in there. Having said that there's no shame in loving the real stuff.
Thanks! Soothe 2 is loved by many, but I personally haven't used it. I think I am too much of a boomer set in my ways to go that route--things being too pretty can be a downside.
Tracking with compression just comes down to workflow. If you have a whole track going that's produced-along-the-way then tracking with compression to dial in a sound that fits the vibe is valid. If you're tracking dry to start an idea or you're not really sure the direction of the song yet for whatever reason you can back yourself into a corner and not be able to get the vocals to sit how you want. Neither path is wrong, it's simply a question of how scared or not you are of commitment :)
Unbelievably great channel. I’m mad that I just found it now. I really like and relate to your mindset here regarding how we are so familiar with the human voice that we need brushstrokes and small broader moves instead of carving the crap out of it. Brilliant. I’ll be binge watching all of your videos. Thank. You.
I just never got into the fabfilter ecosystem but I've seen them used in other videos and I'm fairly certain ProQ has a dynamic EQ feature. That would absolutely work as a substitute for the dynEQ I used in this vid
Compressor choice for me depends entirely on singer and performance. Cl-1b, La 2a, 1176 are what I'd call my go-tos for vocals. 1176 for aggression, La-2a for serenading, and cl-1b for buttery pop. That's how I'd separate them if I HAD to put a label on it, but usually I know which one I want by what the dry sounds like.
@kevinnizzoI have Avalon running into a CLA warm Audio into a distressor. it’s not a huge difference with the distressor for vocals it’s better for drums
The reason it’s popular is because it’s a tube based compressor if we are talking about the hardware and you get a more natural sound not because it’s easy
Wrong. Its extremely easy in that automatic mode; its absolutely magic. Lots of other tube compressors around none with that exact envelope which is just so perfect for vocals.
This particular compressor actually is not meant to be a “warm” compressor but rather a very transparent one that, as the guy in the video says, is harder to mess up. Great all around compressor
If you're new to working with audio I would slap that bitch on fixed and live life. Unless you're really comfortable with compression, giving yourself less options will always make your music better I promise.
It really doesn't matter at all to be honest. I always do my tuning with melodyne on the front end before I start mixing, but sometimes that little bit of autotune after the comp/eq and what not is on there gives it that little extra vibe. I am usually working with artists that are not advertising the autotune effect, however.
I love that you use your higher education creditials to reinforce your mixing approach. Not that a higher education is at all required to know how to properly be a mix engineer, but its extremely satisfying to see scholar-driven guidance given in such a modern area of expertise.
I'm really grateful for my degrees, I was able to learn a ton from some really experienced engineers and designers, but there are aspects of it where academic bureaucracy can get in the way and I think many get lost in it. Definitely set me up with great fundamentals and a ton of opportunities to practice and learn on my own time, but many students don't capitalize on that. Worked for me though, just meant I got to steal their time in the studios :)
