HOME STUDIO TOUR with Andrew Wells Platinum-Selling Producer (Halsey, Celine Dion, X Ambassadors)

[Music] so we're big we're bad and we're back with mr andrew wells how are you my friend i'm good good to see you welcome third studio third studio all very different all very very different this is an incredible location i'm very happy with it it uh it turned out exactly as i'd hoped which is a rare thing now i mean you've said you've had it for three years but we have had that little pandemic thing so that that's during the good year or so it did and every time i go to your instagram you're in a different country working i am the the pandemic kind of sent me to london and i've been doing most of my projects out of london just uh because the industry did not really stop there the way it did here um but yeah it's nice to be back though did you you were at the manor did you also get to out to rockfield i i was at um angelic in oxford which is incredible that place is it's like on a farm way out there ssl and it's like the engineer is great that's like highly recommend angelic yeah i love going through your instagram we'll put the link down below so obviously the centerpiece of the studio as we talked about a second ago is this gorgeous altec what can you tell us about this yeah this one has quite the story it's a we think about 66 65 um al tech that was at uh it was built for the old country producer owen bradley at a studio bradley's barn and it it did like uh they did lorettalyn cole miner's daughter on it some bob dylan some johnny cash and then the studio burned down like four years after they installed it and luckily it was moved out but it sat for like 30 plus years oh wow and then was eventually tracked down i think dan auerbach is the one who originally found it and discovered it again and then ken hirsch at orphan audio like refurbished the entire thing to museum quality condition beautiful yeah and as far as i know there's only two others in the world because it was immediately phased out because it was built for like a four track machine so you have your four buses you can only select one bus at a time should you want to pan something there's one pan pot right here labeled pan pot there's no solos no mutes and you don't even have a game control for your preamps it's just a set level of gain so the pan pour is just on the master stage how does it work so you basically you patch into it and then you select which you know buses you want to pan between so two and three yeah and then there you are oh so so is are the uh is everything um selectable as left right or stereo how does it work just left or right so you like the way they would use it back in the day is there's like one photo online that i found of it in uh bradley's barn and there would be four monitors yeah and each bus would go out to a different monitor and like a completely archaic way of working even like five years or two years after that because that's when api and neve and all these you know just recording technology change so what do you do are you summing through it are you tracking with it a bit of both yeah it's weirdly so before this i had a tree audio console that was designed kind of just to more or less my pro tools template because i was looking at neves or apis or all these more large format consoles and they're all designed around tape machines like it was a whole workflow that does not apply to pro tools and i was like if i get a neve there's six figures worth of stuff i'm not using on it um so when i got the tree audio we designed it specifically around my pro tools template which was i have you know eight buses and they all go out and some on the desk and then when i found this it really like it fits into the extremely modern pro tools workflow so much better than a newer um console meaning like 70s in that i basically sum my eight buses across uh the 16 channels on the desk and this these last two here are ascend to the 33 609 that's over there um and then that comes up on the desk and there's eqs on the returns which are these guys here these are the eqs yeah so you have your frequency select and then almost like a trident you know in the way that you have like a little lever for them and they're super powerful and sound sound amazing so 15k that's crazy it says 15k 3k 5k 10k yeah and it blows my mind because and then you have your low end on this side and the lowest frequency is like 40 hertz and the highest is 15k and like you don't hear those frequencies on any of these like those 60s records yeah and it like is and i described the console as like high fidelity in 1965. crazy that's great so so it's basically bass guitar kick yeah so exactly exactly and the way i sum out is i have my kick snare rest of the drums bass guitars and synths yeah lead vocal background vocal 33609 there so when you when you're mixing do you do you yeah you sum but then do you sum and print that so when you have to do recalls you've got them created so i leave the eq generally set the way it is i kind of figured out what works across just like a whole stem of you know guitars and synths right and found what little boost because they're very broad eq so i wouldn't i would never do like a surgical type thing on them um but they are very powerful like i did a session the other day with an artist where i just went in deciding like i'm not going to eq anything in pro tools i'm just going to let these do what they do and it sounds turned out amazing and these are like and then i have these guys on the stereo bus here yeah these old graphic eqs and were they was this built into the console originally they so when the console was made it was like like they sent out catalogs and stuff is like the first customizable module console and obviously like api came in and kind of took it to a different level so you could customize it any uh any which way um and when they refurbished it they put and i think there are a couple of those that went out of these consoles had these in the meter bridge that's fantastic it's just and it's just a beautiful piece of work yeah that engineering of this like is the actual design is is crazy for 1965 or 66 yeah it's gorgeous and then you know some pncs um probably courtesy of maurice yes this was spider is the man that brought these in it was by the name of spider i was finally decided to switch monitors and i was considering atcs and then obviously pmcs and they were the first company that we're like we'll just drop them off and see if you like them and yeah it was surprisingly difficult to get to try monitors from another uh company because it's this is such a strange room to work in as far as like how it's acoustically treated that like a lot of monitors that sound great in most studios just do not translate in here because it's like a small church and the ceilings are massive you know um but i love these they sound amazing they translate and they're just the first i found that they sound basically the same wherever you are in the room and because it's a giant room like a lot of monitors sound wildly different back there than they do up here or where you're standing it would be covered in base and this is like it's pretty neutral across the room which was probably the most important thing gorgeous yeah that's uh that's a fine pair of uh monitors to say the least well let's go to the left here and yeah you've got a couple of ampex um those are some tape mic pres from tape machines yes so basically all of my preamps are in the board there's 14 preamps in the desk with no actual gain control um but so most everything is on that and then i have the pair of ampexes for like mono overheads so you're just using the faders that's the only control the faders are for the returns so you literally so what you do have on the console are these eight knobs here are patchable attenuators so out of the preamps i go into these so you can control the level going out going out going out so that but that's still not a gain for your preamp it's a you have like what is it 45 db 40 db of gain and it's just fixed yeah exactly yeah so what for vocals are you using it for vocals vocals we go to that rack and i'm using one of the tree audio pres our vocal up there and then because this is like such an archaic piece of gear to use the stereo bus eqs they're passive so you lose 14 db of gain so we're making it up with two of the triadio pres as well and for vocals it's like whether i'm i work across so many different genres that it's just like i can't afford to have this color be across all my vocals and i don't use a patchbay there's the console is hardwired to a bay down there that we don't touch everything's hardwired in chains so the tree is just higher fidelity and you can obviously turn the gain according to amazing the vocalist so you've got the two altex here with the abbey road mods for the other yeah so this the top one here this is on the uh vocal going in okay and it goes out of the tree into the the ltch going in and then this bottom one is a hardware insert on the vocal after it's been recorded and they sound wildly different there's so many different variations in all the mods this one's quite on the slower side and then this one is like as fast as an 1176 and i don't know what the difference is in the mods but this one is like very fast so it's great on the return and just kind of gives it some personality i have a i have this same model and i have it modded by steve anderson with these features this is a great great unit yeah i i love it and it's funny just like these dbxs the value has skyrocketed in the last year unleashed yeah it's it's insane i'm thinking how often do i use mine and this bottom one is an insert and this is not modded and without the mod these can be like virtually unusable because it's so slow so i more or less use it as like a distortion box right where you can i'll send like bass guitar through it and it just gives it a whole leather character or even like 808s or weird drum stuff sound awesome through that i think uh um kolstrom used to plug a base in the back and then just crank the volume and use it use it as a di yeah they're they're super awesome but these are definitely like the more practical ones and the ones with the mods are incredible i love them marvelous and then she got three um 65s did you have the 161 did you have them modded from the rcas yes yeah and these are cool so these are hardware inserts as well because i more or less use these as like a production tool of like if you want to just give something ridiculous snap whether it's a snare drum or like piano they're amazing for that i don't really use them for anything besides like crazy attack like almost over the top yeah and then these three are for tracking so this is mono overhead here and this one doesn't have the stop limiter um and then this is overhead left and right and that's kind of where those live do you ever do you ever hit the um the peak stop i don't think i ever really do anything i love it i love it what are you using as how are you it's it depends on the character of the drums it's like not super natural sounding and i know everyone said the reference is the tame impala thing all the time but you get that super kind of snappy like if you play super light and have that on it's a whole vibe yeah yeah anyway because you're going to have all the low end from the body of it and then yeah yeah i can hear the sound in my head now now i'm going to try it and then 3369 and you were saying you have it on your bust yeah so this is for parallel drum compression yeah so i send my drums to it and then it pulls up here on the console and this is like the biggest like most crucial part of me producing with drums in a song because it's such a big part of the sound actually i've discovered it through the uad plug-in on the setting fat drum group i don't know if they still have that setting but i used it on that and figured and kind of used it religiously across my template and uh then got a real one set it to the same settings and haven't touched it since so you you can you can basically say the uad is as accurate as it comes it no i wish i could i wish i could um it i noticed we like did a kind of blind test a b and i found the plug-in sounds great and everyone should try the fat drum group setting uh for parallel compression but low end passes through this in a way that the plug-in does not like the plug-in compared to this sounds very like choked and like you're losing like there's sub that comes through this that just does it on the compressor and the uad one right interesting and then talking of uh uad yes this was the first preamp i ever got that's still i use on vocals a lot of the time and i've used like amazing way more expensive chains and this is still gets me like one of my favorite vocal sounds when i record well if you're choosing between the tree and that what what is your criteria for using one or the other it depends on the vocal in that this is a tube this is like your 610 thing which has a bit more body and if it's like uh i find like female vocals or female pop vocals this can get a little thin compared to the kind of woolier thing that this does um and i am a fan of compressing on this into you know another getting two different flavors of compression going sure i understand um just doing a little bit on uh on both great well let's go back to the amp yes originally talk about that so yeah those are from um tape machines yeah so i bought i actually bought a 351 two-track machine from my neighbor we wheeled it down the street and i ended up i was using it to basically print mixes to on the you know even just for roughs and everything or print stems through it hitting tape and then it just kind of became more practical to use them as preamps and there if you haven't tried them they're like it's such a specific vibe that is super cool and just sounds like those records you know from that era and like a di guitar into it is crazy yeah i love those it's just such a huge amount of real estate yeah massive size of this it's like plugging like a telecaster you like feel sort of like hello but they sound huge i love them now you told me before off camera about these this is very interesting so yeah so these are the black lion modified uh 192 converters that were i don't even know what year they were made i think like 2011 was when they were doing them and that was when black lion and requisite audio were like paired as one company um and it was essentially a guy i learned uh from coming up this guy mike shipley he was muttling's like dedicated mixer and uh mutt caldwell was like the 192s aren't good enough and that was at a time too where like looking back the 192's are not like just the you know the digi design ones are not desirable um so mike sent them to requisite audio danny mckinney and them and uh they came back with this which is the fm 192 for mutt uh 192. and i love them i'm like i think you can make amazing sounding records on apollos m boxes if those are still around like sure anything but when it comes to like this stage of gear i notice a difference do you have any idea and you don't have to but do you have any idea what um they did to these uh all i know is like everything the cards like every aspect of that was completely kind of rethought as far as components go i think there's like a sound on sound article uh that can be checked out on those but they're super hard to find now and i just can't like not pick this up that's so gorgeous [Music] what model is it this is an lgo i think it's a 1950. oh it's gorgeous i love i love it and it gets matte because it's been played for so many years yes it just sounds like a tree i love it that's a good analogy i never heard anybody say that and it's made it on a lot of stuff yeah i've i've found i'm sure obviously you have the smaller body the better it sounds in a track yeah you have a 30s martin over there in the corner that's like the epitome of a small guitar i found that out when back in the days we talked about swing outs earlier when rick rubin used to do all his pre his pre-production there all of the acoustic guitars and all those chili pepper records really all small body yeah oh it's crazy it's the best insane amount of low end from a little guitar it's it's mental and it feels like it's coming out it feels like it's here and it records huge like it can sound so big i don't know how to make that translate through a little mic but the sound is like here yeah [Music] yeah this was a london purchase and it's one of those where as soon as i played it i was like in the back of my car wow wow it's something else for me this is like the be all end all of acoustic guitars it's like a early 30s martin makes you want to play really slow so you can savor every every note [Music] it really does feel like there's an extra part of the body here that should be on it it's insane it's so light oh yeah i'm this is this is one of my favorites i don't want to ask you how much that was we're not we're going to save that for off camera discussion you sold a kidney exactly and then the piano we have the piano this was a uh like right when i got this place i knew i wanted to have a piano in here and this was a craigslist piano i know nothing about it i didn't even go to check it out i sent movers there then mode some dude and then they brought it over and it was like a half step up uh as far as the tuning goes so i had someone come and it's uh it sounds great it's made it onto a handful of stuff oh yeah like i like it because it's not trying to be a steinway it's just like a vibey upright yeah it's good it's great tone oh so it is a baldwin yes it does look a little bit similar to ours doesn't eric it's that prop that this probably all this bit is probably similar a lot of the uprights yeah because like it says a product of baldwin and then they probably put different casings into yeah i imagine it was like a cheaper yeah oh yeah offshoot we're going to go over to this rather lovely telecast which i have already admittedly played which is absolutely gorgeous so tell me a little bit about this yeah so this is a guy in nashville who i've heard of for a while he goes by kelton suede um and builds honestly some of the best guitars i've played and as soon as this came i sold five or six guitars and there's only a handful left and it can record anything it's like the main really the guitar i use is the one that's up here and it's kind of like a cycle yeah but this one has stayed the longest and it's it's something else because it's also there's no lacquer on it it's like a stain rather than paint oh yeah and i haven't seen that on a guitar it does actually like a table wasn't it yeah exactly looks like you're in your grandparents uh you know how since the table from yeah 50 years ago yeah it's absolutely gorgeous gorgeous well let's um and live room should we go and check out the live ones yeah yeah let's do it so i don't know where to start you know what let's start with let's start with what's in front this is this is a peluso p12 which is compared to most of the other mics in here a relatively inexpensive mic and it was my first like my first vocal chain i got was the 610 and this peluso and that chain has not really changed over the last seven years or whatever it's kind of still my go-to and it's i think it's like a 1500 mic about and it i can't vouch for how it sounds compared to a real c12 yeah i just know it's an amazing mic and i think i mean i've probably done 300 sessions a year or something like that and i think i've had two or three singers in the last five years not sound good on this mic and that batting average is high enough to keep using it i agree i agree like we were just talking about i mean it's a husband and wife duo building them i can't i don't remember where they are but yeah it feels good to have a product where you know there's like actual people that give a crap making them definitely and like when i was in oxford i was working uh with an artist and we tried i remember the chain we picked was they had a blue stripe 1176 and a vintage 47 i was like this is going to be and i'm sure it was like a neve pre or something and i thought it was going to be the best vocal sound i'd ever heard because there's so much you know hype around these especially like the 1176 and it sounded horrible and it was like the most underwhelming thing ever where i was like we have to stop recording and change this because it's like it's not working and every singer is so different i'm sure for many people it's the best chain ever yeah you've probably heard me say this and you and i have probably talked about us 100 times but when we were in uh sausalito they had three 47s and we had one and we put them all up together and they were like this one's the stevie wonder song and the key like this and all of them you know fantastic every single mic sounded like a completely different mic yeah i i i don't personally know what a 47 sounds i mean i do no exactly that's the thing they're all so different wildly different and then you you know put a human being singing into it into the mix and every human sounds different on every mic you know because it's just there's so many different variables and i found this and kind of stuck with it and i've toyed with the idea of like oh i'll get a you know 67 or a 47 but i'm like this is kind of the most important variable to not mess with if if it works you know and because i haven't ever felt like i needed to beat what this does it's it's stuck around what did you end up using out there did you have this with you or did you i no i think we ended up with a 67 and i was still thinking like damn i wish i had my paluso yeah probably should have like bought one and had it delivered but yeah these things are amazing yep fantastic um while we're on mics because we've got obviously amps and we've got guitars we can talk about but while we're on mics um i couldn't help but notice that you've got c12as on the kit good choice yes and the guitar amp here they are like my desert island mic where i have been using them i've tried them have they ever come out for sale how are you finding them i i again like i bought these right on the cusp of them shooting up even more in value like same with the dbx 165's i bought each of those for a grand like and now they're 2 000 compressors and it really is like if you can get to a place where you can buy like one vintage micro compressor it's like a real investment um and i found these back when i was an intern and heard them using at a studio and i love them they're like you can literally use it on anything how much did you pay did you get some good deals on that i did get some good deals on them i did we'll save the number for another time but yeah because yeah they're they're rocketing up like crazy i mean they're one of my favorite mics as well i got all these maybe four years ago is when i got them and it's just like with these it's kind of the more you have them the better because they work on everything you can use them on anything and to me it sounds like the top tier of what a mic can do for that you know instrument whether it's acoustic or electric and then we were just talking about the uh um the was it the bku5 bk5a the rca i'm mixing up the aea one with this which is a copy or apparently a clone of it or something yeah this one i first i was working with an artist at mission sound in brooklyn and i typically like to have when i record drums some mono overhead as most people do with you know the kind of charactery compression and that's where like the ampex comes in um and this is what they had there and it just it sounded great it's like super mid-range heavy um so another mic i don't see because they got so popular in nashville i went to blackbird you know just when were there two years ago and they were like do you have one of these yet yeah i i love these again when i got it it was like one of the more slightly inexpensive ribbon mics no anymore not anymore unfortunately but that's what that's what i love about ribbons is like you can go on reverb and just type in like vintage ribbon mic and there's so many different weird offshoots that like a lot of which probably sound very good um and yeah and then so we got that for the mono overhead the kick is a d12 kind of my go-to um and i know a lot of these different versions sound um quite different but this one whatever's going on here has so much low end and sub that it's it's crazy beautiful 57 top and bottom yeah kind of if it works don't don't mess with it i agree this is the most important piece of gear when using that console and that is a rack of pads and phase so without the rack of uh you know the the unit here a snare clips a kick clips because we don't have any gain control on the console itself so i was wondering how you're going to get away with the drone yes so in comes this beautiful piece of gear that is like the most important part of the setup who's it made by it i don't think i'm allowed to say because the person who built it has no interest in ever building one of these again well i can see who made it yeah yeah there are a couple people who have modded things here where i'm not allowed to name names i i we we had a couple of that person that we're not allowed to mention mike priest but we only had them for a short period of time um but from what i could tell really wonderful stuff yeah yeah it's super super useful especially for guitar amps too because we run them quite loud so do they well that looks like a set of uh three that's the last 17 to 24 what were the other two they must have been at the or still in use at the studio in in texas where the console came from but we're just using it on see how the console has 14 pres yeah and it's really like 40 db of gain is a good number to live at um but it's just yeah like snares kicks it's just it it overloads the thing probably some electric guitars as well if you're cranking yeah yes definitely so guitars let's uh amp wise what we got from the left here so we have a magnetone left is a like a 5 watt magnetone and that came from rivington in new york and that doesn't get used too much um the real workhorse is this like 40s gibson it i've never heard anything record or this size record the way it does and it like it can sound like a plexi if you put an overdrive in front and it like weirdly sounds more clear and high fidelity than any amp in here um and i religiously use sansamp for like most of my guitar amp sounds yeah and when i'm turning to a real lamp it's because i want like the combo breaking up like the old 40s amp kind of cranked and you can't get that out of plug-ins in my opinion and what i typically do is use that one and this bigger magnetone here together and this has the tremolo on it and it runs into this custom plate yeah i love it and what's this what's the amp in between this is a little rickenbacker amp that i actually use for the first time in a long time uh just the other day on a session for the tremolo the tremolo on it's amazing and i think it's like it definitely needs work and sounds like it's about to explode like not the most pleasing or exciting way but it worked for what we were using it on and i i love it this is kind of like i have no interest in exploring amps outside of this it kind of covers the uh the bases and and normally it's the gibson on the left with this mesa boogie overdrive there and magnatone on the right and like a little sample delay on uh on one one of the amps and then you get the super wide kind of stereo thing beautiful and pedals this you've got a strymon blue sky reverb yeah that's for we bring that guy upstairs and we'll have the pedals up there um and that's just because we we lose some gain and what's that what's the radial here that's uh that's a buffer so we need to make up for signal loss because the cabling is so aggressively long and then we got an analog man so you're you're sitting up there between the speakers yeah i never come down here to track electric okay and then the mace boogies usually in front of both amps and that's like the main distortion to drive them a bit now we're going to flip it around here because we have a lot of lovely guitars to look at the one the first thing i noticed obviously we first came down we were talking about was this uh coronado yes which is like we were talking about like if you want to get that 60s fuzz tone there's nothing better than a hollow body glued neck i mean sorry bolt-on neck just bratty ratty guitar sound yeah this came from denmark street in london and it's just one of those that's like a vibe and for guitar choices like every guitar that's in here serves a purpose because i'm not playing shows or this is strictly for recording so if i'm buying another guitar it has to fill a sonic void um and this definitely is like such a yeah it's like the kinks it's that kind of that kind of vibe and that into like the five watt magnetone or something like that is is where it gets used yeah it's really really cool i do like the little the little what do they call those the three things this is a 339 339 yeah this is it's like barely been played but i love it it just like looks like a piece of art and typically i don't reach for guitars that like are in that nice condition [Music] but it's really one of the only guitars with humbuckers in it here so that's when it comes out it's pretty much all p90s single coils like that's kind of where i lean towards universe and this was actually phil lesch from the grateful dead's base oh really like way back in the day and then through a shady uncle it ended up with me uh little junior there yeah yeah i uh anytime i see the the billy joe green day les paul juniors that were made in like 2004 to 2008 or something like that come up i buy them because these are for me like the closest you can get to a new guitar uh like 58 les paul jr this is about as close as it gets for me so is that what that is that's a bit yeah so this is a billy joe that's billy joe and this i've switched out this i think has a loller in it right and this has a seymour duncan antiquity i think it is nice um and they sound wildly different but like i'm working they normally sit but then i'm working on like a very much rock project right now where this is all we're using great so it's really like the purpose of having this many guitars in a studio for me is like filling a sonic void in a in a production it's it's it's a good number though yeah i've been in many rooms with hundreds of guitars that four are getting used yes exactly i love this harmony here because the neck is the same width all the way down it actually looks like it's getting narrower yeah it probably is is that weird it looks like it's narrower than there but i think it's just the same width yeah this thing sounds massive this also came from rivington in new york there are only like a handful of guitar stores where when i go in i know i'm gonna leave with something and it's just yeah it sounds massive especially running it through guitar amps i'll do for recording bass quite a bit [Music] that's fantastic this is a lot of fun yeah i want to play calls on it we do often play chords on it i don't know what it is it's got that it definitely has got an experimental thing about it isn't it you want to get creative and try ideas what's that what is the strand of that this was my first strat i ever got uh it was it's like it's just a mexican strat that's like when i would tour way back in the day it would be that in a soft case and like check it going to australia like you just know with fenders like it'll be fine yeah um and it is beat to hell but uh i i love that one and then the jazz monster jazz master i've had this one for a long time as well and both of these are just mexican vendors that like i honestly lean towards above the new american ones and this gets used quite a bit anytime it's like something i'm working on something that needs the like 80s post punk new wave thing that's when like this guy comes out all right keys yeah these are these are what are up here now there's a bunch more downstairs but this is one of the most unique instruments i don't know what it is it's a farfetus and orchestra which is like i've searched for years to find this it's really like the only synthesizer farfisa made in italy back in the 70s um and it's wild because it's like basically your right hand you can have portamento on and is monophonic so whatever the highest note you're playing is has you can select it to a different octave and it can almost sound like a moog on like west coast hip hop from the 90s mixed with like these crazy organ sounds that you're getting on the polyphonic side where does it split so it's really it just splits on the highest note you're playing so that's the only bit that is the you know the monophonic portamento yeah that's crazy and this is like i'm waiting for them to make a plugin of this because anytime there are writers here or anyone's in the room this is like the most inspiring instrument to to play it is something else and then the obligatory melotron i think every studio needs yeah yeah and that's they're the newer one they built a few years ago yeah it's the smaller one and i love it it like both of these things tend to end up on everything excellent really cool last but not least the g-comp yeah this is it does exactly what you hope it will and is supposed to do and that is just like i never push past four um but that's kind of like when i was fully in the box before i had any of this that was always like a staple and anytime i work on ssls i don't think you can beat the one that's actually in the desks so i'm sure you would agree and but it does the job it just kind of holds it down wonderful are you doing any plug-in stuff on your on your master bus there is a lot of plug-in stuff um basically the way you should have asked because now right now i'm going to want you to open a session the way the way it works is i record so everything sums through the desk and then goes basically goes into the eqs out of the eqs into these tree audio pres for makeup gain and then into the ssl compressor into the crane song head that's my converter going back in yeah and then that goes into pro tools to print it and then i always print the just that raw signal and then it also goes through a bus that has my chain is typically the waves linear multi-band i think it goes to the uad bx the brain works eq that where you can control like the center becoming mono and spreading it and you know doing the mid-side thing yeah is a super important part of that uh that chain and then out of that it goes into a plug-in called jst clip that is my main yeah and it's like um the metal guys like joey sturgis his plug-in that i don't think was intended for what i'm using it on which is like my main limiter like i know a lot of people use the pro l the l2 that is like does the brunt of the limiting to get it loud which is kind of an important part of working in popular music in yeah 2021 yeah are you do you see yourself ever getting atmos no no it's i mean you're gonna have somebody else that you do my atmos yes i and i think i think that's what because are you being asked for that it's starting to this is the first like last couple projects i'm working on are really the first where it's like someone's also mixing it for atmos and i open apple music and it's like there's an option to listen to new songs and atmos which is have you heard your songs mixed by somebody else in atmosphere not yet there are a couple releases coming up that are where that will be the case and i have no idea what to expect it's like i know east west is building an atmosphere now um but it's it's exciting really yeah wow yeah it like it feels like the next dimension of listening to music yeah well i'll be intrigued when you do hear let me yeah let me know what you think yeah i have no idea what to expect but it's fascinating and do you know who mixed them i don't i know i don't it was someone in london i'll try and find out the name yeah i'll be intrigued yeah yeah and i'll i'll send it over when it when it's out but yeah it's it's a trip especially since like this is a console that was designed essentially before like like right when stereo came along you know so like the people that made this could not fathom the word atmosphere you're gonna be surrounded with sounds yeah they're like you can pan something now that's where this thing is amazing so what have you been working on lately it's i'm i'm hesitant to say things i'm currently working on because who in this business we don't know what will come out when when it will come out sure um but as far as upcoming things produced an album for the band x ambassadors and a single off that comes out uh great tomorrow and i should know like the release date on the album but i don't uh next friday the 19th is i did a bulk of the jake bug album in london at the church and that saw photos great yes that one yeah super excited for that adam to come out he's amazing and i've been a fan for a while and then how is it working in the church scary scary because it's all in one room that's like the whole concept of the studios it's giant paul edwards giant beautiful neve and then drums in the room and i was the first time i worked there properly was doing kaiser chiefs and i i have my whole setup for drums that i when i walk into a studio that has gates and all the stuff i have like a big setup and i tried to do that and it sounded awful because i'm putting on headphones to check things and there's so many i mean you know when recording drums it's like there are a lot of moving parts and to walk into a giant literal church where everything's in one room it's like it it didn't the sounds off the floor did not turn out how i hoped they would but then this time around i told the assistant like do whatever you normally do like however you normally mic it up just do that and it sounded great it like didn't need to do anything in the box and it sounded really good and that's like a lesson on sometimes you just trust the assistant i agree when i go into a new room i always say what i say what do people normally do but it's always good to say who's been in there yeah and cherry pick oh i love that guy's records how does he do it let's do it like him yeah exactly so yeah that was the drums paul normally uses with all the mics he uses which are i think a lot of uh centronics sontronics yeah yeah i know that's like the bulk of the mic's um yeah yeah um and the binaural head i've never used one of those that thing is crazy that was the room yeah i think so when when you're wearing headphones it legitimately feels like so the church was dave stewart's old place wasn't it yes sold it paul epworth got it and his it's an amazing studio i see the instagram all the time i'm always like this is this is gorgeous i want to make a record there yeah yeah it is it is a very fun studio and then as far as other upcoming things mostly uk based projects um the x ambassadors album is one we made like long before the pandemic and we did it here and most it was when i had the 351 set up as a machine and just about everything on that album was like printed through the machine slamming it and because their kind of whole ethos is a lot of like the alternative elements mixed with like a lot of the hip-hop drums on the stuff they grew up listening to and kind of trying to make it sound like a band with laptops you know um [Music] and yeah that was mostly on those guys and then yeah it's always a blur as far as what's coming out but super lucky to be working with are you are you staying here for a bit are you going back to england i'm going back to england next saturday are you going to work with that trip is i've been focused on um specific a couple specific projects that i'll be able to talk about soon um so this time is like after i've got a lot of that out of the way now it's opening it up to a bunch of stuff and i love working in the uk because in one week i'm working with bands pop artists dance artists singer songwriters um and that really like i haven't found that here in the way that it exists there um so very excited to go back and the studios are obviously phenomenal as you know amazing well congratulations thank you very much my friend it's always great hanging out with you yes please leave a bunch of comments and questions below and uh thanks a lot i appreciate it [Music] [Applause] [Music] you

Channel: Produce Like A Pro

Views: 35,377

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

Id: Af6IIu6zRKk

Length: 44min 14sec (2654 seconds)

Published: Tue Sep 07 2021