In The Studio: Disclosure "Mali Mali" (17 Best Tips from Twitch)

you guys ready happy molly marley release everyone bang there she is from the top we got big kick which is pretty much the same kick i use on this whole album to be honest i love this plugin um yeah it's just like a synth kick so that's doing this so it's just doing like the i guess you call it yeah like the sub the sub of the kick but when you layer it up with the other ones you know they're all just doing their thing and then get onto the fun stuff 808 hats i actually recorded these in i believe through my 808. yeah ring shifter that's what's doing all the like flangy stuff some delay on there and my favorite transient master just taking a little bit of attack off they were a bit too bitey i think in the mix bit too harsh and then this 909 loop as well this one's the main like this is what really drives the track in my opinion everyone loves a good 909 hat you know you're just immediately in house music territory there a little shaker loop i don't know where that's from could probably be splice it might even be a logic one i'm really not that fussed about my shakers i just like to throw them in as soon as possible just to get the vibes going yep that's just a logic loop look african king loop we decided to never like just drop it where you'd expect it that's the sneaky part so i've got a ton of stuff muted in the drums here see so if i was to put that all back in it wouldn't you know it would sound a little different [Music] [Music] much better classic disclosure vibes that is take out the first beat make him wait tease him tease the crowd i love that like i said to you earlier when everyone goes one two three yeah oh oh that's i like that i like messing with them i think it's fun i've kept it quite clean for this song i didn't feel like this song needed much like squelch you know it just fatimate's voice is so soft and sensitive and floaty that it doesn't need a big distorted you know kit underneath so i kept it out of the red uh this is what it would have sounded like in the red but still like the saturation is going to be adding a lot you know gluing it together we're just looking for glue at this point um we've got the inflator here it is without as always that thing just bringing everything to life so good bit of saturation so same kind of thing as the uh as the studer was doing the tape but a little bit more sparkly i've literally got it on like 12 is that i don't like to trigger the side chain with the kick drum itself the main reason for that is because i do a lot of automation on the length of the kick so sometimes it will go boom and sometimes it will go and you know i just want control over the amount of pumping that the synth or the vocal or whatever i'm side chaining is doing and so you know if you're sending it boom you can't have a quick like you know you're out of control so i like to just use a little beep basically like this is all that my side chain sends like a metronome so yeah i do that because control basically and the reason they're separate ones for uad is because of latency i've been through this before here's the base bus here we've got three bases in this tune um two bass guitars and a sine wave base um for the sub yeah it'll do for now that's pretty much how we had it so you got one bass guitar doing that and then another one on top it's just literally like an attacky little bleep yeah it's almost like a kick it's like a kick being pitched around and i i would have added that in because i probably didn't think that the bass guitar had enough attack sometimes the bass can be a bit like and sometimes you want to be a bit like boom boom boom so you know if i solo it without it and then put it in i think you'll you'll hear what i'm talking about [Music] it just adds like almost extra finger noise do you know what i mean just adds as if you compressed it harder but without compressing it so yeah just adding a little bit of subtle attack and then we've got the big boy underneath the repro one huge sign base that is literally just doing a big sine wave i think [Music] and all together so you can see in the sign this is the sign eq i'm i'm taking out some of like 100 hertz because there's already a lot of bass guitar information going on there yeah a lot of plugins on the bass guitar um there you go here's here it is without any first of all a bit of compression [Music] i like the dbx 160 for bass guitar it's really attacky and it gives me that finger noise that i'm looking for on that initial attack then we're going into a couple of decimals i love these bit crushers [Music] so those are doing that little on the top um i'll turn it up for you guys [Music] so one's doing kind of white noise and the other one's doing like a frequency um i like that on bass it's nice it kind of gives it a little bit of sparkle on the top then we're going into the izotope vocal doubler um and it's on super wide only one percent chorus and just just having it in a little bit so that's just adding some width and almost some chorus to the bass [Music] if you're in headphones you'll probably notice that if i press this button you'll hear what it's doing only so that's yeah very wide and you know just making it a bit less down the middle bit more interesting first thing well i'll take them all off first so you can hear what it's doing without and then with so yeah lots of improvements there you got decapitator first going in quite hot actually i wanted to dirty it up um i do that quite often with uh digi like plug-in poly synths because you know they can sound a bit too clean sometimes so you want to just give it some dirt on the way in yep um and so yeah when we're going into this actually i'm using the waves one find the bluey one to be a bit warmer so again you know because i'm using a plug-in synth as opposed to my juno or something just trying to give it everything i can to almost make it a bit worse bit of eq taking out the lows boosting some clarity so there you go we've got one two three four five six seven eight nine ten tracks of automation just on this one synth i actually know the volume's doubled up maybe eight or nine so yeah we're controlling the release of the synth we're doing some eq build ups [Music] here some you know release making it making it longer [Music] you know just bring the synth to life a bit giving it movement giving it some character they're all just slightly different just to you know go the extra mile and give it the detail it deserves same with this one panning around so yeah i just spent like a an afternoon on all of those just messing with them and making them sound interesting and uh not too digi all right vocal bus i'll mute all the bus all the effects so first thing i hear is super uncompressed and lots of low meds actually sounds like a lot on its own but because there's three of her doing it at once those low mids really start to build up when you put them all in together so i you know i'm taking out quite a lot of low mids here but it's uh you know you have to watch your low mids build when you're doing bv's that's the main thing you take out of bvs as low mids because they just start to every bv adds another kind of underneath and you've got you got to watch that in my opinion uh we're actually sending it to an altar boy for an octave down shift yeah not much just a just a touch but it's on all of them so again it adds up so halfway through the chorus the the octave above comes in [Music] so it sounds kind of crappy on its own but in the mix i was happy with it cool so that is um those vocals now we can move on to the bus so all three of these these three vocals here um are all going through all of these plugins so there's a lot of processing there so first of all we're going into the wave cla so just grouping them all together like gluing them together making sure they react together not massive amounts of compression just taking off the peaks and then we're going into a decapitator for the same reason i've actually got that on punish so that's actually given it a lot of distortion it's just that i've backed it off on the mix here i really like that about decapitator you know you can push it really hard and then just back it down and get the sound you want while still working it and you know getting all those nice harmonics to pop out de-essing the whole group vocal so i've got this unlinked so that you've got a stereo de-esser going on on this and then into suv soothe is doing quite a lot here actually so now you're hearing all the stuff it's taking away because i've inverted it so for those who don't know soothe everything you just heard there that is what it's removing from the vocal so it's all those harshness that's the stuff that gives you tinnitus just the stuff you don't need in a vocal it's very good on a vocal very good on guitar and i even put it on the master out sometimes i know mastering engineers who use this thing and you just back it off on the wet here you don't have to have the full 100 taking all the frequencies out i like to kind of make it do its thing and then just dip it until i can't i can just about hear it so for this one i'm doing 77 you know the drill echo boy bit of valhalla uh and then a little bit more eq so i'm eq'ing post reverb and post delay post sue so yeah i must have just still sort of thought we've got some residency things happening and i probably would have done this like whilst listening to it with the music not on its own i would have been taking stuff out that i thought was fighting uh in the mix so that's what that's doing [Music] yeah like that okay i do it but you know it's all dynamic it's not taking it out i've had this thing for years and this is like my build-up machine i use this all the time for like what you'll see it's in this tune for like um yeah good for build ups me and howard used to have one at each um when we had the live show you know we had the two tables on stage he'd have one i'd have one going through a load of delay load of reverbs great for build ups fatsumata's voice with the vocoder just sounds absolutely banging i think so the vocoder uh it's howard's chords again so the same chord is going through the poly6 but just uh you know legato and it's the logic just the logic vocoder i'll take off all the plugins so you can hear it dry [Music] so i'm compressing it really hard um that's because i'm treating it like a synth you know i don't want any peaks and troughs in the volume i just want it to be a constant sound because the vocals taking care of the feel that's why it's been pumped really hard bit of overdrive and then here is the eq on the vocoder so very subtle just taking out the stuff i don't want h delay valhalla sidechain you know the standard you know what's going on there guys sending to chorus and i'm also sending to the logic roto cab like an organ roto cab [Music] just adding a nice different texture to it there and then you've got my pretty much traditional normal disclosure master out so that's without the plugins [Music] and here's with [Music] so very subtle 2 db reduction on the ssl nowhere near the red on the tape one or two db on the drama and then a bit of soothe oh and the inflator of course i think that's it guys i think we got there i think that's everything [Music] you

Channel: Sol State

Views: 73,334

Rating: 4.9852142 out of 5

Keywords: disclosure studio, disclosure mali mali, disclosure studio session, disclosure twitch, disclosure twitch stream, Disclosure, in the studio with disclosure, music production, guy lawrence, guy lawrence disclosure, music production tips, twitch stream, in the studio disclosure, disclosure tutorial, disclosure drum tips, disclosure music production, disclosure how to, mali mali disclosure, mali mali song, fatoumata diawara, best music production tips, music producer

Id: NDkE7GMeiTg

Length: 16min 23sec (983 seconds)

Published: Fri Aug 07 2020

Reddit Comments

[u/[deleted]]

Dude these streams have been absolutely amazing. Watching him and his brother work together and come up with stuff is just a dream come true. Never thought I'd get to see such successful commercial artists work this much in depth.

[u/SolStateMusic]

My favorite tips:

1) Sidechain - use a ghost click for precise control. This allows you to automate length of kick without ruining sidechain

2) Bass - add a kick drum transient on top of bass for for attack

3) Use a Sneaky Bar - mess with people and create tension by dropping at odd times.

[u/todaysthrowawayfam]

Number 3 is a great tip and is all over house music now.