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Inside Tracks

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Verse lead vocal: Antares Auto–Tune EFX, FabFilter Pro–DS, Pro–Q2, Pro–MB & Timeless 2, Waves Vocal Rider, H–Delay & Doubler, UAD API 560, 1176 & EP34, SoundToys Little Radiator & MicroShift, Audio Ease Altiverb.

Then in 2010, when I was 22, I moved to Toronto. I had a room at Dream House Studios, and behind every wall another producer was creating music in a different genre, which made me feel very uncomfortable, as I was working my way through a lot of insecurities. During that time I went to LA to have meetings with people, but nobody was interested. No matter what music I was working on, it wasn’t going for me. The main thing I did during this period, and still afterwards, was developing my techniques. At one stage I was mapping out the different frequency octaves in different keys of songs, and I would visually approach mixing with these different frequency ranges in mind. It was like maths. I literally had vocals rolled off at certain frequencies because it opened up for this other sound to come in. I drove myself absolutely mad! I don’t do that at all any more, but I had to go through it. It was a step along the path.” Forty–seven years after the release of his self–titled debut album, James Taylor finally achieved his first American number one in June this year. His 17th studio album, Before This World, surpassed the chart placings of Taylor’s classic early–career albums Sweet Baby James (1970, US number three) and Mud Slide Slim And The Blue Horizon (1971, US number two). Before This World also enjoyed notable chart success in several other countries, reaching number four in the UK, for example.

Born in New Delhi, India, Bainz got to his position as chief engineer and mixer at YSL in Los Angeles via Australia, Florida and New York. He recalls, “I never played an instrument, but got into DJ’ing and I was into electronic music. I went to Melbourne to do a bachelor degree in something, I can’t remember what it was, but I hated it. I dropped out and then enrolled in the School of Audio Engineering Institute in Melbourne. I was always into the technicalities behind music and there I realised I wanted to be an engineer.

Justin Timberlake's album release schedule appears to be inspired by the proverbial English buses: you wait ages and then several come along at once. Before 2013, the singer had released only two albums in a decade: his 2002 debut Justified, and the follow-up Futuresex/LoveSounds in 2006. After that Timberlake became preoccupied with his acting career, though he remained an active chart presence by guesting on other people's hits, such as Madonna's '4 Minutes', TI's 'Dead And Gone', Timbaland's 'Carry Out', and Jamie Foxx's 'Winner'. My process is difficult to talk about, because I do everything at once,” explains the producer. “The moment I receive files, I am composing and treating things. I then record Abel raw, without EQ or compressors. His singing is extremely dynamic, based on feeling and emotion, and that is the take. We don’t go in again to try to recut a softer section or get something technically better. Everything is 32–bit, so the only thing I do is make sure he’s never clipping. Immediately after recording Abel, I am throwing on gated reverbs and delays and filters, and more, and arranging and adding things. Writing, producing, mixing is all one fluid process for me. There’s no separation between any of the things that I do.” This is exactly the course I was looking for. I don’t use Logic and I am not a huge fan of Tech House. But Jono explains music production and mixing techniques in such a way that it really dosent matter the type of genre or the DAW you are using. He explains why he is using a certain plugin, why he is making the changes etc Based in Los Angeles, where he has his own studio, Bainz has been working for Young Thug and his YSL Records since 2017. One of his first credits with YSL was as engineer on the label’s Slime Language compilation album, released in 2018, and he engineered and mixed much of Young Thug’s debut album, So Much Fun (2019), which went to number one in the US.O’Donnell recorded all the material for Before This World to Pro Tools at 24–bit, 96kHz: “I was never a big fan of 44.1, and I feel that 96k is definitely better for acoustic music. With 24/96 I thought for the first time that digital sounded good.” Be Prepared It’s easier and more flexible to work in the box, but it does mean that I spend a lot of time making sure the programmed stuff sounds less sterile. One way of doing that is by adding grit. Distortion is a big part of working in analogue, and the way you hit the console can make a big difference. You don’t have that in the box, but you can simulate it. I’ll use various plug-ins to create grit in the box, like the SoundToys Decapitator and sometimes the Waves NLS console emulation plug-ins.” The music: iZotope Ozone, Cable Guys Volume Shaper, UAD MXR Flanger, API 560, EP34, Brainworx BX_solo, API Vision, EL7 Fatso, AMS RMX16, Pultec EQ & API 560, SoundToys Decapitator & MicroShift, Waves Renaissance Bass, L1, L2 & Reel ADT, FabFilter Volcano, Pro–Q2, Pro–G & Pro–MB, Audio Ease Altiverb, Sugar Bytes Artillery 2. As a producer I see my job as making sure the songs are great, by getting great performances, and doing whatever it takes to achieve that,” explains O’Donnell. “It can include choosing the songs, and working on any aspect of them: the tempo, the key, the lyrics, to the structure, parts and so on. With a different artist it can mean a lot of guidance, but with an artist like James you know the songs and the performances will be there; it’s just a matter of capturing these the best you can.”

That’s a lot of plug-ins for a handclap sound! Matt Schaeffer used multiple distortion and saturation processors in series to create the effect he was after.“Yes, there are lots of plug-ins on the claps! I added eight plug-ins to give them the right amount of punch and grittiness. The signal chain is the SSL E-Channel, UAD 610, SoundToys Devil-Loc, Avid DVerb, Valhalla Vintage Verb, UAD 1176LN, the SoundToys Little Radiator and SoundToys MicroShift. I like to boost the input with the 610 as well as the top end with its EQ, because that plug-in adds some pretty cool harmonic distortion. The Devil-Loc and the Little Radiator also add some dirt. I have the two reverbs on the inserts because I did not think I was going to use these settings anywhere else, and I like to compress after the reverb, here with the 1176, because it brings out more ambience. The MicroShift adds a stereo effect to keep the claps out of the centre, in this case to make room for the snare. Again unique to InsideTraxs, we offer a Power Hour, where we provide one to one tuition totally tailored to your needs and experience. According to Bainz, working on the album made little difference to his daily rhythm, apart from the complications of the epidemic. “Since I started to work for YSL, I have barely had any days off. I am Thug’s and YSL’s full‑time engineer, and they are in the studio every day. Because YSL is such a big camp, as a team and as a label, somebody is always working. They operate like a big family. I do mixes for others as well, sometimes, but I am on call all the time as an engineer. The only reason I can do so many mixes is because I have my room in the same facility, right down the hallway, so I can just walk over to help with recording when needed. Chorus lead vocal: Antares Auto–Tune EFX, FabFilter Pro–DS, Pro–Q2, Volcano, Pro–MB & Timeless 2, Waves Vocal Rider, Reel ADT, H–Delay & Doubler, UAD API 560, 1176, MXR Flanger & EP34, SoundToys Little Radiator, Decapitator & MicroShift, Audio Ease Altiverb.With more than 15 years of Betfair trading experience, the founder of InsideTraxs has made over 100 VIDEOS. These form the Betfair Trading Academy, which is now considered an invaluable resource to many traders whether Newbies or Experienced. The art of music production lies in serving the song — and working with James Taylor, Dave O’Donnell felt that modern production trends would hinder his aim of capturing emotive performances. As Chris Godbey mentions in the main article, the other big hit from The 20/20 Experience 1 of 2, 'Suit & Tie', was written Compared with the sessions for 'Mirrors', the stem session from which 'Suit & Tie' was mixed is relatively simple. Now 28, Carlo ‘Illangelo’ Montagnese takes the modern approach to making music to an extreme, with every significant move done in software. Unsurprisingly, Montagnese also learnt his skills in typically 21st-century fashion: he’s self–taught, and the Internet is his main source of information.

Because of the way James’s schedule went, we ended up mixing everything at his and my place, on my Yamaha DM2000 desk. It has four banks of 24 channels, and 48 channels at 96k, plus some very good internal EQs and effects, like reverbs. For me it’s great to be able to work with faders, and although we went digital through the DM2000, I think it did sound better than just staying in the box. In general, going out of the box will give you a wider image, with more depth, and the Yamaha will also do that. Particularly for a project like this, going through a mixer sounds much better. I plugged analogue outboard into the Yamaha console inserts, and also connected outboard to the Pro Tools hardware inserts. Some of the hardware included my Vertigo VSC2 compressor, which I love, and the TC Electronic 4000 as my main digital reverb.” In The Mix Engineer and mixer Evan LaRay explains its appeal thus: “With ‘Bodak Yellow’ it is Cardi’s vocal performance that really takes the record to the next level. I don’t think anybody else could get on that beat the way she does, and then there’s what she wrote and raps about. The vocals are what makes it a great record, and the beat and the vocals together control the song. It’s a simple beat, really just the main synth, the 808s and the hi-hats. The producer, J White, put in some amazing drum sounds and 808 textures, with a lot of energy. The second 808 sound almost functions like a bass. When you hear that part in a club or in a car, it moves you. And as a mixer, I had to make sure to enhance everything and make sure that it translates.” Fight To Flight When collaborating, people who use other DAWs simply send me WAVs, and I then load these into Cubase, and that’s when my work begins. It’s a process of chipping away at things and building them out. I’ve worked in Cubase for 12 years now, and I’m incredibly fast and efficient with it. I do everything: all my writing, producing, recording, tuning, editing and mixing in one session. Cubase is the one thing I couldn’t do without. But I’ve recently also been playing with Ableton, and that’s fun. I can work in it without looking at numbers or graphical interfaces, I’m just creating and throwing things together without quantising or treating them. After that I Rewire things in Cubase, and get into the technical side and zone in on the details. It’s become an incredible workflow for me. The songs from the special were released on streaming platforms on June 10, 2021. The special was nominated for six Emmy Awards in 2021, of which it won three: Outstanding Writing for a Variety Special, Outstanding Directing for a Variety Special, and Outstanding Music Direction. “All Eyes on Me” also earned Bo his first Grammy win for Best Song Written for Visual Media at the 2022 Grammys. Two massive hit albums in a year was a pretty good return on 20 days' work for Justin Timberlake, producer Timbaland — and engineer Chris Godbey.After finishing college I had a production-type room for a while, which led to me going to work at a big studio in Dallas, called the Dallas Sound Lab. I hooked up with a gospel artist there called Kirk Franklin, and we worked together for seven years and won two Grammy Awards [for Franklin's albums Hero in 2005 and The Fight Of My Life in 2007, both in the Best Contemporary R&B Gospel Album category]. Because of my connection with Franklin I recorded mainly Christian albums for many years, but around 2007 some musician friends of mine hooked me up with Timbaland, which is how I got to work with him. Since then I am wherever he is, which may be in New York, Los Angeles, Miami or his studio in Virginia Beach.” 20 Days Tasked with helping the five–time Grammy–winning Taylor in making sure that Before This World could hold its own in 2015 was the album’s engineer, mixer and producer, Dave O‘Donnell. From his Studio D, an hour’s drive north of New York City, O’Donnell gives a detailed account of the making of the album, which began in January 2010, continued four years later, and involved recording sessions in Taylor’s wooden barn, hotel rooms and various studios across America. At the end of this process, during the final mixdown, O’Donnell found that he was making a slightly different record than he had in mind... I want to bring a hi-fi quality to the records I work on, but everything is about feeling. You can have the most amazing-sounding record ever, but if a song doesn’t have a feeling, it won’t translate to this generation. So that’s my main thing: everything has to have a vibe. I’ve recently started doing things more by the rules, or the guidelines, but I normally go with how it feels to me. Does it feel good? How does everybody else in the room feel? From comparing the amount of money placed on a horse versus the total on the race you can tell if a horse is overweighted in the market or underweighted.

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