Jacob Collier Masterclass en NEMPLA - Parte 1

what's up everybody how's it going it's so good to be here this is super this is really exciting this is my first time in Argentina today Thanks so the way these normally work for me is that at any point somebody can ask a question any time did you say you have a question even right now that keeps the whole thing moving I can obviously talk about harmony I have to talk about rhythm I can talk about melody I like to talk about Jacob and what I'm all about so so so Omni rhythm melody life touring the one-man show and how it works learning the process of learning and education and how to do it and like anything anything you like any question is welcome all questions are welcome so no say couch Aaron okay boy and oh no okay see me kilometer I saw a la música el mismo or flora parte del proceso ha there you go so uh so I I do i mix and I I'm I don't master but mix thing I do do and mixing is very very important to me um so I have a I have a room in my house my room yeah and um and so I've always made music in this in this room and for me I I guess my process of learning involved mixing at a very early age because when I was seven I got I got a I had access to a computer with Cubase I wanna do you guys know Cubase it's okay and and so and so yeah Cubase is like like logic or Ableton or whatever and it's it's a way of recording music so you know I I had a voice and I still have a voice but I had a voice and and and I had a little MIDI keyboard and some percussion and and a piano and a microphone and so my my first experience of making the kind of music that I make right now was you know listen listening to a song like Stevie Wonder or Stevie Wonder and then and thank you okay so there's drums and the drums going like [Music] how does he do it like can I work it out and then I play it on the keyboard you know and recording that and then gradually you know as you record these things you've broke all the drums and the bass and things like I couldn't play bass when I was seven but but I could sing a bass line you know so you know drums and bass and these different elements I I guess I had internalized them and when I started to record them mixing was inevitable because you think we'll you know if I if I have a note in the bass line that's the most important oh of all the notes you know like don't don't like the way you make that louder is you make it louder like that so hey so yeah I began to craft the dynamics toys I'm just I'm just loading up is near my computer I'm loading up this is this is the the logic session for you and I I just I just said I just want to show you how the mixing because it's very very fun tis that you know so in this in this arrangement there are a ton of you guys can see this can you see that okay so every every single one of the blue things is one audio file and and so you know as you can see at the end like when it gets to this bit here like it's like it's like 5050 voices you know what's the momentum oh synthesis know which I wanna see and are just yes just to show you if i if i zoom in and there you go so all of the yellow all of the yellow lines you see it there's all volume so this here so there are lots of lots of tracks there's about sixty tracks you put the tracks into groups and then this is the yellow lines are the automation of each individual track and then this is the automation of the group track so there's like 20 tracks and they all have little things and then there's one track records you know because you have to sculpt to normally around the melody that if the melody can't be heard then something if something's in the way it's very important to learn how to craft things so yes so these are in these are very individual tracks and then this is the automation of this group and obviously there's there's lots more groups and this other things that you can automate anything in logic you can automate volume or panning or so it's it's a very very important part of the process because you know like for example in in hideaway which I can show you as well there's 350 tracks and you can't have 350 tracks at one volume so it's very very it's very very important to to learn what what's more important than other things so you know how in painting you have you know you have foreground and background you have light and shade and these kinds of things it's it's like it's adding a dimension because you know if you think about music as being a flat surface then that has informational value you know it's a thing but the moment you go like this you know with dynamics something is allowed if something's required to something's are in the foreground and there are these shifting of things something so yeah so it's it's like it's like if musics like this it's in one dimension or to what I guess two dimensions and then if it's like this with dynamics it's in three dimensions and now there are more dimensions as well but those very important so I guess answer a question mixing is is absolutely essential mastering is different because mastering is when you have a mix and then you go into a studio and make it sound sparkly and you focus on frequency bands and you focus on balancing it all out and for me I've never learned had a focus on that so much I've more focused on getting everything to be the right volume and Ben Bloomberg the guy with whom I built the harmonizer and the one-man show he has an amazing amazing is for frequencies and stuff so Ben and I sat in a room for a couple of days in Los Angeles after I finished my up and we mastered it together there in the studio one one more thing it will be fun to show you if we had a screen then you'd be easy to see this but so this is this is hideaway but each one of these tracks is about 20 traps so so for example these okay so can everybody kind of see so this is this is them the second verse of touch me like I never love second verse yeah yeah and this is the verse that all the musicians like what's going on at the groove because it's a weird and so the metronome is 49 BPM just super slow and and basically the way I did it as R divided by divided into five so so you know how you can have you can have a yeah so you have all these different ru you have there are lots of different ways in which one one beat can be divided into different numbers of beats so there's like so in one bar for example live you have like one two three one two so that's a bar of 4/4 but what it does yeah but in each beat you can have more beats so I think it's always better to say you know normally when you see in on music you see at times the interest like for for yeah but for me for me that there needs to be a another number up at the top so like five four four would be like default did want to treat it default to 1 2 3 4 5 1 2 3 4 5 3 2 4 4 but it's still for 4 you know yeah so I attend to I don't write out music on paper a lot but when I do I think it's important to to describe the groove you know in terms of numbers and also nothing about groove is that sometimes it's wonky you know sometimes like for example like you know so the way that rolls like an egg but that's because you know it's not straight yes you kind of you kind of move these two in like that you know so this is a wonky groove in three divisions is from Morocco this groove is from Morocco yeah doesn't have to think didn't think that thing did super cool and and honestly if you look at the world and look at your life its wonky it does life its life does not do that right life does this yeah so music for me is very important that you also let music do that if it needs to and in a similar way to actually the piano the piano is not in tune did you guys know this yeah oh that's great so so if you have a major chord like a that's F major yeah and so um there's a FC but on on the on the piano because all of the semitones are exactly the same size there's lots of that there were lots of chords that aren't the don't sound as guess okay thanks James fun that there were lots of course that don't sound as good as they naturally sound because ever done this have you ever done that yeah so so harmonics you hear the harmonics going so in every single note there are harmonics and if you tune the major third to the harmonic series it sounds super good but on the piano slightly wrong so so for example here's some so here's here's the thing his thing so one semitone right traditionally is divided into sense do you know guys know about sense all say Madonna baby and send it yes so it's like 100 130 semitone yeah and I've recently got really into microphone like a micro tones microtonal stuff and and and so there's just so many interesting homage you can get when you start using micro tones in music you know you don't have to but it's good to know how a major chord sounds so so for example the on the piano the major third a this is F major is 14 cents to sharp okay and and so this is but if I stick my baby but a fun so this is this one and if I sing [Music] you that's harder to the fellows it's insane [Music] [Music] sorry so anyway so so as far as as far as 2d is concerned I guess my point is that humans love to do this thing where they make everything's the same rigid and organize them in a straight line not the way it is right tuning Weiss I'll come to you one second - tuning wise you know notes in courts if you tune every semitone the same sat the same size it doesn't sound that good well it sounds okay but doesn't sound as good in the same way if you make all the beats the same size it doesn't feel good right well I guess my point is first of all musically it's nice to bend things around and I'll show you that they are hideaway groove in just a second but also in a human way in life it's good to let yourself be wavy because really it's the way the world is you can't control everything in straight lines it doesn't work there was a question here so I do use a metronome for recording Savior but the metronome is not going so say but [Music] but the metronome is not going yeah also be like it's really annoying but it's this is fine yeah so eighty dimension was 84 Savior between 80 and 80 between that it's like all sorts of stuff can happen you know but this is solid and and if there was no mention of a tool then it's fine you know like for example or all of the you know the I harm you melodies that I harmonized like that's never a metronome because people go all over the place but but for Savior and you know for normally for recording I worked to a click because it's you can see it visually on Logic the lines and it just helps line things up because you if you line everything up and it works then it feels really good if it gets it in the pocket so I think it's very important to take that statement about wonkiness like not very very literally like for example like I wouldn't like give all of my money away and sell my house and be like wavy you know I wouldn't I wouldn't do that but but i but maybe my mind would find other solutions to problems that aren't to do with being like this is right and this is wrong you know there are there's a boundary there but clique is important but between the click that then you can be flexible it's it's a lot to do with the balance of finding you know finding the the regiment and what you can use like a restraint and area and then the freedom within that area like that if you find the right balance then it was totally fantastic ok I want it I want to show you a goof that is wonky but also straight so this is close to you right and and so the interesting thing about this is that so seventy right and I I got I was in a phase in my life where I got super insulated wonky grooves in like all right you know like people like D'Angelo and J Dilla and Haider - coyote these guys so it's like it's like this this Moroccan groove I showed you but it's like a hip-hop version of that because it's like and then they go like this and everyone's like you know all of the musicians were like yeah and so I wanted to I wanted to find a way of understanding this so there are different ways in which you could do it one of them is you divide it Oh beat into five as I was saying and you go detect a king okay another one is you divide into seven and you have you know and and then then they're straight you know so there's there's a there's kind of like a there's a margin you can move to beat a variety different different distances there were lots of other ways you can do it you do 9 11 13 and stuff like that but honestly for this for the purpose of this exercise I want to focus on five and seven to show you how this groove works a question it's a long way on the attach oh well tomorrow it's what it's okay yeah so it's like on the it's 1 2 3 4 5 1 2 3 4 5 1 2 3 4 500 yeah so the higher is a 1 2 3 1 2 1 2 3 1 2 so it's on the 4th or in 7/8 yeah so it's like 3 2 yep yep and but it gets interesting there because you can you can move different parts of the groove can be doing different things because if everybody if everybody in everybody does the same thing in a groove you know so say it was like 20 bow so say say say your groove was like like if the bass is going like that's what he taken the kick drums doing that already you know so that doesn't add anything to the groove because it's just in unison with a part of the group that already exists I think it's very interesting to think about the fact that you know it's not that the bass needs to do something totally different like in like filling all the gaps but if it sometimes does different things then it's really interesting and this can happen on Oh on a on a big scale and it can happen in a very minor scale so for example in salsa music that the groove is wonky sometimes it's like this and if the base is going then actually having zoomed into South silent um the the base the base is going like it's like triplets [Music]

Channel: Nempla Música

Views: 306,131

Rating: 4.9447198 out of 5

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Id: rcgcrxslh60

Length: 19min 17sec (1157 seconds)

Published: Tue Sep 11 2018