Chris Lord-Alge mixing guitars for Green Day | Sneak Peek 

hahahahahaaha

It's been 20 years and CLA still can't let it go . . . . his mix sounds old school same tone same punch same of everything . . .boring.

​@@hellofx Hey it works for rock music, so why stop?

😂

🤣

Some 40 years of experience on the console

Except for the over the top mastering compression

​@@keithmoran8004product of the times, innit?

Hardly it - nothing else was compromised with compression quite like this

@@keithmoran8004 I can hear he overdid the reverb

Anybody who values good sounding music or considers themselves an audiophile in any sense of the word should see this guy, along with his partner in crime Howard "Autotune" Benson, as being largely responsible for the hyper-processed, dynamically featureless and ultimately tiring to listen to sound of modern pop music. It's not necessarily a criticism because he knows what he's doing, but it's his philosophy (rightly or wrongly) that pop music should primarily be mixed to sound as loud as possible coming from a 4" speaker on a cheap FM radio (or increasingly, the tiny speakers in a smartphone), rather than sound as full as possible on higher quality equipment. I know it's rich coming from a nobody like me, but I would go so far as to say it's why (in my opinion) his mixes sound like garbage, I mean really over-compressed dynamically barren crap, on anything other than cheap, shitty speakers, yet he is able to summon seemingly impossible amounts of volume and presence from those same shitty speakers.

I actually laughed after reading this 😂😂

😂😂

Which is the unsaid true for any record 😢

Well you have all the patchbay and recalls to deal with too. Which makes the « mouse » mixing quicker in the end. Imho, from still doing both methods.

@@WheelieMix Workflow is definitely an issue on both sides. The 100% recall and no need for patching is great on the DAW side for sure. Chris's setup is almost an assembly line though. No re-patching for him ever, and all of the sessions are built so his track layout is identical for every song. Then again you're talking about having an assistant to do that work too. Believe me, when I was working on Guitar Hero and we had to do recall for sessions that Activision needed a revision tweak on it was super painful on the SSL and the outboard gear. I don't miss those days but I do love the way CLA's setup is. He's FAST with it!

Watching Chris mix is therapeutic, having pristine information on the way in and a interns to file prep for him, just doing what he does best and taking what’s already energetic and pushing for more of that. CLA and his brother Tom really took the SSL 8kHz band and said “how far can we push this”, and I for one am thankful they did.

Those processing decisions glued together with that focustrite for mix bus comp. present a sound that evokes such a familiar, euphoric feeling.

@@SteveOuimette I agree 100% with your ✋.

Really? They just stole ‘Wonderwall’ and made it worse.

@@tonyh8965did wonderwall get grammy?)

@@tonyh8965 🤣🤣🤣

Everyone knows about it. Rob Cavallo's amps are solid.

The way it should be... commitment during tracking. Mix starts from day 1 of the recordings.

Any info on his amps? Modded?

​@@heythere6983 Marshall superleads

@@heythere6983they used John suhr’s Crunch and SE Lead mods on this record. Blended a v30 cab and a g12m 25 watt reissue cab.

@@DavidOakesMusic Thanks! I know some also like to have a layer of rhythm guitar being played an octave higher or lower than the primary rhythm sound being heard. Also some like to have a track of the amp through a room mic for ambience.. I guess the ones I mentioned can as well be combined with ones you already mentioned

Depends on the song and the parts. Majority of their music is just double tracked electric guitars, left and right. Big parts of songs you'll very often hear one extra guitar track come up the middle to accentuate, (chorus of American Idiot is a great example). Sometimes there's layers that are double tracked and panned as well, so you'll have a lead/layer guitar double tracked left and right on top of the 2 rhythm tracks left and right. And then obviously whatever leads and solo's will come up the middle as well. Maybe double tracked acoustics if the songs has acoustics on it (Holiday's chorus is double tracked acoustic, double track electric with an extra electric up the middle). This song is probably an outlier in Green Day's case where there's like 6-8 guitar tracks going on in the outro of the song, double tracked acoustics, 4 rhythm electrics all panned, and then the wah guitar up the middle.

I'm working on one right now with a client...16 guitar tracks... no more than 6 playing at any given time. L/R main rhythm One section has an night heavy crunchy power chord section L/R We then tracked a slightly cleaner single root note of the riff Then tracked an octave higher chord riff And then for about the last 4 bars of this section added a single note 5th above root for additional clarity. Sounds big, heavy without being in the way of the bass or vocals.

Recorded to tape and dropped into protools.

with 100500 layers of guitars (and a piano)

Any way of mixing is the right way as long as the results are good.

Because its very old song

Waves CLA didn't exist back then

I think the main tone you hear is a "DI" input, meaning the tone dosent go through a speaker cabinet. it goes right into the console to play with. plus theres obviously that huge treble boost that he gives it that makes it have that strong high end. it could have been through a cab though its hard to tell

@@tonestorrnot accurate at all. They tracked this album through 2 modded Marshalls into a v30 cab and a g12m 25 watt cab. I own both heads that they used, and they are the key component in the tone from the album. They also used a 1073 mic preamp which colored the sound even further. 99% of the tone is how it was tracked, the last 1% is CLA adding color to make it pop.

@@jacobgainor5219 like i said hard to tell... also depends on which part of the album you are talking about. Theres no doubt the usual tracking (v30's and greenbacks with modded marshalls) are blended into it, but its much more nuanced then just that. Obviously the tone is more than 90% there (go listen to the first minute of the video) im simply pointing out that CLA adds more 9k then what is already added with an attenuator in the studio

I am running an old Digi/Focusrite Control 24 as a control surface via V-Control in Logic Pro. It has scribble strip implementation, but only for four characters per channel. That does require some forethought regarding naming conventions in order to keep things straight.

All of them repeat. It's channel strips mainly, meaning you learn 1 row of buttons/sliders and you know how to operate the whole board. If you're talking about the outboard gear behind him, most of them do pretty much the same thing console does but with different flavours, and buttons there named the same as on the board so there's also little additional knowledge needed. It's not as complicated as it seems.

@@alexeytereshonok Cool to know! Thanks!

It never gets old to see a master in his domain.

@matijatatomirovic3351 I would have to disagree.

Agree. Its getting old

Mr Ed has entered the chat

First time for me.

Best live band ever and it's not even close

@@battmarn AHAHAHAHAHAHA Wow thank you for that laugh.

How many hit songs and platinum records you got?… that’s what I thought.

@@user-pn5go6jf5s Yeah that’s true too.