Bob Clearmountain's Plugins Secrets with Bryan Adams - Reckless.

[Music] hi everybody hope you're doing marvelously well sitting here with another one for mr bob clear mountain how the devil are you i'm good we've been here for a while i'm going to shake your hand like like we've never seen each other we just met what'd you say your name was him fred flintstone so i demoed phases i don't know two weeks ago now and i missed a couple of key things on it and it was great because you you left me a message saying thanks for demoing the plugin i really appreciate it but you should have done this this and this and i loved it so much that i reposted it everywhere it was on the instagram i tweeted it i was like i was like if you're gonna get schooled get schooled by the guy whose plugin it really is so i thought it would be an amazing opportunity to kill i don't know three birds with one stone um talk about the plugin but also find out what these presets are modeled on get a little bit of history because you know when you've got some you've got some titles you know referring to stones and you know bands you've worked with and so a little bit of backstory and how those sounds were originally created would be pretty phenomenal the reason we decided kind of my love for this particular device it's really was really the mxr phaser flanger that we had back in the 70s and the 80s but this was sort of the the r b road sound so every time we record a offender rhodes we'd stick it through the flanger you know and it did this see this is this is without it the what i'm playing is a recut of a song called heaven by run to you that i produce with brian but he he's recut it but this is what the original road sounds like [Music] sounds like a fan of rhodes but then you turn this thing on and also you get this lovely sort of [Music] gorgeous just beautiful sound you know and uh but then with this we took it one step further and because it's a stereo device we can uh split the two oscillators so the left and right oscillators are going opposite the sweeps are are opposite someone's one's up and the other one's down and then you get a really beautiful stereo sound which you and we could do it in the old days but um you you would the oscillators would just be separate and they wouldn't be uh see now it's a nice super wide yeah it's just a nice way to a beautiful way to make a stereo sound out of a mono instrument but that's basically what it was all about but then we decided uh let's take it a few steps further another thing is that you can turn off the phaser but you can do a thing tape phasing was the thing that we did in the old days where you'd run one signal through two tape machines yep and then you'd vary speed they called it flanging because you'd get it by putting your finger on the flange of the tape and that would alter the speed of one of the machines and so you'd get this rub and you get this kind of frequency shift as certain frequencies canceled out and added together to get these nodes and it would be like a traveling thing but you can do it here just by hitting this button here and you put this on uh the second setting there this uh they're different chip sets they're supposed to duplicate different sort of uh chip sets it's based on these analog they're basically capacitors i think that delayed the signal but of course it's all digital now so it's an emulation and that's that's proper tape flinging let me get rid of some of those effects on here and uh and this is the thing that you were demonstrating was the the flanging yeah yeah but didn't get right but the cool part is uh if you put the sweep over to zero then it becomes a manual flanger [Music] and this is the you take this sweep ah i see so you can time that to go in time with the track or the or just do it man randomly yeah you know i mean the old days we do it you know you do it manually but i hold this is like holding your finger on the on the flange of the of the tape reel right but then then you can put it in auto mode as well and when once you put it in auto mode you can time it to uh one bar or two bars or whatever but then you can make it stereo as well by altering the uh the two oscillators and then you can add some feedback to it makes it more intense and then you can flip the polarity of the delayed signal but it gets really intense and then then you add clear mountains domain to it and you got delays and reverbs and harmonizing and a whole bunch of other effects see the good thing is people he didn't prepare this he's actually using his own plugins i'm using my own plugins that's right yeah and i use them all the time not only i tell you what not only just the ones with my name on them but the apogee plug-ins themselves are some of the probably for what they are uh the highest quality you're going to find anywhere the pultec plug-ins the apogee pultec plug-ins are the only uh plug-ins that can use the name pultec sure because they did it in conjunction with steve jackson who builds them builds the hardware and then they they the plugins were actually approved by he and i sitting in a room over and over listening to different versions so we said okay that's that sounds right this compressor or it's not doing anything but you can you can see where okay this is the compression point and it's right above the the fader so as you move the controls you can see exactly what it's doing turn up the ratio you can see it's a hard knee and soften out that knee knee a little bit it's great and then you can see up here just exactly what it's doing along with the waveform pretty small slow it down a little bit slow down the release but i've heard people say in fact i think someone one of the professors at berkeley school of music said uh it teaches you actually what a compressor does and like you're seeing right above the controls you're seeing exactly precisely what it what it does and then of course you listen to it [Music] [Applause] [Music] [Applause] but that's that's a clear mountain's domain that you're hearing [Music] what i should do is bring this uh run to you guitar solo there we go there's actually a preset for this very song [Music] [Applause] [Music] [Applause] [Music] [Applause] and basically that's a a triplet a quarter note triplet there on each side now the thing is with this you can you can have a a mono delay like that so both sides are doing exactly the same thing and then you take this offset and you can separate them by let's say 12 on each side so that's 24 millisecond offset to make it sort of a stereo thing yep and then you hit the the spin cross feed and it crosses them as the regeneration instead of coming back in the same same delay it crosses it left and right so you get this sort of wandering delay what happens it's really nice in in surround if you put this in the back and you get the guitar in the front and then you get this other thing happen in the back um then there's also um there's some eq for each channel if you want to eq it there's a spin which re is the regeneration regeneration um there's a thing called blur which yeah what was the blur just saturation blur is saturation basically i i saturation just everything's saturated you know i i want to come up with a different word for it yeah yeah and and for me that's less description it's more descriptive the the whole idea of that is i would go to rock concerts and you'd hear an overdriven pa and it's bouncing off the walls and the ceiling of the of the arena or wherever or the the stadium and it's like the thing's overdriven and so it's coming back a bit distorted plus it's distorted just by whatever it's hitting and whatever it's bouncing off and so that's to kind of simulate that a little bit amazing you know yeah that's i i totally understand right i mean the first time i heard i saw the stones i remember seeing them in an arena and just hearing that crash right yeah exactly so a lot of times especially while the stones delay there's a thing called a rolling stones a live rolling stones delay i think uh live rolling stones there oh live yeah and um so i use that on all the because i've mixed like what 20 or 30 um concert videos for them and so that's the kind of things yeah yeah some records too yeah and movies and a couple of movies yeah so the other things that are in here so you can set them into three different reverbs and you can decide how much you can send the reverb directly from the input of the of the device or uh off the the repeats from the delays so you have the apogee studio which is a it's an impulse response of our studio that we built which is really like an ambience i mean it's not even a reverb it's just it's just a warm very warm sort of an ambient sound which i use on almost every record that i mix nowadays mixes chambers which are the two live chambers here in this it used to be a in the wine cellar on the other side of the machine room here and so we did an impulse response to that so it's the same thing and then there's this where you can select from a bunch of different ones there's a concrete stairwell um that we found over in uh beverly hills in a in a parking garage there's a marble bathroom which is across the street from that that a garage in a it's a theater called the uh saban theater where they do a lot of shows there yeah we went into their one afternoon and and went into their the it's actually the ladies room uh and then the mixes shower which is just in my shop which is just kind of wonky sounding you know it's just that stupid kind of cheesy sound and then these two a friend of mine named roscoe has an echo chamber that he let me um um let me get an impulse response so two different sets of mics and then and then this gated plate which is basically one of these chambers with a uh okay you know what i should try this on the snare drum so this is the thing that we used to use you know back in the 80s and me and everybody else pulling the usa snack probably that one yeah that's annoying born in the usa trump yeah i actually have you know what might be interesting i actually have born in the usa [Music] basically that's it so we hear we're hearing the ams snare as well i think so oh that's seven [Music] i don't know what that is it's cool whatever it is [Music] [Music] yeah obviously that's not a mix it's just a really just threw it up there that's the actual original boring set usa track toby scott who was his engineer i think he actually recorded it and he uh he used it for something because he was teaching a class somewhere i think and so he sent it to me but uh it's just 24 tracks not much to it yeah so that's just got the gate of play but there's all these other things in this plug-in like uh there's pitch delay so you can add a harmonizer to the return of each each delay yep and you can set it it can either be just a random where it just moves up and down or you can have a fixed you know uh thing like you know i'd usually put it at you know plus four or five and minus four or five something like that um so much detail on this what what would you put that on well you might put it on a voice probably not on this song but uh you can do it anyway let's see [Music] so that one there that's actually different this one which is live rolling stones see that's just a slap with that blur i was born in a usa come back home to the refineries that's more the kind of thing i would use on this song but if it was another song like if it was a jungle and saxophone it says santa fe was up to me when i see my man he said son don't you understand now oh yeah that's a quarter note left stereo left and right well he's yeah he would record live that's his vocal was done he's playing guitar singing live yeah you can hear the strum of this booth yeah yeah exactly that's amazing most of that album was done like that it was pretty much a live album in the studio he uh you know he'd had a couple little keyboards or something like that once in a while or uh change the lyric occasionally just like for like one line i'll just change the lyric or something soon we're gonna come out with a an atmos version that'll have six probably six outputs instead of just stair this is just stereo and so you could have a quad uh reverb in there because all the impulse responses that we created and we've got a lot more now uh we're all done in quad as well for the next version and then um it'll have a bunch of it'll be three times there'll be like three stereo delays that you can bounce back and forth ever anywhere you want you know it's gonna be really fun i'd love to i'd love to hear the the stones guitar because i was messing around with that that rhythm guitar there that's that's compressed yeah probably i wonder what that is uh overdub what the rhythm guitar yeah is that his guitar i don't know what that is i don't really remember that might be uh that's probably him i like those voicings see bruce's guitar is he's smashing that [Music] you need his strings well he bruce called that his primal scrub oh yeah i know he's pulling it way sharp you know but he's singing and playing that yeah you know you can you can hear it on his vocal track a little hometown jam so it put a raffle in my hands sent me off to a foreign land to go and kill the yellow man you're just hearing that low e going sharp you can tell it's just it's fantastic but they set it up we said well i didn't record this but i remember i recorded the first session on the river and then that this album came after that and so they kept basically kept the same setup where max is in the big room in studio a sort of over on the left bruce is right in the middle with just a gobo booth made that we put together for him you know with blankets over the top so he was really isolated windows and then the piano roy the piano would be off in the left booth in the back and the guitar amps would be on the right in the rhythm room and then every everybody else would be out in the main room clarence would be in the iso booth next to the control room and so everybody could see each other and it was just it was live basically you know that's the nice thing about the river and um born usa that that was recorded basically the same way i think it's interesting though because you'll mix on this and tattoo you like sounded so modern for the time that you wouldn't have guessed it was recorded live like that you would have thought it was like more like so it was so modern when this came out it was like blew out of the radio it's just like massive yeah it was wild and bruce just wanted it bigger than life you know the snare that big snare drum sound and you know we were sampling was a new thing and when bruce realized that you could take a snare drum from someplace else and put it on another song but that glory day snare drum on this one you know i don't know which you know it's just i don't know which particular song but we use that snare drum on probably four other songs on the album and how how are you triggering it in those days oh back then it was the ams the ams yeah which mine doesn't work anymore unfortunately but uh yeah and that was a that was a whole process because you had to the the trigger was generally 20 to 20 25 milliseconds late because just the triggering process wasn't very efficient and so you'd have to trigger it off the sink head off the record head for off the tape machine it's all analog back then and then you'd re-delay that to make it match up with the the where the real snare drum was so you'd make it come early then delay and delay it back yeah it was the whole process we had to do you know and then this guy in texas came out with this thing called the russian dragon that i still have in my rack i remember this that would uh eventually help you figure out how how many milliseconds out you were so that you could get it real tight yeah it was a lot more work back then nowadays i just say to my assistant brandon stick a stick a snare drum and i think i don't i try not to do sample snare drums as i try to do as few as seldom as possible only if it's the snare drum's really not working yeah but bass drum i usually added something in there with the whatever bass drums recorded on there what what are you adding in there um i just have some a few my own personal samples that i've made myself you know over the years and uh it's interesting how the the law works with samples because uh you know once you use a sample on a record that's released by a label you no longer own it it's actually owned by the label and so interesting so nobody should really tell anybody what samples they use [Laughter] that uh that phaser for uh like cashmere you know yeah [Music] [Applause] [Music] [Applause] [Music] this is sort of a stereo amazing [Music] the oscillator is doing opposite and it's inside it's amazing enough nobody can see where the cat's putting his paw underneath yeah see he he loves killer man's faces it's one of his favorite plugins her i should say [Music] so it's like an mx or it's like a stop pedal it's like an mxr phaser you know [Music] that's that's time to the session although although there's no tempo in this session so it's it's uh because it was just played live but you can change that to if if you don't have a a grid this is just uh hurts so that's just the phaser but then you could add the flanger into it [Applause] and what the tape phasing is doing is it's actually delaying the the original signal the dry signal right and um so the the delay signal is going between somewhere between zero and or probably like minus 10 minus 10 to plus 10 right milliseconds right around the the delayed signal yep right and so and then the delay compensation puts the delayed signal in time with the rest of the music right so you don't i mean normally to do that without this it's like a process i mean it really is i can do it on my dsp 4000 even tight ultra harmonizer but it's a whole because you have to put the thing you have to re-record it put it out of sync and put it ahead of time and then do this thing this is just a button amazing and and it does exactly the same thing [Applause] so that's the flanger it's nothing that's a phaser so there's a million things and it can get just so outrageously ridiculous you know there's just going nuts [Music] but anyway it's just a really fun thing and the thing is that i i've been using in almost every mix lately and you'll just have some nice mono sound that's just boring and you stick it through this and all of a sudden it's like oh there you go you know all of a sudden it's got this contour it's got this kind of warmth to it and this like a nice stereo kind of thing going on and then you add a little the the clear mounts domain to it you have a thing that test turns into a thing it's just no i love the fact we open up the session and your plugins are already on it that's that's a good thing to me mixing should be fun you know what i mean it should be fun and if even if you don't use any of this stuff it's just fun to play with but i think you that people will end up once you try this you can't not use it you know i mean that's what i've found fantastic and i'm so happy about it and i've heard all my friends like it right ryan hewitt watched the you know davidson the other day watched the videos like i need this plugin great bob thank you ever so much all right that was a lot of fun we're going to do a giveaway where we're going to give away two copies of phrases two copies of the mod comp and two copies of claire mountain's domain don't forget to enter below and leave any comments and questions i really appreciate it so long farewell avidas down au revoir hey door uh dossier dania goodbye or i'll feed you soon goodbye [Music] [Applause] [Music] you

Channel: Produce Like A Pro

Views: 27,333

Keywords: Warren Huart, Produce Like A Pro, Home studio, Home recording, Recording Audio, Music Production, Record Producer, Recording Studio

Id: AN_nnXmDNVo

Length: 27min 26sec (1646 seconds)

Published: Mon Feb 28 2022