Mixing And Recording CHRIS BROWN vocals with TEEZIO

this episode is sponsored by hno an interactive platform to share audio a beautiful player timestamp comments and voice notes upload and custom name as many versions as you need to and toggle seamlessly between them with instant playback check out our personal page at high note. fm/ helpme Deon where we'll occasionally give our listeners the ability to submit songs to our page for feedback I'll leave a link in the description below now on to your episode yo yo what's going on y your boy Devon and welcome to the audio nerds podcast the podcast for audio nerds like yourself please make sure you comment like And subscribe also remember one lucky person in the comment section is going to get that VIP Rosetta compressor please leave a dope comment leave your at name for Instagram so we can hit you up and tell you won the best comment will win I think you're going to leave a fire comment because today we have a special guest but before I say that before I show you anything I know this looks a little strange I know you're trying to figure it out I'm I'm Devon Terrell I'm a protos user to the right of me the FL guide Luther band draws Studio I never heard you pull that that one out I'm not going to lie that was new off the top okay I didn't take nothing Lan user all right I appreciate you that was clean that you didn't give me any sass I like oh just wait tillo later I know to the left of me we have you know it's your boy the Ableton do Slayer it's your boy Courtney Love You know I'm taking that one wait wait that's you got okay everybody everybody wrote something new today I ain't going to lie yall showing out so we good so everybody's introduced everybody's good oh for sure I don't know if I'm good yet bro now play all right thank you so long story short I know you're looking at the set I know you're wondering like what where the heck are we uh what's happening today we have a very very special guest um and I want to say this is because of y'all uh long story short a while ago we posted a clip and I remember I yelled out to you guys that I wanted to know a trick from this person I was like I really want to know how this person did ABC and um because of y'all he heard it and um he's here today this man really doesn't need an intro because I know we're all really big fans of him Grammy nominated um a million platinums a million platinums from Chris Brown to countless names the man that's not afraid to burn his autotune into the track which we going into we definitely going into ladies and gentlemen we have Tio the legend thank you guys for having me man what's up man I'm Tio and I'm a pro tooler there there we go once again we on the board already starting on a bad notes we not bad not not at all we not started a bad I'm not I'm not about to lie it's about to be a good note cuz uh shout out to all of our guests he's the only one that that that came ready with that that's he's been he he's been he's been tuning in I learned quickly now I was like all right I got to what am I going to say you got to rep your dog yeah we get a lot of like people in the comments that they we bro like our comment section is crazy people just like repping their door and stuff like that c yeah no everyone has their own way of doing [ __ ] and it's like nothing is to be honest in music nothing's really wrong unless you hitting the wrong notes together which still could be considered not wrong if think about it cuz there's noise concerts that people do and like that [ __ ] don't have no you know what I mean so it's like it's no wrong or right it's art you know what I mean no pain on the wall except for audacity except for audacity that's a fact um shout out audacity one thing I want to ask you and this is a great place to start I always ask everyone this when they first come and it's what is your Daw Journey so what doll did you start in like from the get and then where have you landed obviously we know it's Pro Tools that you ended in but where did you start at first I started in Pro Tools so but I did dabble and other [ __ ] in between but like when I was probably 15 I remember going to this music store and I wanted to record and it was like there wasn't able like Ableton and logic wasn't a thing it was Protools uh M Mbox 7 wow empow s with the red box and so my dad bought me that [ __ ] and I remember going home with the CDs it was like five CDs and I remember installing that [ __ ] and not knowing Jack I didn't know about the eyck I went back to the music store the next day I was like hey so I installed the CDs and right what do I like I can't get it to work right and he's like you got to have the eyck you got to register the thing and you got to all this [ __ ] so like I didn't know how any of it worked and once I did get it working I knew even less about how to get it going that's a fact right cuz once you open it I'm pretty sure it 15 16 years old no YouTube was like in its infancy right you couldn't just Google and be like oh how do I do this in prot tools like it wasn't that information didn't exist like it does now on the internet so I feel like other people have a way bigger leg up on stuff than I did coming up if I wanted to know something I had to go to the back to the music store to ask the guy or ask someone that knew cuz there was no searching this [ __ ] now it's like even now like I might have an issue with something and I'll I'll search like in YouTube like yo Proto's crashing I'm in this OSX right and they like oh well it's got a problem with autotuner it's got a problem with this and that's why you got to do this it's like you can find answers now that I could have never found back and you and you came out of school and went right into engineering school if I'm not mistaken did you go engineering right so I was I was actually the funny story is I was in high school I went to this Magnet High School that didn't have sports it was all about music math and computer science shout out magnet programs shout out magnet programs Yeah so basically to graduate you had to do an internship program if you didn't do the inter you couldn't graduate even if your grades were good whatever okay so I interned at this place called Y and that was the that the time that Sarah barelli song I'm not going to write you a love song that song was blowing up right so I she was signed to that label wow so I was like the intern there like sending out merch you know how like I would send out merch I'd get coffees I'd clean the trash the engineers in the studio would [ __ ] like bade me you know what I mean like I you know I know the Vibes and there was a guy named Sunny that was signed there and that's who Skrillex is and so Sunny was in a band called from first to last and so I remember being at that studio and like the band from first to last would come and all of them had like crazy emo hair and it was like now I look back at it and I'm like and I'm like holy [ __ ] like I was there when Sunny broke out cuz I remember the label was was like not allowing him to do certain stuff so that's what pushed him to start doing his own thing wow so that's why he kind of went solo start funny is I ended up working with him a few years back with this girl Cel from Korea and when I got in the studio with him he was like the nicest [ __ ] guy so I felt comfortable to be like do you remember y he's like yeah I was like I was the intern there he's like yo he stopped the whole session he's like yo this guy was working at the record when I was from first to last and like he was just like such a nice guy and so and that goes into temperature reading in rooms and knowing when to speak and when not to right like I could see that he was just guy and so kind to every so I felt comfortable to but that's a huge thing is reading the room right and that's that's why I was able to do I mean you as a recording engineer and mixer which by the way is such a like that for instance right doing being an engineer that records and mixes like that's kind of like a new thing that's kind of like a picture that also like hits like kind the starting point so it was like I couldn't just decide like I was working for Chris and the way that I started started to mix really mix like obviously all of us at some capacity mix whether we're mixers or not like if you're a recording engineer you're making a rough mix the artist is asking you to do [ __ ] it's mixing part of it right so um when I was working with Chris there was the heart the Heartbreak album we put out we had Jason mix it and then the Indigo album I remember there was this R&B record the we sampled that song so Chris is like yo we should do this ourselves cuz Chris is very about putting on his own team and keeping things in house he had an in house video guy and in house he liked in house cuz he had control over the things and Chris likes to make sure that he's the the head of everything which is as an artist you should be doing that because especially at that level right um so Chris like you should mix this blah blah so together we sort of got it to a place where he was happy with it but it's not one of those things where you say okay yesterday I was a recording engineer today I'm a mixer by I'm not recording anymore it has to be a very smooth transition and so from Indigo all the way up up until last year I stopped recording for Chris oh wow so we're talking about 3 or four years of mixing while still recording Chris W and I was still recording Chris when I mixed industry baby when I mixed first class so I was literally like living the hype off of in Industry baby going number one and going to the studio at night and recording and recording Chris right you know what I mean it wasn't and I had to do that because I needed to make sure that if I jumped off the ship you can't just like jump off cuz you mix one record that doesn't mean that everyone's crawling to come have you like IED industry B that didn't mean that all of a sudden I had 100 clients trying to have me mix a record it took time of mixing that then mixing first class then doing that to get your to slowly get the name around because from first class to that it still took time it took a second you know like oh I mixed it helped leveraged my career which is great but I had to keep working with Chris until I felt comfortable saying I don't need to be recording anymore because I'm so busy with mixing interesting and that's really important because you don't want to find yourself in a place where you're recording engineer maybe you have a $3,000 apartment New York maybe $5,000 apartment you for things yeah thank you inflation um and then and then jump off the ship and then be like oh my God I'm scrambling oh I'm [ __ ] up cuz one thing about it is like if you when you're like really struggling it really affects the music and it affects your ability to like be pumped up to work you know what I mean like I feel like if you're struggling trying to Patient do all that [ __ ] you're going to not focus on doing what you need to do the best so I had to get to that place where I knew I was making enough money to be comfortable to be able to focus on mixing because as you know like if you're mixing some [ __ ] someone's like yo uh the the light bill the the lights are out now you got to you not really going to be in the song no more you're like [ __ ] I got to pay this damn light let me go figure this out so it's a distraction so I had to create an environment that I didn't have distractions and that's what I did and so last year after I finished Breezy I Chris went on tour and I was like yo I'm I'm going to keep working with you anything you need I'm I'm going to find you records I'm going to come and discuss things I'm going to mix all the [ __ ] I'm going to do everything that I was doing for you at the same capacity except being in the room and recording and recording you so I put my boy JP in there jenso and he's a fire engineer he's worked with a lot of R&B artists he worked with Young Thug and so I knew he that he was able to to deal with it dealt with worse outside so it's like CB is not hard to deal with at all but he requires a certain level of being quick and being on point with [ __ ] and so if you spend enough time getting cussed out in other rooms when you get with Chris you won't have any issue right you know what I mean I've actually so you I watch your your process at nauseum right where you have the three tracks that you record right and then you're burning in the auto tune on the actual we'll just talk as a generality so we don't get too focused on a person but in general in general I've always and this comes from the writing world so basically like as a recording engineer if you're not working with an artist you're doing a lot of writing sessions for labels for writers for producers whatever the case may be which is a great way to work in a lot of different environments that are all different different writers have different ways of recording right so what I found was especially with R&B [ __ ] and key changes that may happen in songs when you have autot tunes on every track it can be difficult to like first of all with CPU especially maybe five years ago where it wasn't it where it's at latency issues and then you're copying and then he's like oh change the autotune a little bit more and you're like okay for which tracks for so you have to go that's all taking time time so what I did was I committed and I committed in life and I made the rightest Comm my man got no commitment issues cuz it was a big deal when I first seen you even talking about that I remember going whoa like that is not every artist okay got some artists I'll ask people too like not anymore cuz I don't record but when I would I would ask like hey is it cool if I just print the autot tune right and most of the time they're like yeah and I would do it in a way where I wouldn't put more I would always put less okay because you can always add more autotune okay right you can always add another plugin on there and put more but you can't you can never take it away so the thing was with with certain artists they didn't care with certain artists they wanted it however they sounded when they were recording is how they wanted it to sound period if they didn't like it they would recut it right there right and then it would be right and then that's it there's no changing it right some artists and some writers they want it to be not on there which at that point I just have to readjust and know okay I'm going to have to have autotune on every track and whatever I don't prefer doing it that way cuz it causes issues with latency like we were saying and then when they want to change the retune speed or like okay just for this line or for the whole verse and then if it's just for that line you have to make you have to have another track that has its own autotune that has a little more on it so whereas like if you're recording and you're committing and they're like can you put more autotune for this you can turn it up they can record the line and then you can either turn it back down or say hey do you want to keep this autotune or go back and you can turn it back down on the printed one right you know what I mean so that's so that's why that's where that whole process came from where it's just like cuz in my head I'm not going to lie to you sometime this like say for instance the B section of a song has somewhat of a different core progression right and we run into ke changes yeah and the key changes and then right there I'm like crap I got to go to Old but my backgrounds I want to be different at that point exactly so you got to go to each one and now the writer or the artist is in the booth like hello go w i mean that makes sense and you do it so much that you had to run into that problem to actually like start to do that and you want to make it SE anyone that's in the booth you want to make it seamless you don't want them to almost see like where the where the uh the things meet you want it to be flush like they can't see where the wall meets the other wall and with CB like I record in a way although I'm making choices anding the track in certain places I'm always keeping him recording right so like he records a track and then I'll immediately bring him back a bar back from where that that started and start recording again and while I have that one bar of time I'm editing bringing it up and all that [ __ ] because I want it to be completely seamless if I stop the [ __ ] and there's like two or three seconds of Silence it can cause people's like thoughts to to get right to just glmer fly away that's for and so with experience you start to learn that and people be like hey man [ __ ] I lost the line and you're like you start to realize okay how can I fix that how can I create a more seamless environment so like on the inside of the booth it sounds like everything's just constantly playing but on the outside of the like all this commotion happen dog let me say you something and maybe you don't even noce when I'm watching you do it the noise that I'm hearing is hilarious people think that I break keep like you're CL and then again then it's the Rhythm too so I get everything in a rhythm with how the tracks going because if you get in that frequency in the Rhythm things tend to be smoother if you're doing edits and all this [ __ ] and you're not on the beat kind of and I know this is like very but I do understand where you're coming from because once you but I get in the Rhythm like and so that really helps me like stay in the Rhythm and be quick and I'm in sync with the song Almost there's something that I know Courtney and I have been talking about So Courtney and I have late have recently get gotten really obsessed with the co1b like recently the outboard yeah the whole the whole thing cuz you know there's like plugin emulations that people it's like a go Rush they're trying to run to the best co1b right now cuz we all want it but there's different versions like aad one there's an actual co1b one so there's different ones nothing is never nothing is ever the real thing more facts um but in a pinch right for sure something we I was interested because like Chris and not even just Chris specifically but Chris in general is a very dynamic singer like he could be subtle and then he can go ape right so what I always wanted to know because for some reason when I listen to your vocal mixes they have this this ability to stay very upfront they're still extremely bright in a sense and very there but then you have kind of like this 3D dimension to it where I feel like you're putting like a eth note delay underneath like so that goes into the the width thing that we were talking about earlier so basically what I'll do is I'll put this like slapback e to late but I'll filter it underw so that you don't hear it but you feel it and that brings width to the vocal as well is also creating like a a dimensional thing but it creates width without you necessarily saying oh there's a delay there making the width you kind of just feel that the vocal is a little bit wider but you're not noticing it right away that it's a delay until you really think about it like you said and you're like oh that's an eighth note delay yeah so that's one of my go-tos and I also don't put like like some people put a quarter note when we're recording quarter notes just like going but when you're creating the mix in the song I'm I'm also creating space so I'm only putting delays where I feel like quarter notes and half note delays where there's a moment right where you're just like letting it throw where you're letting it throw and for some artists it's different for some artists they want that constant constantly there and so that's why everyone is so different but specifically with certain records unless especially the demo too because as a mixer I'm following the damn demo that's the number one way for you to get the worst sentence and that sentence being what's your kill Fey is to not follow the demo right if you think oh [ __ ] the demo I'm about to do me right you're dealing you're you're dealing with it with a part of your ego that you shouldn't be that's not your [ __ ] song you weren't there all the all the delays and all the drops they're there because they spent hours in the studio doing that for you to come in and take that away because you think that it's not necessary is completely crazy now there are times where you're like okay the in the demo the delay is way too loud me just bring it down or compress it a little bit so there's ways to work around and compromise but to sit there and like be like oh [ __ ] that that's stupid take it's like that's where the thinking is going to get you to the point where the artist going to hear the mix and be like it doesn't really sound like how it's how I thought it was how I've been listening to the damn demo hundreds of times I'll tell you right now the demo that you're using has been listened to thousand facts right so speaking oh go yeah speaking of uh while we're on Chris um work my favorite I guess album work you've done as far as mixing in an album has been Indigo probably because I like a lot of my favorite songs on there same I feel like I hate those mixes I can't even listen to that [ __ ] damn that's crazy bro you know what I hear a lot of people say that about they some I grow every day and and if I grow every day by the end of the year I hate my [ __ ] you're not going to like what you January I think we all like like where it's like somebody will play a song and like oh let's play your mix I'm like uh play the most recent [ __ ] wez that's who I am that's where I am now and so as all of us know like every day we're growing you're learning it might not necessarily be like oh this plugin that plugin it might just be like ear training and sonically you're like oh [ __ ] the vocal I always had it too low and it's supposed to be actually more forward and so you'll notice like on 1111 the vocals are in your [ __ ] face that's a fact and we're going to Deep dive on that by way yeah cuz I've been mixing so much pop [ __ ] and when I was mixing the pop [ __ ] like with the industry baby I would get notes like turn the vocal up two DBS turn it up up turn it up turn it up like really cuz I always wanted the vocal to be like in the track a little bit but I notic with pop [ __ ] they want that [ __ ] on top of the front you know and so yeah yeah but um how do you well Chris we know he puts out a lot of music a high volume and how do you handle that as far as cohesion goes mixing the entire album well it's it's it's a double-edged sword because like on one hand yes it's a same artist but on the other hand as you know all of Chris's music is so different one has a lot of 08 the other one is like a a pop like uh you know the song red or was it red that's that type of record yeah and then on 1111 we have the first song which is acoustic you know what I mean so like because every song is different I don't find the the need to make every song sound the same so in some songs you'll hear like his vocal might sound a little bit more forward and on other ones it's a little more in and Sh or one song is louder because it doesn't have an 808 with a big kick and the other one might and then when it doesn't it might sound louder or whatever but I don't really try to say I'm going to force all these things to sound the same because it's all different now with offset for example I had to keep cohesion with things with Baines when we did that together because everything for the most part was in a similar vein right but with CB everything's so [ __ ] different that everything has to live in its own world with the nightmare song if you notice like the hook is underwater like kind of like this but we did it on purpose cuz he's talking about being in a nightmare in Dre so I wanted to create like this ethereal like rever underwater [ __ ] where you kind of were like in a dream type [ __ ] and then when the verses come back it's back to normal exactly so everything that I do especially now more than before is with intention you know what I mean that's there's like this this run on that album where it's like it's like come together then it's like it's together is like my favorite record yeah know that was my favorite record when I when I used to like those mixes like those is his speak come together was produced by anfl guy right I say who was it it was Ard come together was cardiac yeah amazing he producing NFL yeah that's one of y'all yeah wow that's one of Y own people I didn't know that was one of y'all come on man so I say that to say so I say that to say can you do you notice like is there are there any pointers I remember when we were with Ali he was like yeah when I get a Beat from a certain DW I'll see it in something do you have a kick usually tell in the in the in the instrumental cuz usually when I get a session from someone the instrumental that they recorded to is there and so with FL that's the one like if you were to give me an Ableton and logic maybe I wouldn't be able to tell as good but between FL and other things you can feel that clipping that's just like that's FL you know because that same clipping I mean unless there's like a plugin and abl to that that doesn't happen in right like you hear that specifically hear it and so what I need to do and I was telling you guys earlier about this plugin that Charles Schwab or Ryan Schwab makes called so CP is the way that I'm sort of able to recreate a little bit of it cuz when they print the stems out like when they print the two track to record to all of the [ __ ] is going through and everything's getting clipped the high hats the open hats you can hear how it's like breaking apart so what I need to do is I'll take my drum bust and I'll put the gold clip on there and slam it and try to recreate that feeling because although some would consider it wrong that it's distorting if again if it doesn't sound like the demo it doesn't feel like the demo The Producers already not going to like it if it's not clipping and the artist is going to say it doesn't feel the same even though they're even though they're not saying oh it's not clipping the artist doesn't necessarily know what's happening but they they feel the difference they they're not going to tell you what it is because they're not going to know but the producer will and he'll be like it's not clipping the same way that my FL is so you kind of have to recreate it so and it's been difficult in the past before this swab one to find something like there's a T-Rex Clipper yes but to me it doesn't it doesn't sound the same as no yeah I would say sorry no what's the closest one you think oh for me personally I'll be honest with you um knock from Decap I'm I'm I'm going try that like I'm I'm serious because I go back and forth with the drum bus with the gold clip or the drum it just depends on what you're looking for too because every record is different that's why a lot of people say like oh what do you do with your high hats it's like on what song yeah facts I get that yeah every song is different I've seen you compress high hats too like on some of your mix I've seen you actually like do some you got to compress and cu the [ __ ] out of it cuz you know when you get those high hats like and it's just like I can't listen to what do you what do you like for you like say for instance you have a high hat like that or what are you doing to it like so it's a combination of eqing it out but you can't just like put all the pressure on the EQ to do it all put the the sooth on there and that's sort of like a multiband compression and it's a little bit everything you just dial it like it's not about being like Oh the numbers this the just feel it what is it what is the feeling telling you like you got to throw the numbers out of the window at some point yeah for sure what is the feeling tell in you yeah cuz you're big he's really big on that you know one time oh go ahead what you going to say that brings me to like uh oh damn it just skipped my mind like in real time I got oh no yeah so this is a weird question forgive this question cuz I'm feel like you're going to be like forgive this question that what is the biggest change in your workflow from like like goat with Eric all the way to to Sensational or something like that I mean the one have my mix structure the way I do now as far as my template and gain staging for the mixing it's like totally different like back then I was more winging it like I wasn't thinking about levels I wasn't going how loud is this printing at like I wasn't really thinking about that I was just doing it Eric was on board with it like it was just all learning process right like I didn't really start getting into the whole gain staging and doing things the way I feel is correct until probably Breeze like after like end of indigo going into Bree IED the the whole structure and infrastructure of my of my template um and then from there was able to like kind of throw some stuff out for feeling and kind of like you know what I mean but in the beginning it was all feeling I wasn't even caring like I may have mixed that song on with a two track type of thing which I don't do anymore like if someone comes with me with a two track I I mean unless it's like a really big artist that's like yo the producer lost the files right I'm not going to mix it because it's not going to really show what I do without the track out and I don't want people to be like yeah t mix this and it's like it's a two track and I didn't have control of the snare and the hat and the kick and so now people are like oh that's his mix right man you know what I mean doesn't sound like the other shit's do you feel like your two track mixes like they have a lack of fidelity like separation like it just I always feel like it feels so like I can literally hear sometime when I feel like oh this was on a two track cuz I feel such a disconnect a discon can tell by certain stuff unless the person is like just not mixing how you think they should like usually what'll happen is uh the kick will be squashed and you won't you know Smash and you can't really do anything about that you can like transient design well all this stuff but it's not the real thing the snare will be way too [ __ ] loud the hats will be way too loud the music is too low sometimes and it's because the producer is like that two track mix the producer where it's 4 in the morning he's making that beat he's bouncing it and sending it like he's been listening to music all day fried right you know so like you're getting that and that's now your starting point understand man he understand us who understands you he means stop doing it yeah but he wants you to stop well here the deal tring tell he's like you guys stop next time you get next time you get a little two track mix man slide it to FL get you a stem separated that's nasty and you know you know that's probably why they gave they probably what you gon to say that's probably why they gave him I to say on that um on that tidbit of separating um or finding that separation between the two track and uh the vocals that you are tracking I did want to ask um a couple questions on this topic actually but really first and I'll start by saying my personal favorite record on uh Indigo was don't check on me oh I love that record yeah that be was does uh Goodwin mix that with M oh yeah cuz Josh mixes all the Bieber [ __ ] and that goes across the board if Chris is on a feature if I didn't mix the whole record I at least mix Chris's vocal wow you know because we have to keep things cohesive cohesive as far as who the artist is like with Bieber he has to sound like Bieber all the time if I get it and I'm like well I don't know but I'm going to thin him out cuz that's not how he supposed to sound they going to be like oh he sounds different on that so usually the engineer for if the artist has their own engineer he'll be the one to mix at least the vocal for the feature Chris's features as well like like the Danny lay record or some [ __ ] so the Danny lay one I mixed I think just him and then I send now after I send his vocal they can do whatever they want yeah they can still EQ the Acappella or whatever so it's like it's sometimes out of my control but we still like to get it back for approval right they like for the most part part like if it sounds pretty decent you're not going to fight it too much cuz you already know there's a lot of moving Parts when you're putting out a record with a feature there's label clearances there's publishing there's there's payment there's videos there's a lot of moving parts so you don't want to be the one that's like this isn't coming out it doesn't sound right like bro we got a lot of other problems problem that deal with like that yeah what you going to say Courtney did you the question the other one was um so then in the process when it came to um industry baby specifically records like indust uh industry baby and even already best friends yes um what is that process like like kind of just like matching the vibe in terms of keeping the vibe of the record itself consistent when it comes to Chris and and another artist featuring or when you're mixing one artist predominantly on the record and it's a feature what is that like just kind of matching The Vibes to make sure the record seems consistent so for example um on the Sierra record when the one that just how we wrote so when I got I think Jason mixed the main part of the record and I just mixed Chris okay I didn't want to have Chris sounding totally bright and clean like we I normally because then it would just sound like Sierra's in this world and then Chris is just in another world so sometimes you do have to kind of but it's a compromise right so it's like if I usually thin out Chris this much and I had this much brightness maybe I'll just do a little less just so he sits in the track a little better with the other artists right um with industry baby um I got Jack's vocal came as a two track from Nikki okay as you guys know Nikki is his engineer mix is all his stuff and so when I mix it obviously I was following the demo and what I do to follow the demo to keep it the same is as I'm mixing like I I do this I know a lot of people mix in different ways this opinion subjective he's good I mute everything okay and I bring the kick in and I get it sitting volume wise and punchiness and where I want it once I get the snare in I go right to the demo and I go where is the snare in comparison to the kick that's exactly so then I put the snare there and then I next sound high hat unmute it go back to the demo where's the high hat in comparison to the snare and the kick and that goes oh until I'm saying where's the music in comparison to the bass in comparison to the high hat in comparison to the snare and I go all the way through so that by the time I'm done with it it's going to punch harder it's going to be louder but it's going to be the same record From The Snare might be a little loud in the demo I have it a little lower but it sounds the same right you know the blend of two snares together like we were talking about earlier if they send me two snares that are on top of each other I'm not going to treat those snares separately because they're technically one snare I'll put those two snares through a bus and that bus becomes the snare and so once you [ __ ] with the blend that's where things get dangerous the producer's like oh the snare doesn't sound the same and then you're like [ __ ] I already [ __ ] the blend up between the two like where do I go where do I go right yeah and there's a million different options that can happen to create that one thing that he did at 4 in the morning high as [ __ ] he didn't blend it in a certain way where if you [ __ ] with that it's it's it and everyone is like and because people have heard it so I'm hearing the demo for the third time these people are hearing the demo for the million time and they can hear the smallest Chang smallest [ __ ] even set when we were doing his album he could hear the smallest [ __ ] where I was like oh I didn't even hear that because he's listened to the [ __ ] so [ __ ] much so he could pick up on those types of things exactly speaking of that record right uhuh I'd like to know if it was like was it crack that you put in that mix right which one on that Jack harlo and Jack uh uh and Industry baby oh industry baby yeah was there was a lot that was his record my favorite record2 the the funny story is they said they're like oh can you mix this record for little nox I was like bet bet bet so they send me a file the file is 15 gigs [ __ ] so I'm going damn I got the whole album I got the whole [ __ ] album yeah so then I open it it's one song it's industry baby right there's probably like and Shout Out day trip there was probably 150 to 200 tracks of just horns sh just horns just cuz there's like sections where like over here there'll be 10 stacks of horns and then in the hook there'll be like 20 stacks of horns and then over here there's another and there's layers and there's harmonies and there's all this [ __ ] so there were so many that I had to and again going back to the blend thing where stuff was on top of each other I I I worked with it as as a whole right and another thing too is when I got industry baby if you listen to the demo versus my mix you're not going to be like oh my God this world's away it sounds very close to the demo because day trip are on their [ __ ] [ __ ] that's a fact they're so at getting [ __ ] to sound good that by the time I get it I need to get it to sound like that and just a little bit better and they can tell they'll be like oh that's fire and I'm like well it's the vocals are a little bit clearer a little bit here it's just tiny details but a lot of times people overthink it and be like okay well it sounds like this I got to make it sound 10 times better sometimes you can't sometimes that shit's already hdden sounding good I just need to recreate what they have and make it a little bit better you know what I mean like and you like to start with that fade kind of like that fader mix and kind of get things level from the with the demo literally kick all the plugins that I'm going to put on the kick then the snare and then obviously I may go back and be like Oh The Snare is too bright let me bring some down I don't like do like the old scho I don't okay so the mix window I don't know what that is I've seen you I've heard you say that use that [ __ ] at all I because I started very everything in my world was very visual with Protools and so when I go from the edit window to the mix window I'm completely lost I don't know what section we're in I don't know what track is playing nothing I I do everything in the edit window everything you can do the mix window is in the edit window in the edit window yeah because I'm always I look at the vocal I highlight I'm looping as I'm looking and I'm seeing the section I can see the way form I can see if there's a a breath I can see if there's everything I can visually see everything so I became kind of visual with that stuff and so when I I make this joke that when I accidentally hit apple plus and like the the the mix I'm like oh [ __ ] where the [ __ ] am I you know what I mean you get lost I a [ __ ] I get lost yeah yo Z make sure you put a mix window hit and TZ in the face on the edit bro please make sure um you know there's one thing about that ironically you were talking about a kick and stuff like that and I seen you one time you were eqing a kick and I seen you identifying it with the fat filter Pro Q3 yeah yeah you identifying resonant um frequencies within the kick and you were like that's a problem that's a problem what the person that was talking to you didn't act and I was like please ask him was how you were determining hey I think that's an issue I think that an issue from a visual standpoint I seen you catching like the the peak or the resonant frequency where you see it so I use a combination of my ears and visual because the thing is with just your ears and no visual you're it's going to take you a little longer to figure out you got to sweep a lot your imagine your eyes are closing like sweeping and sweeping if you just look you can [ __ ] see right there is the [ __ ] problem let me let now let me check it with my ears by pulling up on the thing oh yeah that's an issue and you'll hear like the boom bom like the weird [ __ ] so like what you'll notice is as I'm cutting those things it's actually accentuating the good [ __ ] right you know what I mean that's the whole point of it is to like take out stuff that may be in the way of of a of yeah exactly so cuz I saw you taking pretty much you saw cuz you know how fat filter when it's analyzing and you go underne it's like a weird spot you got to hover over and it gives you yeah you click down at the bottom and then it'll turn blue right it hovers and you were basically attacking the frequencies that it was highlighting yeah and I'm and I'm and I'm also verifying with my ears that that is what's bothering me cuz there may be a frequency that's poking up and I check and I'm like it's not bad you know what I mean but then I find another one like okay that's an issue it sounds like a resonant frequency so I'll pull it out anytime I'm pulling stuff out it's accentuating everything I'm not pulling out it's like the an opposite effect type [ __ ] got you you're getting more of the good because you're taking out more like and that goes into the vocal mixing like people will be like oh the vocal needs to be brighter my first instinct isn't to go at highend my first instinct is to say if it needs to be brighter is there something in the low end that's causing the the high end to be not accentuated right you know so cuz I'd rather take away than add once you start adding adding adding adding you're adding volume you're adding all to to the to the mix bus so I always take away and then it's it's better that way you know for me speaking of taking away stuff let's play a game simple as better called one got to go got go let's go all right um I'm going just give you choices oh [ __ ] pick oh [ __ ] um is what it is uh first off 2A versus the 76 La 2A versus 76 uh for cutting vocals uh for for anything um I'll I'll use a 76 I love the la2a but it's not as versatile got you I have the attack and release with the 1176 and sometime I need versatile but I don't I love the LA 2a2 okay finally on the scoreboard I'm team 76 me too and I have a 2 home but I'm still 766 it's fast I like how fast it oh new autotune versus Evo autotune oh my God even I knew it yo cuz you know why it's it's really the the I'm not even going to say too much but it's like I get a lot of crashes and pops and clicks and then I just rather use the old [ __ ] hear I hear and you know with Chris you know I always feel like that was a sound like that autotune had a certain sound like autotune 5 is a preset in the new autotune you can put the classic mode and I do that that actually gets rid of some of the pops and clicks putting it in classic Mode the algorithm is just better I don't know I like it better I'm it's not that I'm like a old school guy it's just like I have less issues with that and when there's less issues with one thing that means less issues in my [ __ ] life what aut tuna you gravitate to which one I really love and I don't think it exists anymore to be able to actually use as autotune live like live live not the new live live live where it said autotune live at the top and it was like the old screen I love that [ __ ] super Laten oh God no latency nothing cuz the thing is like yeah like all the GU being all cute and nice like that's fun but when you're in the room and your adrenaline is rushing I don't got time for the cute [ __ ] give me the raw [ __ ] so I can get this job done because the guy in the booth is not going to care about oh well the new GUI causes a lot [ __ ] that get this [ __ ] recorded cuz I'm about to lose my vibe right he knows what he so you know what I mean we we always I used have that one it's not that there's bad things there's great things you can do with the new auto like the format that stuff didn't exist before that stuff is awesome but In the Heat of the Moment cutting a vocal just that you the old one is better wow for me for you yeah right for you for for right now I always wanted to know that with his Auto like which one you like yeah but now we have to use the I mean like because of the whole license the way it works and Sh you kind of have to be on the new one and I just deal with it the way I can deal with it luckily I'm not recording in it I'm just mixing so I don't have someone in the booth pressuring me with the recording process like if something up restart the computer it's just me and my assistant in there I'm not tripping when you um real quick I'm so sorry when you do record uh track via just your autotune just for the tracking session are there times in the mixing session where you're just like all right I'm going to take this Acappella I have the original autotune burnt in but now I'm going to bring it over here and maybe throw on Pro and like you know pitch correct a little bit additionally with the autotune that I printed already on there yeah are there times do that no I've meled I don't use I'll melodine stuff people always say like oh you can't melodine if there's autotune I've done it done that I've done that espe prot are you using the new like the ra I have used it but for the past I've always done the plug in you had the plug okay got but I know that with the new one it's bettered than chocolate which is awesome that's a great great feature um but I like melodine because I think when I started to really use melodine it was at a point where all the big guys there was just melodine Engineers like that one point there was guys that only got paid to Mel pitch cor that's true that's it I don't know if they still exist because of where we're at with with I hope where we're at with [ __ ] but at one point there was a guy like he would get paid $1,500 to [ __ ] melad some [ __ ] he be there melad melad backgrounds back I that would tweak me out that I would yeah you when you hit like a tight like note it like and my wife will be in the other room and she'll be like she'll be like oh you're melod aren't you cuz she's like e i she's like stop [ __ ] that [ __ ] is that [ __ ] is annoying I feel you I ain't going to lie though I had a that's that was necessary cuz I had a I had a professor that when he taught us um melod Shout Out Mr Cooper shout out coops yeah Cooper was nice he was n he was nice with the melod yeah yeah he was it was this girl in our class man I used to record her cuz he used to put us in groups she could not sing but he took her vocal man and he made it work sound like sound like SEL de Whitney Houston damn damn God that's some That's Heavy what's next maybe maybe maybe Katy Perry but all right big studios versus intimate Studios mhm uh for the recording process I do like the bigger Studios because I have more space for the mixing I don't like bigger I like intimate like my house is like a 10x 15 room 10x 15 it's small I like a least amount of stuff in there I'm like a simple guy I don't like a lot of [ __ ] I'm not a Gearhead like that's why me and Baines are like complete opposites he's a Gearhead he is I've seen his and like gear overwhelms me because recalls and this and like again when I'm dealing with can you do these notes can you do this we got to deliver this today like I'm overwhelmed right so it's like [ __ ] I forgot to do this and I just sent it off to mastering and I didn't do the recall on this and it's like you lose your mind on that [ __ ] so I keep my [ __ ] as simple as possible because when you're driving at 200 M hour you need the least amount of weight I get that was a bar can I please ask him something I'm so sorry I'm so sorry D so you use and you're a user of the APB yes let me say this the way people don't talk about it just blows my mind because it took me it took me so long to even understand what the heck um he created like when I first was looking it up I remember it came across my page and I seen you Baines both of y'all were talking about it and I was like wait what and I remember and just for anybody that's trying to understand basically it's like a way to have the power of digital and analog because you're getting hard wear um uh circuitry and all kind of stuff like that analog but you're able to recall it with with plugins that control everything to me that's still the most it's tough there's other companies that have that now like better maker has it now and stuff like that yeah I seen liit yeah I seen they doing that but for like for example with that like I don't use that on every like it's one of it's a finishing plugin for me so after I've mixed the record and I feel like okay the vocals just kind of popping out a little bit I'll go on my vocal bus and I'll put it on and I'll get like a half a DB maybe a DB of reduction it's just a finisher for me it's not like I have that on every [ __ ] vocal got you I seen you was talking about chick uh I don't know if it's the chicken head chicken head one chicken head is the one that I use the most I really don't use and the moo the L moo I put that on the base and it just like saturates it a little bit but the chicken head is the one that sets my Vo in because all of us kind of gravitate towards a plugin for a certain reason and for me that's that's what I love it for and that's what works for me for you you might be like man on guitars that shit's lit I'm I don't use it on guitars everyone has its it's a bias right right so chicken head kind of gives you like that Finishing Touch on like little GL sitting like kind of exactly to sit cuz sometimes the vocal after all the stuff you've done will still kind of pop out a little bit so you kind of sit it in a little bit with that but I love that plugin for that yeah I remember you I seen you bring it up and I was just so interested and I was like how are you using it because you brought up chicken head and I heard you bring up the Mew too and I was wondering how are you using it because I was like I obviously I don't have access to it because it's in the APB so I was just like damn like I've seen you and Baines use a APB plugins I remember it broke my heart because I remember looking up he was using um some EQ it's like a midside EQ it's blue and yellow yeah oh yeah that's the uh the mastering EQ that they yeah and he did a few moves and I was like Baines loves that [ __ ] though yeah he us it on everything that's the thing that's the amazing thing about this is like me and Baines are like best friends and it's like we have completely different sty ofic like like we mix offsets album and you can kind of tell between like you'll hear like a record damic like the vocal might sound a little clearer and on the vocal that he did or on the record that he did it might sound a little dirtier but it's a very little because we still kind of have our own ways of doing it but we had to come together compromise compromise yeah exactly because we still had to be on the same damn project and it's all about compromising with this [ __ ] from the demo to the collaborations all about compromise cuz not one person knows everything right abely that [ __ ] is crazy just out of curiosity what are your nearfield choices for speakers yeah come on man pmcs man I use the 62s those are my those are my favorite or yeah the 62 62 yeah yeah those are my favorite speakers and I literally like I'll be in another studio and be like oh listen to this I'll be like oh it sounds dope in here but I won't really know if there's any issues until I go to my room got you right my and the other thing is the room too cuz Tucci has the six twos in his Studio but his apartment has cement floors my house because it's a house in San Fernando Valley where I live it's in suburb of La most of the houses there are built with crawl spaces underneath okay so there's a 3ot that's not 3T there's like a 3ft gap where the piping and [ __ ] like that so my studio is floated on wood floors so that low end booms through the house to the point where like if I put like partition on from from a Beyonce wow bro in the the base really is the loudest like in the kitchen W that's where the [ __ ] everything is just shaking in there because the whole house is floated right you know what I mean so like for my room the pmc's are perfect when I go to Tui Studio I can't really listen to the pmc's and you are you are you still using a sub with your pmc's I don't use a sub I don't need a sub that throws me off yeah no because the thing is again what does it need not what do you want got you okay you know what I mean cuz we all want a sub I want the sub I want that [ __ ] to but if your room is giving you the response that you need first of all don't spend the money on something you don't exactly so it's like for me the room was to the point where my low end on those speakers is down four or 5 DBS if I put it at zero it's unlistenable right because the whole house resonates the base so much you know now I'm actually scared to move out of my house and I'm thinking like if I move to a house I got to make sure the the floor is floated oh man because in Tucci studio for example that lowend does not pass through the floor it doesn't give you the same response that it does in my room so although I use pmc's to be honest a lot of it is also my room it's like a 50/50 split between the two like my speakers don't sound good in every room they sound good in my room and so I love that right but if I hear it somewhere else I may not love it right you know I might want a different set of speakers that too and you got to learn like you got to relearn the r committing a [ __ ] sin but yeah I feel you learning the room is everything cuz like people will be like oh this room needs to be like the the walls can't line up and [ __ ] that does it sound good or not right you know and if it doesn't put some treatment up figure out have someone come in there and clap around fig out I learned you know I learned my lesson one time and shout out to Depp and Demetrius at million doll snare I remember I was uh at their Studio recently and that video is coming soon by the way I did a tour their studio and stuff like that in um sack and I remember I was like uh let me you know obviously I was in the room I'm Ned I'm like wow this is [ __ ] amazing and they had these Tyler acoustic speakers okay uh really tall like uh monitors and I remember he was like oh let's you know want to play a mix and I was like I was like yeah I think I do I was like yeah I think I do so I nervous on how it was going to sound oh my God was I nervous I was like I know I'm going to hear all the mistakes all the problem CU that room is really I really like the sound that I loved how it sound cuz I we played other records I played like the the the common records that I just know like that tell me the records that you know from from being growing up andit yeah I'll play players which I need to talk to you about it's just a bunch of those records so I played my record and immediately I was like stop the record I heard it like I heard all my mistakes I was hell yeah but I told him I told him and I was serious I was like yo this is a test mix cuz I'm trying to see I was I was fighting with this mix in my room cuz I just rebuilt my studio so I was like fighting with this mix played this then I played another mix and it was great in that room I was like okay and I took that mix and said here's my rubric here's my standard I know point of reference if you don't have a reference point there's no way you're in space you're floating in space like you I mean I don't know [ __ ] what else we need what we need I think we need audio Engineers MTV Cribs cuz the way he was talking about his room I'm like yeah and my wife got my house looking fire cuz I got clients coming over so I got to have like I got my plaques up we got the nice decorations everywhere we got some art pieces and [ __ ] like that so like when you go in my house like you're like damn this is fire this is fire like a fly and [ __ ] like that yeah cuz you don't want people to come over there and they're you know they've already put you like oh this is this mixer like d and you go in there it's a [ __ ] Rat's Nest oh my bad walk over my like when you go in my [ __ ] like there's not mail on the table and cups out like everything is clean and that's my my wife keep it clean we got the the Roomba facts 10 times a day that [ __ ] always going sometimes I trip over like damn [ __ ] always in the way I couldn't find one for Black Friday by the way I was trying to get one you got to get the shark one that's the best cuz there's so many I was scared I didn't know shark say thank my second shark the first one killed himself cuz they the first one wasn't that smart now it's smarter this [ __ ] would drive over anything and [ __ ] every s up okay I got to get one I'm trying to get one now my Appliance nerds n coming soon my nerds let's get it coming soon to the audio nerds Network the MTV Cribs the the audio cribs I'll be so dead you do that you had a question for him cuz I got still one got to go cuz I still got to ask him the question that I brought like literally brought him I went to the we got let's end it with that cuz I think that's going to be a nice com do one got to go okay waves isotope acoustica waves isotope acoustica now no [ __ ] shade cuz I love acoustica but I use waves and I way more than acoustica acoustica is amazing the issue that I was Finding is obviously power oh my God say the same the when I use acoustica I'm not like if I put an EQ on a vocal right I can't put 30 acoustica on session so I kind of use it sparingly you know and because I use it sparingly I find myself using more waves and I I could live without acoustic I can't live without isotope especially because I'm you're talking about Neutron 3 you're talking about the neutron compressor you know what I mean I fight with them on that because because um you know he laughed at me we did like a one got to go with waves I think it was waves and isotope or we had to pick like our Trifecta oh yeah pick our it was like fat filter isotope waves long story short I put isotope at the front and they were like what I was like Fam I'm telling you what what isotope offers me I can't find anywhere else you know what I mean I keep telling them that those three you just named Fab filter waves and isotope are most used plugins that I use because I'm simple as [ __ ] people just do too much and they overthink too much and like I got to put I saw this I use this plugin yeah well he was using it on that song that's not this song so that's the big mistake that people make is they think they see someone use something on one thing and they think that that applies to everything and it's not I use the soo differently for different songs and I use the AR comp different ratios for different songs right it's not just one ratio works for everything cuz it Doesn't I mean since y want to talk for her and for both of y'all waves a aope man one got to go one got to go one got to go okay a [ __ ] okay if I can keep fat filter cuz we're not talking about fat filter we get rid waves I can do with FB filter and neut and and isotop yeah right cuz I feel like cuz I feel like I got my EQ I got Pro Q3 I am good like I'm so good and C2 the C2 compressor do not sleep on that [ __ ] A lot of people do I use it on every every pretty much every track has a C2 on there if I'm compressing or the AR comp if I'll switch it up cuz sometimes I'll be like man am I just using this plugin too I'll just use the AR comp really quick right but if I could I would use a C2 on everything yeah because it's so versatile it's so versatile I like that you can you know it's the one compressor I like that you can change the modes like you like vocal mode or like cuz he put me on to it a while ago and he wasn't the biggest fan he always was like I'm not the biggest F listen but us I like I lik it I about to say y' about to see it in 4k tezy just tez just said that a lot of the records we have in the Pro on it your boy might have like the last the last compressor on all of Chris vocals is a c it's that last one doing four or five DBS of compression right but it doesn't sound squash if you listen to they sound Dynamic but I'm doing four to five DS of compression on some which I was about to ask you then if that's the case what algorithm on the pro are you using to be honest I just leave whatever the [ __ ] I don't change too much like there'll be occasionally where I'm like oh put the punch on there or whatever but like for the most part I'm pretty like basic with [ __ ] like I'll change the ratio I'll change the attack of the movies I'll change the threshold but for the most part like I don't really mess if I need to mess with it I'll know because it's telling me I need to mess with this but if it's not then why go out of your way to overthink [ __ ] oh well I saw this guy he messes with all this stuff so I need to mess like what he does doesn't mean you have be yourself be your damn self come on we got to say it again be yourself your damn you know I just want keep on my one thing uh c1b right yes the outboard the outboard right I've seen you put or use a slower release for vocals that's interesting to me because your vocals to me feel like they are more open and kind of that compression is kind of releasing and stff like that but with I don't know if actually I do I don't do that I do the attack I do slow because the C the CB is very fast if you leave it on all the way to the left that [ __ ] snaps on everything so I actually put the attack on like 2:00 okay which is like not it's it's it's slower but it's still reacting you know what I mean because the thing is with outboard compression you make a mistake there you're [ __ ] right you know because what you oh man I was compressing too much can you do it over he's like no I can yeah that's the take and then you're like [ __ ] so I always do two two on the ratio okay I do very low ratios I don't do the four the 4 DB ratio I do in the four to one I do in in Pro Tools but for recording two to one right and I do the I'll get my compression but I don't I'll if anything I'll say this needs more compression because you can't go back right that's my thing is I never want to put myself in a position where I [ __ ] up right and this vocal sounds squash and then after I've adjusted it and now the rest sounds off like different it's like that's where you really [ __ ] yourself with stuff which your proceed to at the end are are you what is what is your I know you're doing like a slower attack and stuff like that but that release is it like medium or slow I know of course it's Case by case with each it's Case by case but it's roughly medium medium on both got you so it's really like a glue kind of holding things there okay okay I always want to know that because I'll be honest with you when I listen to your vocals it always throws me off because it sits so like I'm right here in front of you it stands there but it's also still I feel those quiet dynamics so with that being said with the compression and stuff like that are you doing any parallel compression I don't okay so here's another Hot Topic I like you man I don't okay the only parallel stuff I do is like let's say I have an 808 and I wanted to have like uh like that buzz right so I'll copy the 808 I'll squash the [ __ ] out of it I'll EQ the low end out and I'll put a distortion plugin on and I'll parallel that underneath got that's the only I don't believe and again opinion I don't believe in parallel compression if you wanted that [ __ ] to be punch your [ __ ] turn it up turn the [ __ ] up like interesting like you a lot of people that's again some people it works for them and so if it works for you by all means I just don't find the need to parallel compress stuff it doesn't really work for me maybe I'm doing it wrong but I personally just don't like it you know I'd rather throw an arvo on there and just bring it down a hair again everything that I do like when you see people use arok they'll bring that [ __ ] hella down no everything is in small steps small moves because then you get to the you get there you know a little bit better when you do too much with one plugin you kind of [ __ ] [ __ ] up right so my arok I'll bring it like it's up to the top or whatever I'll bring it down to likeus one just and it just kind of kisses it brings it up just a hair if I really need it to push I'll bring it down a little bit more but again what does it need what is it asking for right understand you know something tells me you would really really love FL bro I I I actually okay so to the beginning thing i' I've worked in logic Ableton NFL so I've had all exper them I've had experience with all of them okay logic I mix Atmos in yeah so you mix Atmos in logic in logic interesting because it plays directly in spatial and 90% of consumerism is happening within Apple for spatial right no one's really listening to spatial or not spatial but at most entitle right for the most part right most of it's happening there so what do I want to do I want to hear exactly what most of the consumers are going to listen to that's my target right the title [ __ ] comes second cuz people don't really listen to that [ __ ] secondary but again it's difficult because we're shooting for different targets the binaural sounds very different from the spatial it does and so I have to prioritize the spatial over the binaural sometimes and say well I need to make sure that the spatial is dominant right as far as that translation as far as because that's 90% of the consumption is happening there with apple you know that's wild that's crazy all right man last but not least what's got to go um not really what's got to go but what what do you prioritize or what you sacrifice first workflow or Sonics oh [ __ ] that is so that's the worst one that was good you got me jammed up yeah I ain't going to lie that was good [ __ ] workflow or Sonics I I can't I don't even know if I could choose between the two I mean like I guess Sonics because that's the end product right but workflow gets me there right right which it's kind of it's It's A Hard on it's like would you rather not have water or water [ __ ] I can't have either you know you know what's funny I actually the great great question a great question cuz you jam me up um I seen Josh Goodwin um one time he was saying about and he was talking about how he dumbed down his outboard like processing because he'll go on tour with Bieber so much and he couldn't like be able to recall you have to find a compromise it's all about compromise so you compromise and say well if I'm going to be on the road and it's going to [ __ ] up the sound that I have here I need to do something so that when I go on the road I'm not compromising so you just get rid of [ __ ] and figure it out you know like if I had to if you were like yo teaser you can't use your room anymore you have to travel the world and mix I'd have to compromise and figure out how I'm going to get this [ __ ] to sound right just on a laptop you know I mean I get that something I want to ask you also um is today actually and Shout by shout out to Republic studiio I was able to go downstairs and they had pmc's right in the atmos room in the St is there St I I haven't been on I'm just asking every room is just straight PMC like crazy they told me that one set of the pmc's uh was a qu bro it was nuts qu milon it's the ones that have the four the the giant boxes bro hu they look like look like freaking Transformers like in the wall shout out blue I see you blue um and he showed it to me and you know that was the first time I heard you speak of them right yes and that was the first time I actually got to hear them for the first time yeah and everything you said was so true it felt like I listened to them and I know I said oh these are playing so loud and I know this isn't going to like fatigue my ear like other speakers and the lowend was the clean it was it was so clean but I still was getting that Rumble you know how you the rumble yeah yeah yeah how did you like like fall on to the pmc's like when you first like so there was a guy guy named DG who is actually a close friend of mine that okay back it up when I was living in New York I had a studio at quad okay the head engineer at quad at the time was this guy named DJ okay the African guy from Zimbabwe so he's living there now he doesn't even do music at Art Level anymore he's just there he's got a ranch and all types of [ __ ] oh wow he got connected with gez when gez went to quad okay left quad to become G's engineer full time right when I moved back to LA DJ moved back to LA and we were both living in La at the time he had gotten these PMC speakers he had gotten the tall ones the QB qs1 or whatever they're called okay whatever Q I think I not the qc's they're like these tall long ones okay and I was like these things Sound fire and I was like how much were they he's like 85k and I was like God damn [ __ ] I can't afford that this is like years I mean when I had moved back this is like 2015 20 right before I got with uh if not right before when I got with Chris then when I got with Chris got um and so I was like I love these speakers I love the speakers and so then I found out that they have other models of speakers so I bought the 226s got those are my real first starting mix where I was living in a townhouse and I had this little room there's an old picture I'll show you but it was literally I had I didn't have any soundproofing in the room I just had plaques on the wall right so I had the the 226 and I had a couch I had a rug and [ __ ] and it was like I just made it work I was in a townhouse so it was like I had Neighbors on both sides I think the Neighbors on the left were death like old people they never complain wow that's crazy you was jamming and they were I knew they were old but I was like they definitely deaf cuz that sh ising like so I had the 22 sixs but the 22 sixs the issue for me was that there's no mid-range Tweeter there's a high frequency Tweeter and then there's the the main one the main right so when I got with 62s boom there's a massive mid-range Tweeter and so I started to hear all that information right that I was missing before so I wasn't really dialing in my 2ks and [ __ ] like that because I couldn't hear the damn things you know what I mean so now I have full range speakers which shows me everything the low end the mid-range and the high end right that is my can I be honest with you and you it that that's such an obvious thing for like when you say it but I'll be honest with you that's something I've been fighting with with my search for monitors right now where I'm like I have the two you know what I mean like the two cones I just have my high and just that mid or whatever that what speakers you have right now uh I had the Adam a5x uh regular with the rib rib rib Tweeter yeah I've had those for a while and I fight with mixes so much on them yeah because the high end is uh not like any High because it's a ribbon Tweeter to me it's not really giving me like the translation may sound great on those speakers but when it goes to other [ __ ] which no other listening device has ribbon tweeters for the most part that sound like that so it's like you're you're working in the wrong direction in in some in some effect right now that's not to say you can't learn the damn things and and know how to work and figure it out right but definitely think about getting PMC oh oh yeah oh no no bro let me tell you something as soon as I went downstairs I was like I get it now okay so you know cuz you went downstairs got got yeah it's so different and when you're in La you got to come to my studio so you can hear my room say less and I would love to hear you cuz I see you have a very minimal setup like your setup is so minimal and I like it like I only have like I'd say six pieces of outboard gear and I'm cool but you're recording though I'm recording I'm not recording right I have a mic in my in my in my uh in my closet like one of those like like a what's it called tunkin uh Legacy Series so it was like Grand yeah it's in there and someone came to my house and they're like oh can I cut the I'm I don't have a microphone here I'm not recording I'm not doing that doing it I'm not I don't have any microphones or anything I nothing bro I that you got that damn telephone G I got that tele it's just in my closet I'm going to get rid of it at some point but I think I want to keep it too as like hey 20 years from now I still got this microphone this like five times yeah heck yeah and I think George D has actually brought up that microphone because of like in like in your setup there's a guy George t i George music yes he's awesome like he's broken down a lot of your stuff shout out to George T I'm big fan um and he kind of showed like this is Chris Brown's recording uh chain and that Tel funky mic he showed that like well he Chris has the uses the real one we were working out of Studio Studios we would use a vintage one like an old one when Chris built his Studio I went to telun and I bought him a new one right um cuz the vintage ones are very expensive and like to be honest like microphones and headphones break sometimes because you know we smoking dro the [ __ ] cuz well it's 4 in the morning right you know what I mean yeah so so I'd rather have something that a 10 grand loss instead of a [ __ ] 20 30 grand l or it might get stolen I mean like you know how it is sometimes you take one eye off that boo someone go in there unscrew it put that [ __ ] in their pocket dick to put yo any of y'all that walk out with a microphone in your leg bro C800 in your pocket like yo that's my dick like like yo bro it's just me bro chill and I'm not going to ask you like yo bro is that you or that's my mic is that you or is that the mic is that the mic bro like bro um one one of the one of the um another thing that I wanted to ask you was the golden question no not yet this my second to last no we not even like we not even chilling BR I'm just Hy I want to know what he what he trying to ask okay okay this this is my second to last like main question after before say I'll let you go after rush though I ain't even got nowhere to go I got flights tonight I know I know we got we got my man we going out to eat later by the way I'm just let yall know um we Foodies um I seen that you have the orbit summing mixer yes I love the you love that one so when I was on the market looking for a summon mixer I was my choices were between the orbit uh the dangerous two Bus Plus okay uh and then the third one was I was looking at the uh it starts with a s um the oh my gosh is it analou makes it satire sat I know people are like they know what it is it starts with a s SATs one no not the SSL one it's a it's like a a analou one it's not I don't know if it's an an I forgot sator it was a sator okay cool but it was a I like the sator because it was a summon mixer and it was a monitor controller right okay okay so I was choosing between those three I I straight away from the orbit because I was like dang there's nothing on it it's like that's why I have it cuz there's nothing on it I was I want less [ __ ] y'all complicating the [ __ ] out of my life Bain has the orbit but he has the one that has all the knobs he's got to [ __ ] what's it called he's got to calibrate it he's got to do all this [ __ ] sometimes if one mob one knob moves you might not notice what someone bumps into it I want nothing on my [ __ ] Le if I open up a plugin and there's a million knobs I'm closing the [ __ ] you like no I can't do this I'm not I'm I have a deadline and I don't have time to learn I got to read the [ __ ] dictionary to [ __ ] get this [ __ ] so that's what attracted you to the orbit it's just the Simplicity of simp [ __ ] it's doing what the other one is doing it's just I don't have control of turning [ __ ] up and down but I have that [ __ ] in like I wouldn't go to a sum mixer and be like my drums are too loud let me turn it down on the summy mixer I just turn my drum bus down right going because that's recallable and the [ __ ] other [ __ ] is not right I want simple so with your summing mixer what do you notice about cuz you know there's a you know obviously I don't know if you know but there's a big argument seate yeah there's always this AR there argument about summing mixers and people like ah it's not really a difference and stuff what do you notice about your summing mixer as far as what it gives you in your mixes I want to say separation but even then also I've been using it for so long that I don't know exactly what it's doing anymore because I've been using it for years now but it does give me I put the blue light on the um the silk the silk one the blue silk and that that accentuates the low end a little bit I started by using the red silk and that [ __ ] would add this high-end Sheen that sounded weird right so I stopped using it and then Bain was like you got to use the blue silk so I was like all right so I'm on the blue silk now and I keep it at 9:00 okay but I don't really to be honest if you were to take my blue silk and go three notches down three notches up like you're not going to be oh my God that's true it's not it's such a small thing you may not even notice I don't you know what's funny I have the neee Portico mvp2 uhhuh so it has the blue and red silk on it I'll hit the blue silk from time to time like on like like if I'm trying to soften something and make something feel like warm and like yeah I'll use the blue but but I'm not going to lie and this is probably I'm akin to my speakers when I hit that red it immediately mix like everything's like like a more aggressive and gritty it's but that's that's what I noticed later on and why I started to like back off on red cuz I noticed it was getting you're going to hear it less on your Adams with the ribbon Tweeter so like you were to hear that red on like on my speakers I was like everything has this [ __ ] weird mid-range highend to it and I was like I can't use this anymore interesting weird okay see I've been staying from it lately see that see I really want to know that because I thought I was bugging I was like why is this red in the moment it's like oo but then but then when you really start to hear like H something about it something throwing me off yeah so the blue is just smooth blue is super smooth it just adds like that saturation and stuff like that got I got a new like segment I want to introduce to the show we got a new segment you're going to shoot from all right he shoot from half I think he got it what that it actually that coincides this called the breakdown man it's called the so you throw your phone every time you do this oh word word yeah it's called the breakdown but it's not what you think okay I want you to tell us a story about one time a piece of studio equipment damaged in your oh damn whether it was like a rapper spill something or like oh I have a really good one it was actually me that did it so I was with Juicy J doing those mixt tapes he was doing with Lex Luger back in the day so we went out to Virginia from Memphis and Lex Luger is a very he's the guy in the back of the room making hits and all his friends are the ones like talking and [ __ ] like that you like where the [ __ ] is Lex he back there on his laptop with headphones like he's the quiet guy so we're in the studio and everyone's having everyone's smoking weed we're chilling and I remember there was like the credenza I don't know if you guys see I always get heat for this [ __ ] but desk that's in between the console the desk that's between the console in the back of the room I call it a credenza some people call it the producer desk I'm going keep calling the credenza I don't know why what it's called so there's the credenza and then next to it was the computer and then there was I put the remember the Western Digital hard drive the one that looked like a book yes so I stood that for some dumb reason instead of laying it down I stood it and then the cable came out the front and went to the the old cheese grader that had the 800 in the front got you and somehow when I walked by it I caught the cable and the whole Drive flew off and landed on the floor oh and the whole room stopped even Lex was like yo cuz he cuz he saw the room get quiet and he's like something's wrong yo and so Juicy's like yo I'mma kill you so we it ended up still working it was fine but it was one of those moments where I was like bro dead I'm dead like I'm in Virginia they burying me in this [ __ ] today oh my God so but it ended up working out but it was one of those moment it was it was an amateur moment like the hard drive should never just be out exposed in that manner if if you lay it down put something on top put something in the way so some someone doesn't walk by like you learn but that's part of learning you make mistakes and you learn because had that happened with Chris it's a different story I'm at that level where it's like okay I just got fired who's going to hire me now because he's going to tell everyone that I broke the hard drive made mistake versus this was like this was 2009 2010 so it was like no one remembers that anymore and I'm glad I made those mistakes then and not now speaking of a mistake um one time you did tell a story um is it the UNICEF [ __ ] yes it is and that storyit what's the story I'm I'm I'm going let him tell it but bro when you told this story like my heart went out to you because I've been through that where I've like sat and said oh my God I recorded that wrong and you knew there was nothing you could do nothing and so so what happened you you you were at a studio in Jungle City jungle in New York and there are not I mean I'm about to go downstairs with you later but there that at the time was the most be I was talking about bro I'm recording uh a bunch of kids for Unicef so there's like a stage of kids in the live room have you been to the yes we've been to Jungle there's the live room and then behind it is all glass and it was snowing so I'm just like the the assistant uh I forget his name badass assistant I forget his name but he was the the [ __ ] he was like you want some hot cocoa I was like yes yes so he goes and they have this wonderful machine he makes me hot cocoa he breathes it I'm just having the time of my life chill and I remember they had a specific converter in there that it was a clock and usually if you're not clocking in Protools you'll get a thing like protols is at 44 and this is at 48 and you'll get the the this it was called theb Factory I think it wasb something it was not telling Pro Tools that it was off and that thing was behind the door so do you know when you're there there's a door over there there's a closet right right right so the door is always mostly closed because people are smoking and [ __ ] like that's why they keep the door closed so I sit down I pull up my session at 441 blah blah blah I get no [ __ ] so you think it's fine cuz I would do the same thing I'm like oh it didn't it anything I'm going to keep going I'm not checking the damn clock every time I get which now I do but I'm not checking the damn clock every time I do something right so I go I go about recording and they're filming right while they're recording so now the audio has to sync to picture right which is the worst part right because at the end of the day after recording All Day Jesus he said that hurt hurt hurt bro go ahead so I'm recording I'm recording and then everything's fine nobody notices until the end when I start giving them the rough so they can start editing right and they're like yeah it's not sinking like it just keeps going off off off dri keeps drifting and I'm like that's so weird and and the and the pitch inside of protols when it was playing the act the pitch was fine but then the pitch would change because it was now playing at 48 48 so like it doesn't sound the same and that's when we when we knew that it sounded pitch we knew that it was a clocking issue right so this man uh I forget his name but he opens the door and it says 48 on there and you were like God damn and it was like we were on UNICEF budgets like [ __ ] I had this guy Venus Brown who was my mentor and to this day we still speak but he was like he was like consultant to the chairman of BM mg so he took me under his wing he's he was my mentor like all through coming up for me right and he had brought me in on this project to work on it and I literally was like bro we just lost a whole day of recording right lost the kids lost this girl named Cherry that I was recorded lost her takes and it was like a complete [ __ ] lost and I was like I I felt like there was this many more than this many people of like camera operators and all this [ __ ] I'm like I [ __ ] everything y'all came here for nothing today and I lost I was like ever since then I would open the door and be like the clock's at 48 close the [ __ ] door I'll open the door again it's still at 48 like I gotta check this [ __ ] yeah because I didn't want that to happen again yeah I could imagine my experience and again like you should always check it is like if it doesn't give you a notice then you're fine but then you realize that some clocks don't communicate with Pro Tools directly they just are passive through so that's when I learned a [ __ ] heavy lesson and all these lessons I learned early in my career because had I done that doing Chris's album whoo we would have been [ __ ] that facts I hear that right with a clocking issue a clocking issue and it's like he just recorded the whole song spent hours in there and then he got to record the whole song again right and there's no way it's like fam that was what we tried to do was a mathematic thing uhhuh of taking how many samples we'd have to pitch it and time it for it to go from 40 to 41 and it was one of those things where like they brought like two laptops in and they were trying to play it out of one at at 44 and clock it in on the other one to try to C and I don't think it ended up working if I'm not Mist I don't think it worked but there's a way of doing it where when I told this story people were in the comments like oh bro you just got to do you just got to do and I'm like right right right well tell me that 10 years ago you right facts so um so there is a way of doing it it's not the prettiest way I'm assuming but it can be done I think right see my brain goes to um what's that plugin vocal line yes my brain went there it was like maybe a vocal line where it's like if you had the scratch track but you was recording all the audio yeah no no it wasn't a vocal line thing I actually don't even use vocal line like I used to I used to use it a lot because I used to want all the vocals had to be in sync but what happens is if you sync the vocals Too Close you lose the dimension yeah you actually need the little imperfections to make you your ear say there's something here and there's something there if it's too tight your ears won't hear that depth I mean the width that you hear so sometimes I'll something's really off I'll nudge it by hand right but I try not to get too in depth with making things perfect because it takes away from the texture and the and the and the width that actually brings me to the point that I wanted to ask you so this is something that I've been um and this is a staple within Chris's uh Sonics and something that I think you have evolved and like modernized okay extremely well I think out of all the incarnations of Chris your engineering has my favorite example of these you and of course a lot of credit of this between Tio and Chris um you guys have this very very interesting I I don't know if it's a process um or what have you but you guys record doubles and um overdubs in a very interesting way very differently from a lot of mainstream music what would be different tell me so when I'm hearing like let's say like a a brandy record just for example or even a Beyonce record like I feel like a lot of Engineers they're they're getting the musicality they're trying to make it as clean as possible but obviously the the backgrounds are the backgrounds we don't want them to overwhelm the lead vocal when it comes to Chris's stuff it almost feels like the backgrounds on like consistently every album they're just kind of ethereal like there's a character to them that's different okay almost like like when when those kind of moments and adlibs come up it kind of like the song kind of goes 3D for a moment okay for lack of a better explanation you know so part of it could be one thing where I'll take like let's say I have a vocal that's a stack but it doesn't have stacks I'll put the the the doubler on there okay and I'll take the center out and I bring the high end down and I make the two dots go all the way up to the top so it's loud cuz it's lower in volume and you lower the high end you said and I cuz when you open up that plugin the high end's boosted up so I'll lower it down and that actually creates two things it creates the double but it does it with a little bit of like weird phiness that creates texture so the way I create texture is things sound different I don't put this if you put the same processing on every single thing they're going to sound too close so if kind of like make less highend on the backgrounds you'll hear the difference between the background and the lead a little more which might add to the effect of the 3D another thing is like when I'm stacking like for lead notes on the hook lead note meaning the main note it's always four and the way I pan those is the I'll take let's say for example they're all at zero I'll take the two the two bottom ones of the sacks and I'll pan those hard left and right and I'll bring them down at a four or five DB difference from the top one so let's say say the top one's atus two these would be at minus six I totally understand right so those the lower ones are panned hard left and right and the and the two top ones are panned at 50 right or 40 and what that does is creates a pyramid cuz if you pan everything hard left and right you leave an open open space in in the middle so I actually will take the bottom two will be super hard left down a little bit and then the other ones will be so it'll create a pyramid where you're getting the width combination with the eighth note delay right and you're still getting a channel right because you want to hear you don't want to just hear this you want to hear this you know what I mean especially on a hook now there are occasions where I've made certain songs sound like it's all coming from the sides but that was a case by case basis you know what I mean like I think it's a you're such a very special it's very special girl that song if you listen to it it sounds like the vocals are really wide so I probably did a 100 and then I probably did like 60 or 70 on the other one so that it wasn't there wasn't a full Center but that created more and that was specifically done just for that song and your other stack so say forance I know you like the like the root of the stack the the root is four everything else is TW Harmony wow okay people like to do fours for everything you don't really need that especially today because less is more right back in the day Brandy would do 8 million stacks and it sounded awesome but now we want space you know like things we have such low like uh what's it called add with [ __ ] that it's like the attention span is lower so it's like we need to simplify things for listeners first of all go ask someone on the street if they know what a Harmony is they won't be able to tell you right you know what I mean they'll say oh I know what a Harmony is it's a Harmony no it's you know what I'm saying it's a harmonization with the main note so it's like you don't need if I want the main note to be the main note I want to create a difference so those I'll pan 70 or 80 or sometimes all the way like high notes I'll pan them all the way because I want that high-end candy on the sides so it's all about tricking your mind into feeling like you know what I mean it's like actic Sonic thing right I'm not going to lie and I zier clip this up clip that up because when you're describing for instance I you know I'll talk about oh well there's ways to create dep with dep with volume right where it's like hey that quiet thing that's in the back helps you understand where that loud thing is in the front right so I'm saying to myself duh with a background vocal I'm you know I've been traditionally just like hard left hard right okay there it is and then I have like something up the middle but when you're saying hey turn down the hard left hard right boom and then the other two just kind of put them up here I literally can visualize and see that and I know how that's going I literally I visualiz the pyramid that's what I visualized got you that is that was a and I say that to say this we going to go crazy right I ain't going to lie we going to go crazy cuz I saw this clip going viral what we know Michael Jackson did 16 Stacks oh you talking about Rodney thank you Rodney for sure brother guess what that was that time bro you are you are making a Jersey Club record you do not need 16 100% but goes back to the oh I saw Michael do that this a 808 ass like it's not a Michael song you know I saw him do that I got to do it on mine like you know you can take from things but don't just say this is what I do to everything because I see this and I don't want anyone to do it on my I don't want you guys to look at my [ __ ] and be like oh that's how I'm always going to do myself I'm always going to do that I change things sometimes based on the record right you try new things I'm sure too and stuff like that what happened I you try new things too I try new things like try that like with an ad lib like I might change the format a little bit okay just because and you may not notice it right away that the vocal is deeper but it'll it'll sound like a little bit of separation from the lead more Reverb as well right things like that to make you able to contrast things that's my biggest thing is contrast right understood Chris has been doing this thing on I feel like the last two albums where he'll play with the forat on the lead vocal and make it like low actually I'll tell you something there's a song called uh mind mind oh make up your mind on uh 1111 you see how I have to kind of like play it in my head I know it is iard that yeah so that actually came from when the when we were writing it okay so when we were writing it like the the wrer his name is Rocco he's fire [ __ ] writer he came to my house the other day he's nicest kid um he they did that intentionally where it was like and then it goes down then the lead and it was and then when when we cut it Chris wanted the exact same thing on his [ __ ] foot wow so he just kept that right there like he's really about matching like if you get a demo and like there's a lot of [ __ ] Reverb like he wants a lot of Reverb because what made you draw to that record was the essence of the record I get that and so if you say This Record has a lot of Reverb and then you take it all the way I no longer have the attachment like I did to the demo or whatever the case may be so um will M sometimes like there's records where his vocal sounds thinner and it's usually because in the recording process that was the vibe we were going for and then in the mixing process I kept the essence because at the end of the day like you can argue like like oh well he's not supposed to sound like that like okay he's not supposed to do a lot of like he can do all types of [ __ ] you know what I he does not do have to always sound exactly the same and that actually creates a little bit of Versatility where you're like wow I really like how he sounds here and I really like how he sounds there like we were talking about the nightmare [ __ ] I've never underwatered a lead vocal on a hook for him right but I but we were like yo and I think this was also JP when they were when they were recording it he had made that vocal more filtered and I just added to it made it like more reverby and stuff like that cuz he's talking about being in a nightmare so I wanted to create that feeling that that and it was like well Chris isn't supposed to sound like that well for this song he is right like who cares it's [ __ ] art like facts listen to that uh people in the comments it's [ __ ] Art thank you it's art it's like it's subjective like who cares you know like um on the intro for the last not 11-11 Breezy Breezy that Wheels fall off I knew you was gonna bring that up with capella yeah it's like it's the switch the switch but in the hook like um lay me down to sleep and it go it feels like regular chis but it's like and it goes down brother the pitch feels like it feels yeah for the for that's what you was talking about you know why you know why hold on is because Friday worked on that record with I knew it that's jinx it sounds like cuz it has that sound like yeah like yeah and again when we work with Friday we're writing and Friday's laying some vocals down and however he does it we want to keep that Essence that was the magic that was happening in the room and that goes across the board for any artist anything you're working on that spark and Magic that Sparks the record you have to keep that once you throw that away oh I sound like that that's that's wrong then you [ __ ] it all up and then you get the what's your kill Fe and you that's the worst sentence you could hear was what's your kill Fe that means we're not using your mix we're going to pay you a little fee to get you off our backs holy yo that's a crazy y for you for you to hate like somebody saying yo I'm just going to pay you off you like yo don't tou don't touch here I'm going to give you some money go away that's the worst that's really it yo you got you got to you got to bring it over to the Bronx that's a debted fee imag BR bring that over to the um okay my last question for him personally my last question for him personally is this the big one this say this is my big one so you have a mix that keeps me up at night right okay every time I relax relax time I listen to it right you from New York o every time I listen to this record it is in my like I have a I use um audio Streamliner like as my ab like like kind of like met I use that and one of the songs in there is if I'm feeling good if I'm really feeling myself like oh I got this one I'll load I hate I'll load up players but okay yeah I love okay good that mix and the reason why I loaded up is because that mix has become my reference for you're doing too much kid yes and I'll tell you why because it's so simple no verb mhm simple but look that wasn't entirely I can't even take the credit for that like Johnny Goldstein is an insane you talking about clack clack clack on a computer this [ __ ] moves at a million miles per hour on Ableton right so his vision and Coy's vision of the record was was put on me like yo vocals dry it should just sound like iny face it's only a kick I think a snare hat and then and then the and then the yeah simple right all it is is about that kick hitting and the vocalist you know what I mean and so when they came to me it was like it needs to sound like this right and so instead of me thinking like [ __ ] that it's got to have some Reverb on the vocal I said I'm going to follow their Direction and it cuts through insane insane like and I always think I'm like that's another thing too as Engineers we're not always the ones responsible for it's really most of the the the the decision making happens with the recording engineer and that's why I think the recording engineer doesn't get enough credit because you got to think about it you hear a record I have and you hear all these delays I for the most part I'm not especially when I'm not mixing CB like I'm not putting those delays in there because the demo yeah cuz I'm not going to I'm not going to send an artist a record that didn't have any delays and I'm like yeah we put throws all over this [ __ ] like so when you hear that [ __ ] it's usually already coming to me like that and I'm adjusting and maybe I'll EQ it or compress it or level it but those things are already there right you know what I mean Jesus man wait wait hold on don't leave that yet um since you brought that uh part up about the lead vocal and this is something that me and Dev go back and with a lot are you ask that question you know and we've had our own little kind of like we really get in our heads about this we really sit down and we're like for example and y'all will know exactly what what I'm talking about uh Drake for example is is Premier when it comes to damn this vocal sounds really clean is there a Reverb on it so on records rap records specifically where you're attacking um something where you're like you're just going in let's just say and you're just like I don't want to use Reverb on this how are you creating that sense of space are you defaulting to a different trick when it comes to a delay how are you creating that sense of space where you can't The Listener and even yourself can't really tell okay this sounds like an it's in a room but it sounds clean enough that's fine versus okay this was recorded in a room there's no Reverb here but it sounds like it's sitting yes so that's with using very very little Reverb to the point where you don't hear it you feel it so that's the thing you're going to like notice that there's hearing something and there's feeling something and usually feeling something means that you can't hear it you feel it and the opposite is the opposite so I put just a hair and you you're not going to be like oh there's reever on there you're just going to be like maybe it was the space he was recording in you know what I mean so like things sometimes aren't entirely entirely dry yeah um and sometimes they are sometimes it's like no [ __ ] reav cut through all the way there's a guy named Paulo Paulo lra he was on Ed Shan's album he's from Argentina which is I'm from right and most of his records have zero [ __ ] it's dry it's dry dry because the vocal just cuts through the [ __ ] and it doesn't work for everyone some people need the Lush yeah some people don't need the Lush and they need the cut through so when you listen to those records for the most part you're not going to hear any Reverb on the on the on the leads at all at all and and that's a producer decision and artist decision not my decision I'm a I love reav me too because it just makes me feel like I'm [ __ ] but there's something about taking it all away like you know there's times where I'll be mixing a record and then I like I'll turn my effects off for a second like my effects in to my dangerous like I'll just turn my effects in I'm likeo like look how nice and clean and just what really nice to do is like where the Beat Drops Out to completely dry it out right that's my favor because it creates this moment where the song's going and then it just sucks you in intimate and then boom hook and then it explodes maybe with Reverb or whatever but that's a cool trick is to like at the end of a line where the Beat Drops and the vocals still going cut all the effect and it creates this like really sharp cuz you're listening Reverb Reverb Reverb and then someone just turns the lights off right mhm right so when you shut the lights off you're like oh [ __ ] it gets your attention right when it goes dry so there's different ways of getting the attention part of is dropping the beat right and then if you drop the beat and you leave the Reverb in delay it kind of you kind of fill the space again when what you were trying to do is kill the space right that you're creating contrast cont all about contrast because if without contrast it's like everything just sounds the same right you know my last question I swear okay why are you I got a question yo bro um KOB Kobe LeBron wait wait no no no hold on hold on no hold on godamn it hold on my last question to you and this is the question that literally this is what I had brought to the audience and everybody was uh you know kind of shouted out and stuff like that the funny thing about this is that you have so much out there that you put out there which we thank you for which I don't put it out I mean I do it with people and they put it out yeah they just put it out but you have so much out there which is the blessing of cuz I come from your time too where it's like 2009 where I was like dog it was just it was like one guy his name was I forgot his name but it was the recording Revolution and I've been wanting to give him love oh shout out to him cuz he bro he I see I went to his page the other day he had a video doing what we do now 13 years ago before it was even a thing before before Dave is it Graham I think it's gr Dave something Graham but his channel was recording Revolution he doesn't get his flowers on the YouTube because he was the guy I remember as a kid I was like dog like he showing me how to EQ like that was mindboggling yeah because we didn't have that access then when Dave came along like I mean like I lost my mind as a kid like he was like I'm going to show you how I did Ray J's vocal and I'm like I'm going to see Ray J's vocal getting eqed right now like that was big that is important to create a connection between the listener like when I show like Victoria on my mama oh yeah and people are like I know that song you didn't know he did that tell me you didn't know he did that record well guys there's going to be a part two there's a lot more question nominated for M yeah but that's the record of the year is like the one yo Congratulations by way apprciate it you put some you put something in there put some you put some magic in there which we brought that up the other day uh shout out real quick this is a actual question for ulissi shout out uh of OTR we actually went back and forth the other day cuz we were listening to the record and we were like all my mama and and we were like yo some of her breaths Victoria is a very Dynamic vocalist some of her breaths and it all like while Dynamic it all still sound consistent yes going through and clip gaining it you're oh so like I'll go through and like if this breath is like and then that breath is like let all bring this one down because I want to create like a natural sounding thing you don't want to be listening to a record and one breath is loud the other one's low sometimes I even have to EQ it cuz sometimes a breath or an S One S will be like and then the other one will be fine so I'll do two things I'll either EQ it or if it doesn't sound right eqing it cuz sometimes you can kill it to the point where it doesn't sound natural I'll find another s and that's where I got okay there was this really can't say his name but there's this really famous very famous person that doesn't even do music that I would record him before I started with Chris and the way he would record is like if he'd be like the the cow went to the mall the cow and he'd record the cow went to the mall the cow went to the allall over and over and over and over and then i' grab the cow bro and I'd piece it and then when I'd get here I'd start nudging and and kind of piecing it together to get it to sound natural and I was able to get everything to sound really natural and all of this stuff I to me all the stuff I went through before Chris was a preparation to Chris to get with him right and then what Chris got me was ninja training right like for real like and I didn't have to do that I didn't have to do that crazy edit cuz he could sing lines easily but I had to do that so then I could become really good at other [ __ ] right so then it was about finding like oh if there's an s or a sh over here that I could use here that's why I'll I'll hear something that's wrong and I'll immediately start thinking like where else in the song does this exist okay and I'll grab the and I'll bring it over there I may have to change it I may have to size it I may have to EQ it to get it to sound natural but for me it's all about listening to something and saying does it sound natural like it's if I'm talking right and that's constantly my thinking is because sometimes you have to make bold moves right you know to try to get [ __ ] to like sound dope you have to cut [ __ ] no one's ever going to know because it sounds natural but for the most part A lot of times s's like this s might be fine this s is not good if that s is good to bring over here I'll bring it over and I'll copy it there right and that's how you're getting that consistency with just basically you have to have consistency with C gaining and I use audio Suite like if there's like sometimes a lot of times this happens you'll have a verse and one part goes and it's super resonant so like don't go to the EQ on that track and take that resonant cuz you're affecting now every other vocal that's fine so what I'll do is I'll highlight that little e part and I'll take the audio Suite I'll put it on on where it shows a little thing so it like loops and then you'll immediately you'll see that part and you'll hear it and then bring it down and then when you commit it you play through and sounds natural consistent so I keep every sometimes I have to go through an audio Suite A bunch of like Parts where the vocal gets resonant goes up but it's like it's sometimes it's like two or three lines and at that point I'll just make a new track and then I'll put another EQ just on that where I'm attacking those frequencies got so it's all about create doesn't matter how if I have to make five tracks who the [ __ ] cares we can have how many tracks thousands of tracks now so don't don't like don't compromise and be like well I'm just going to do to the whole EQ because it's on that track yeah another [ __ ] track and then do it to that so that it can be perfect I'm a perfectionist with [ __ ] and still I don't feel like everything is it's one of those things where it's like I feel it's never perfect you at some point I feel like oh my mama we going to talk about in three years you like a man I don't know about that one yeah no I did that [ __ ] they came to me out of nowhere bro they were like can you mix this record and I was like and I've known Victoria for a very long time not personally like that but when I worked with Eric Bellinger back in the day yeah her his manager was working with Victoria okay oh yeah and now Victoria's with a girl named rashelle who's an amazing manager and they came to me and they were like yo we want you to mix this record and I was like and this producer Deputy Deputy shout out to deput cuz he I think he suggested me for the mix interesting cuz he produced it and it was the first time I had worked with him he just out of nowhere you know and God bless him but he came to me I mixed the record we had some light changes right yeah and then even when the record came out it wasn't it was no different than any other record I mean like you know until it really took off until we got the Grammy nominations like we got that now it's like I pinned it on my Instagram cuz I'm like this record could win a [ __ ] crazy we're also up for best engineered album I seen that too repeat that congrats on that which I'm trying to figure out like do me and Neil POG like go up there and receive it I don't know sit in my chair I I never to be honest with you and I feel bad for saying this on on the audio platform but I didn't know like it was a best engineered album like that best engineered album they don't put a lot of urban stuff it's in the it's not in the main show though it's in the show before yeah so this year I'm going to go to that one in case we do win it cuz I'm a cry oh yeah cuz I was thinking like okay back to your uh should we which one do you get rid of you get two Grammys right to choose from one and you're an engineer one says record of the Year wow right the other one says best engineered though and you're an engineer my God which one do you get rid of I mean like which one do you like choose if you could only choose one of them I'm a producer so I would say you're going to say record of the year no my equivalent would be uh producer of the Year producer of the year not classical or um oh you're I forgot you on board uh yeah cuz he was like yo make sure of the players versus producer of the Year ah you would choose producer I feel like I think so yeah yeah so I feel like but it's hard though because it's like would I give up record of the Year bro because the other one says engineered you know what I mean so it's like oh I don't know which one I want both [ __ ] there's more of a there's more of a um I think that that would mean more because which one which one engineered one because it's yeah and it's like a bunch of Engineers went through all of these albums and said No Cap you know what's the equivalent of it's like every year is a season like right all the engineers we all play for teams and stuff like that but who's going to get the MVP yeah who gets like engineer like for the engineering field so to me I'm not going to lie to know that year I was the best or you know I was not I ain't going to lie but then record of the year like that's the highest the highest that's the highest one so that's why I'm like [ __ ] I'm not going to lie what a great problem yeah I haven't solved this great problem we're yeah I'm ruing for you man when V too bro I see you I'm going just I'm if I if we win anything I'm a start cuz obviously I haven't won I've only been nominated a bunch of times but you know I haven't actually won an actual game yet and I feel bad cuz I could have sworn you've actually no I got album of the year with uh with Lil na X and I think Jean Baptist won that year yes oh Baptist um but this year year I feel like we're the underdog you know because Swift and there's all these people and like a lot of times the underdog wins because true it's not I don't think grammies are not based on numbers popularity billboard is based on numbers and I have my Billboard Awards and there's the time in place for the numbers but there's a time in place for the art and I feel like the Grammys accentuates the art and the artist over the numbers you know what I mean because obviously [ __ ] uh Olivia Rodrigo is streaming a million times more than some of the other people that may have won in the category it's not about it's not about the popularity it's about the impact and the art itself which is where you have the separation between the Grammy and billboard you know especially that gen uh that uh category that category uh which one song and record and record like it's always a big thing like oh how could you give remember what her wanted that year that was big and that her like you know her she's [ __ ] the real deal yeah she's a real deal bro like she real she when you talking about a musician she's the real deal when you talking about oh I can rap on a song okay but when you're talking about the real deal you're talking about an Sheeran A her right like that's just multifaceted just smart like just very just a musicianship all around she plays guitar sings Yeah plays shering does the looping on stage like that's an art it's just him by the way which is crazy to move 100,000 people with a guitar and a pedal and slapping on it you got talent bro Beyond right like that's insane most people need a symphony a the drums all the dancers and all that [ __ ] obviously with CB the dancers accentuate because he's a dancer yeah but that's a part of his that but but he in his own right he doesn't necessarily play an instrument but because he's able to do the dancing and the singing right that's his fullon Artistry as well he's so good at so like he paints like if you go to his house like his whole house is an art museum like he has graffiti artists that come and paint with him and like do [ __ ] together he's so good at painting he's so good at [ __ ] singing so good at dancing and he's a very he's a very like also too it's not just cheese huge Chris F over here too facts I love the fact that you're speaking to that because Chris is an artist he's an artist through and arst whether it be oh can you play guitar no but he does all the other [ __ ] you know I mean like can ED Shear play the flute no but he's still [ __ ] good what I'm saying can he dance like Chris Brown and's like hold on I actually know actually no one can dance like Chris not a can I this dude will do a back flip right in front of you let me tell you about Chris no no I got to say I grew up in Chris era he destroyed everything hold on Chris destroyed everything let me tell you something back when I was younger right I was in the music groups and stuff you know we used to the groups were a thing we used to dance and stuff like that and you know Usher was the standard right yes Usher was the standard of dancing Usher was the standard for me for dancing so you know Usher you dancing but you could do Usher moves right Usher moves are a lot easier to replicate very much so The Sensational dance is I can't I try to in the mirror I feel like such an ID I can't do that [ __ ] yo I'm not going to lie I never forget the day Chris Brown performed for the first time at the I think it was BET Awards with the suit yeah bro and it wasn't it was his first was it a Michael Jackson tribute not that one it was like his first live performance like the first time the world was seeing him live and I never forget I was sitting with my mother in the living room I did music I danced everybody was like you're the best Devon you're so great I was like word Chris Brown got on that stage and I remember me and my mom were watching and I I swear to God me and my mother I'm a kid I said yo he the one I swear said ready Stop Dancing get ready to clip this cuz this is this is a whole Community we all know this that this topic is a huge Community just online and in life but that's what what you said to your mom I remember seeing the um the Kiss Kiss music video and I ran into my mother's room at fourth grade in fourth grade and I was like Mommy this guy right here he's the next Michael Jackson and I stand on that like over a decade later I stand on that ISP I'm so happy with on this cuz I I wanted to ask this off off camera but I mean we're here right off camera I saw him do a move right it was like a yeah he doing is he a human being I think I think he's an alien BR I'm going tell you I remember do you guys remember when there was that Jeezy Nicki Minaj single I don't remember what it was called I vely remember so we were we I went to the video shoot and we were all in the trailer and Chris is tired like he had just woken up and he's just like chilling tired right he gets in front of that camera Chris like before it was Christopher Maurice now it's Chris Brown he comes I looked in the camera I was like that is not the guy that was just sitting us in the [ __ ] trailer like yeah no that's cool like whatever just chill just chill like whatever he gets in Fr of that camera it turns on like it's a light switch and the crazy part is like I've when we when I've gone on tour with him like spot dates I don't like going on full tour cuz I'm bougie as [ __ ] iar you and he gets the cool room right the rest of us sit on that bench for 18 hours so so um he'll come off off stage and like be like yo was it good and I'm like what do you mean you you were he's like he kind of like it's like he turns into the alien to the [ __ ] where he'll come off and he'll come back off and now he's Christopher Maurice Brown and but he was Chris Brown on that stage and he's asking you like hey was that was that was that was it dope was it doe cuz he didn't see it I saw it and everyone else saw it but it was like he's so in there like he's such a genius like right that he just he's just in autop but I think part of it is he's been doing it so long and he's been him for so long that it's just a light switch he turns right into the guy right and that's it wow we ask this is my last question we sometimes we ask this um what artist uh and I wonder if Chris is the answer but what artist were you in a studio with that you were surprised of their like audio knowledge like it's [ __ ] offset really yeah well the thing about Chris is when he came up at that time you he'd go in the studio there was an engineer a producer an anr so he would just go in the booth record whatever so he never was the guy that was like I got to record myself then you get the younger the the new generation of guys and like offset will sit behind you and be like nudge it two samples to the right two samples to the right two samples to the left he knows the sample amounts he knows the millisecond amounts like he's really into it uh from what I hear Travis is like really on it that's what I I haven't been in the room with Travis I've done we've done records and stuff like that but he's supposedly can get on the computer and do and do [ __ ] uh Baines has told me that Thug is very like if he can't use the mouse he going tell you exactly what to [ __ ] do you know what I mean like so I feel like it's the newer Generations the ones that were that grew up recording themselves or in a room by themselves versus Chris came up in the [ __ ] industry engineer producer an anr in the room manager in the room right label heads in the room there's a different aspect now that [ __ ] doesn't exist oh yeah for sure yeah they anrs can't come to the room yeah yeah thanks for that you should no no shade to no shade it's just like a lot of artists like to have their space and they like to create with just their engineer and they'll still be like and and don't get me wrong like Chris will be like yo verify that yo do a beat drop right there and make it go da da da da and then I just have to go okay look at the grid da da da da you know what I mean and like he'll he'll still communicate exactly what he needs in his own way and I translate it so he'll be like make it go like da da da da so then I'll look at the grd and I'll try to picture like where those as I'm playing it and he's telling me I'm picturing and I'm like taking a snapshot goes there goes there there there uhhuh he's looking at the cursor you look at the cursor and you kind of play it in your head and that's another thing is like I'll hear stuff and he'll hear stuff where it'll play and I'll I'll play the beat drop in my head even though it's not there yet and then I'll know to do it and sometimes it doesn't sound like it doesn't I don't know if you've noticed this you'll hear something in your head like a delay and you'll be like I want it to be like and then you'll do it and like it just doesn't sound like I don't like that I don't like that 100% And that just happens because in in your head you're kind of living on a fantasy you know what I mean you have to translate that to the real world S I um I want to wrap this up yes um and you know I just want to say you know when we first started this podcast and everything yeah you know we had kind of like uh Mount Rushmore of the people that we wanted and by the way it's a lot it's a big mom Rushmore by the way it's like a lot of it's a lot of heads and you know I just I just really genuinely want you to know like man you were one of those people um that we just really wanted on the show it was a it was a pipe dream at to be I can't believe in within a year we were able to get you to come and sit and stuff like that you know we want the Baines um we want the J ja we wanted the Tios you know shout out Mixed by ali um Anthony Cruz everybody that's you know came by and stuff like that and we just really want to say man like thank you to I'm speaking for myself not the community but I know that there's people in the speak for them they GNA start [ __ ] comen you know you know you know I know speak for people yeah I'm speaking for myself but um I think I'm not alone when I say man thank you so much for giving back you know I mean about it's what it's about you got to uplift the Next Generation Um if we don't then we're doing them a disservice and that goes across the board like even financially like I have conversations with people about taxes and how to how to write things like all the way down to that and we Engineers here but we talking about okay when you get breed make sure you get a tax guy make sure you're paying your [ __ ] make sure you make a company and the labels are paying your company you're paying yourself a salary like it goes that deep because if you start [ __ ] up there you're not going to be able to continue working at peace like we were speaking about earlier where you want to be con like everything's chill all my bills are paid all my shit's done like that's a huge the whole the whole thing is a huge part of everything everything affects everything so across the board I mean I I always give game on what I've learned about every fet POS kill fees all that [ __ ] because it's important because it goes with everything if you only learn one piece of it and you're lacking here this is also going to lack right you know what I mean and that's something that we trying to really come across with our platform is just as far as and we set it off camera I was telling you I was like I really want um to have a platform where the generation kind of knows like hey these are the people you know what I mean and I want them to also see that you guys are not like gatekeeping or hiding things I don't want y'all to know like like everybody that I've met literally like all the all my heroes like you and and Ali and all y'all like literally every time I meet you I'm like I can't believe you're sitting with me and telling me like it's cuz I come from a you know it's knowledge that whether I've learned it from somewhere else or I figured it out on my own you have to pass it if you don't like if you really care about music as a whole and you're not giving the next people the tools then do you really love music as a whole right because by when you're out of it they going to [ __ ] that [ __ ] up that's a fact so like if you you know what I mean so you have and I know some of the old school guys like they don't do this type of [ __ ] because they came up in a different time which is their thing but I'm giving anything I've learned if you ask me a question oh how should I do this I'mma always give you the answer because and I first of all I don't want to be an [ __ ] that's like I'm not telling you yeah you know that's kind of like a dick move like are you that insecure that you feel like this person's going to learn one thing from you and take all your clients that's a it doesn't really work that way as you know like you could mix a [ __ ] number one record you still not taking other people's clients that's a fact you know what I mean so just give the information it's free information I might write a book one day on [ __ ] it's going to be a it's going to be a short book but it's just going to be like a template maybe a little schematic of a template and like a drawing of something and that's the end of book let us know you know what I'm saying we want to tell we want to and we we also want to inspire them because a lot of times people are overthinking things and like it's too hard to do and then I'm like well why don't you try it like this that worked for me and it was I like and I'm the simple guy I love simple right so if anyone's ever getting overwhelmed from something like I'll give them a solution right and that's part of my job too and all of our jobs when an artist has a problem when the label has a problem when the mix has a problem we find Solutions so if someone has an issue with not being able to figure something out I'm going to give them a solution that works for me if it works for them cool if it doesn't then [ __ ] ask Cruz ask Bain ask someone else right you know what I'm saying if you got gear questions and you're a gear Head ask bangs don't ask me cuz I'm going tell you to sell that [ __ ] so he more your team right there he's like sell that [ __ ] but um uh once again you know I want to thank everybody uh for helping out even the crew Jay I want to thank Jay for putting this to helping helping us put this damn thing together Jordan record Blue Republic records um everybody the behind the scenes Fritz everybody that really helped us put this whole thing together shout out Republic records um also for just letting us use the space I hope this is the first this [ __ ] space I do too and it caught me of God I was really happy when they just like were like sure we was like what we was like all right bet so I'm hoping it's the first of many you know I think it's really great when big big companies see value and things that are coming up because that shows that they understand the value at an early stage which is really important you know what I'm saying because I'm sure you guys have heard no a lot oh my God and and and I bet you now in moving forward it's a it's a regret oh yeah oh absolutely that's the same thing with fighting an artist and saying yes to them in they early stages cuz you know something or whatever the case may be even the way juicy had I was like I don't know anything he's like I just want a fresh engineer I can train you know what I mean he saw something in me right and same with Chris he saw something in me that's why he kept me for so long I was with I'm to this day I mean it's been seven years since I started working for Chris right and that's that's a hard thing to keep somebody for seven years yeah and although I don't record for him I'm still there in every facet he needs me to go get him a packet you need some weed you need some pack I'll go drive it to you I live 15 minutes away I'll go drive it I'm not beneath that [ __ ] like I'll just go I want to make sure you're always taken care of you know across the board and all of us I feel like do that for some some capacity for our people I respect that and like you said you know just to wrap things up what you were saying as far as like people just not being uh early adopters to things and seeing our platform and just like saying no like yeah hell yeah it's going to happen people have said no to me for mixing records and then they see me mix other [ __ ] like damn we price is double now [ __ ] facts exactly and that's why you know when it comes to like um you know just even us with sponsors and stuff like that and 100% people starting to see our value and stuff like that and I want other people to understand this too it's like when we're going out looking for sponsors because yo I'm trying I would love to even grow this platform even more so we can do even crazier [ __ ] for the community right so for us it's just like when we get people like you and Ali and all you guys to kind of support what we got going on it really means a lot because I feel like we're Chang in what things used to be no you guys are Making Waves tsunamis thanks man it really means a lot you guys are really built a platform that I feel like the youngest generation of people that are coming up can connect to right some of these older ones and we won't say names like they don't connect I feel like with those 20-year-old 18-year-old the ones that are getting out of college or in college and trying to just yeah because it's like at like with me for example like with the records that I've mixed every people hear those records so it's like when I get to speak about those things they get to make that connection like damn cuz you're with them the industry baby has that many horns man I didn't even know that but if you say yo this record from 1990 with biggy they're going to be like what song is that that that's very true and it's not their fault it's just [ __ ] was born in 2002 2003 that was after 911 like that's him you just shot at him o yeah3 yeah he's a kid but I I get what you say you got you got to make them connect and that's why having people like me Baines even David Young Kim and all of us like yeah David yeah we we we're able to connect with the viewers because the records that we're working on currently are ones that they are able to connect with now and that's important right you know I mean and that's what we want to keep perpetuating and stuff like that but so again like one time clap it up for T man like real talk man I'm clap for yall these claps are for yall oh thank you thank you bro thank you bro and once again man I can't tell you enough like how thankful I am um I know our members are going to go crazy because they're going to get this way before everyone first um I'm excited for that um and man I just can't wait to put this out in the ethos man and just for to see this man want oh this is for two we might have to just skip the next yo like lowkey go easy on the comments though cuz you make me sad bro reading like oh that's not what I said that's not what I meant yeah fact like he burns his Auto listen listen this man is nominated actually um autotune Evo is actually the same as the new auto you know the algor the same you guys are dumb anyway thank you again for being here we're going to wrap this up thank you so much for shout out my guy Joey also recorded um this is the my audio nerd podcast podcast for audio nerd like yourself please make sure you comment like And subscribe remember also that one lucky person is going to get that exclusive VIP Gold Edition Rosetta compressor so make sure you comment leave an at name for Instagram so we can DM you and hit you about it guys thank you so much this is a dream come true to be honest this is because of y'all so I want to say thank you to our audience for allowing us to have the space to literally just talk to our heroes and I hope that you're getting something out of it did you have something oh yeah subscribe to my YouTube channel y I knew I'm giving away again so let's go and Shout out also we listening to y songs right now as we speak that's a fact and um I know that we'll be posting more and especially the winner and stuff like that uh really soon so pay attention to that but nonetheless thank you so much uh for everyone for being here this the my a nurse podcast we out of here y'all we out let's go eat facts wait let's find a good place to eat yo I'm about say we got to find we got to go okay look we going on Yelp right now the most stars wins okay

Channel: Help Me Devvon

Views: 69,995

Keywords: chris brown, teezio, mixing, recording studio, recording, music production, music, protools, pro tools, mastering, young thug, producer, mixing vocals, how to, producing, home studio, how to mix vocals, how to sound like chris brown, chris brown vocal effect, recording engineer, logic pro x, patrizio pigliapoco, jaycen joshua, hiphop, autotune, livewithmatt rad, my audio nerds, victoria monet

Id: hyc5eDcegOI

Length: 116min 18sec (6978 seconds)

Published: Wed Dec 20 2023