Do people realize what’s happening here? One of the most sought-after producers and engineers simply started a TH-cam channel on his own, doesn’t give a s*** about common TH-cam rules of thumb (do short videos!) and just gives us a 2 hour in-depth walkthrough of a song. This is something other providers ask serious money for. Incredible, Eric. Watched this from start to finish, better than wasting time with Netflix. And thank you 😎
For me it’s been 20 years. Funny my earliest recordings I screwed up so bad that I had to learn all these weird ways of fixing them.. like grabbing Subby low end from a mic across the room, gating top end on close mics so you don’t hear how bad I screwed it up with accidental clipping or recording so soft that it’s all hiss. Screwing up the tom mics so bad I had to automate frequencies in the overheads just to get a Tom sound. Low passing everything like crazy because my mics are garbage. Now to see that’s how it’s done when you do things right, I just needed to do it with intention. dammit. Once I fixed my technique I was happy I didn’t have to do that anymore lol. Shoot.. I should have just kept screwing up! so close ...so far.. I love these shows.. watch and learn.
Love the video. Love the honesty and thanks for sharing. Thank you for putting out all these videos for us. They really are helpful, informative and inspiring.
I saw Grace opening for the black crowes in 2008/9 at Massey Hall, I remember it well because her voice just floored me and I went out after the show to immerse myself in her recordings. This track totally raises the hair on my neck the same way it did when I first heard her. Such a killer performance captured so beautifully. The mix and how you managed to keep the room and band performance so natural only augments this great song and amazing vocal.
EV, never apologize for the length of these or the nerdy inside details, I find them all fascinating (as I think a lot of us do). It really shows off the multi-sided experience that is music making! Thanks for taking the time to share!
What a song, what a voice!! And what expert production/engineering/mixing/mastering choices, which let us be hit by the feeling the song and the voice carry! Thank you so much for doing this!
I wasn't familiar with Grace Potter's work until I watched your videos. I have to say, the production is some of my favorite I have heard in recent times. You manage to get the best of the late 60s/early 70s AND the benefits of modern production without smearing the aesthetic. It's a tough line to walk, and many fail. It's part of my 4 month old daughter's routine to dance to "Love is Love" with me every day now, she loves it too! Thanks so much for sharing Eric! Cheers!
I just discovered this record. I cannot stop listening to it. Everything about it is perfect. I just discovered you and your channel. I am so grateful to be listening to you discuss the making of this record. I have had it playing over and over and over. The production is the best I've ever heard for many reasons, but it kicks freakin ass.
Thanks a lot for this, please never stop making those video's. You are one of the best examples of a mixer/producer who keeps it crunchy, yet clear and modern.
Of course I'm interested in a deconstruction of this new song I've never heard! I've been picking up these little jewels you've been dropping on us for a good while now. I love your new show, and applaud you for taking the time to bear your soul and skill to those interested. Your electronic skill and ability to design and build consoles and vintage style gear amazes me as well. A great teacher never hesitates to release information. And thats huge...so Thanks again!
Just watched again. Outstanding, loved what you did with the 3 pce. horn section... perfect tone and execution. Ive been a fan of Grace Potter for a long time... you two make sense to me
Thank you Eric for sharing this. I hung on every word. Thanks to you and Grace for this beautiful song that hits my ear holes in only the best way. And please continue to discuss this record!
Hi Eric. I'm absolutely loving this channel. You've been a massive inspiration to me as an audio engineer! This track is incredible. I'm always blown away at how clear and defined you manage to make the low frequencies of individual instruments - it's tricky down there. It would be really cool if you could break down 'Liar' by Taking Back Sunday. It's one of my all time favorites. I'd love to see how you managed the super energetic guitar sounds! Keep these videos coming please, sir!
Brilliant Eric. Absolutely fantastic tune and your production is as always top notch. I'm learning a ton on this channel and I've been doing this for over 30 years
Thankyou Eric. You are so generous sharing ALL this information. Kind beyond words. I hope all your kindness and good vibes comes back to you one hundred fold.
Hey Eric! We met in Kinsale a few years ago... Just came across this video will watch with great interest! The song is great! Salutations from misty Ireland! ☘️💪🏽👀👍🏽☘️
The sound of this song and Daylight are like everything ive been chasing for a year or 2, idk man its crazy. I think people that create music tend to catch on and ride the same wave lengths. Its something ive noticed every time im on about some sonics and sounds, I find other people sharing the same stride for the same type of sounds. so cool I love this. thank you for sharing!
Outstanding Share Brother! Thank you so very much for this in depth reveal! I have always been curious how to find the studio musicians you work with and how to negotiate pricing. Keep Doing That Voodoo That You Do!
I've seen that Amazing Randy documentary. What an amazing person he is. In it he provides evidence that people, even when confronted by facts that clearly prove their long held opinions are objectively wrong, will retrench into their belief system instead of being open to objective reality. Anyway - thanks Eric - Great video as always. Learning a ton from you.
This hit me, man. I am trying to make a few records right now while trying to navigate some difficulties in a relationship. Thank you so much for sharing your knowledge and your life, you're a huge inspiration to me!
Eric this video is awesome thank you so much for sharing your knowledge and approach. Also don't mind if you talk about this record for the next year it sounds amazing. cant wait to hear the whole thing
I love your methodology dude. Your creativity is very inspiring. I love that you will mute mics if the music calls for it. Mind you, a cole ribbon is a fantastic mic and you really exploited that in the perfect way!
Thank you for sharing knowledge (and life)! I'm in love with sound of your records, I can somehow identify a "taste" not a real sound you transfer to the music, every record has it's own sound, don't know if make sense. Anyway, really inspiring and so useful! Greetings from Italy!
Great episode Eric - really enjoyed all the in depth analysis. Would love to hear more about the tracking setup for the horns. Also, turn the oversampling on in soothe, it will change your life even more.
Speaking for me at least, im here not hear a certain song, im here to learn why you make the decisions you make and everything is important. Thank you so much for this!!!
Great vocal! Great tune. Congratulations on the love, the child, and the record. P. S. Saw Grace live with stones a few years ago. Missed most of her set but saw her come out and sing with the stones. Very cool
I downloaded this track as soon as I started watching this video and I'm looking forward listening to the whole album when it's released. Grace Potter is such a soulful singer. Very vibey!
Thank you for another great video! Concerning level matching in Pro L2 , it has this small "1:1" button that does it automatically (seen here 1:56:45).
Couldn't wait for you get to the pitch bending sound and find out what it was!! I've seen guys pitch bend down on a B3 by toggling the power switch off and on real quick. Don't know if its controllable enough to get a perfect interval bend but is a cool effect worth playing with...
have you ever used the "split mic signal to two preamps" trick on Grace's voice? I've seen someone do that for SUPER dynamic singers. The mic is split to two preamps: one with good level in, possibly it's own EQ and color in the comp. second preamp turned down for bailing moment. two tracks, make a comp of each take right away ( and yes the "loud " preamp would have blown signal). One performance and mic, two signal chains!
Damn you get that bottom end sound amazing. Really nice sounding mix. You inspire a lot and I realize how much more I need to work with the high passing : ) Normally not my genre but what a great song and what a performance! Only thing I want is a tiny bit more bass guitar pluck in the mix. Just a tiny bit! : )
I love how open you are at the beginning of this video. Also another masterclass on EQs. Almost exlusively Pro Q3, is the approach "compressors for colors, eqs for utilitaries"? Have you tried Newfangled Saturate or Slate FG-X (or any clipper) before Pro L2 for the last dB? Also Newfangled Punctuate seems to be an amazing tool when you want to slightly rebalance the drums in the music stem as you did in that song, it's a multiband transient designer sort of tool. I'm gonna stop talking now, but thank you for the content as always, so inspiring, I love it. :)
I have used Slate FGX at times. the video I'm about to post demonstrates when I used it. I've also used K-Clip at times. I have not tried the Newfangled stuff. I'm gonna check it out. Thanks!
Awesome as usual. Super nerdy question: When you are automating things like gate threshold, are you literally riding that in a pass through the whole song? Is there a "quick" way to do that? Copy-paste? And sorry if this was asked/answered in another video.
Good question! definitely cut&paste works best for me. Fortunately, the stuff I work on is not improvisational jazz and the drum patterns stay quite consistent haha! I come up with automation that works for the 2 or 4 bar pattern (whatever it happens to be) and then start pasting it through the song. I only have go back and clean up where there are drum fills and variations. Usually takes about 10 mins. at the most.
hey eric. I absolutely love your videos! Is there any way you could do a special episode on mix bus processing/mastering? I see that you compress the vocals and music separately, and hope you could elaborate a little bit on this tehnique.
Eric, did you record 96khz? also do you know if the HdTracks, Qobuz, ProStudiosMasters versions of the album ( HD versions 96 kHz 24bits) are specifically "soft, transparent" masters specially for HD release ? maybe requested by you ? or they are the normal CD master just in a higher sample rate and bits?
I did record the whole project at 96K. I mastered the record including the HD tracks version and I did back off the limiting to preserve more dynamics in the HD version. So the HD version is proper 96K with about 4dB less limiting :)
Hey Eric, cool to see that you do a more dynamic master for vinyl! Do you see any value in doing the same for Spotify/Tidal/TH-cam - vendors that normalise? Sounded so good when you disabled the limiter ;)
I did not do a more dynamic version for the normalizing streaming services. I'm gonna do an episode soon that talks about it. I just got the vinyl test pressings today and can't wait to hear them :)
I see you always use your proq on zero latency , personally to me the super killer brickwalls or 96 db p octave filters sounded better linear phase most stuff sound better natural phase and some super notch boost sounded better at zero latency , dont know exaaactly why , whats your take on that that makes you preefer zero latency on the pro q ? anyway linear phase latency makes me lazy! will be great to know. pd dod you try the acustica audio siemens eq ? i think it sounds preety great but its a cpu killer i wanna know your opinion since you are a heavy user of the hard counterpart and you like the soundtoys a lot
Great questions! When I looked into the phase stuff on Q3, the phase response curve they show for ZeroLatency actually "looked" the best to me. There is less of a difference in phase shift across the spectrum than the natural phase version, so I typically start with that. I do use the others at times if things aren't adding up right. The linear phase stuff is great for specific things but if you use a very steep cutoff filter in the low frequencies at high resolution, the "pre-ring" is very audible and totally unusable in my opinion. The low frequencies are simply totally out of time with the rest of the spectrum. When I am playing with blending multiple sources in the low frequencies, I will audition natural phase and linear phase to see if either of those add up better in the blend. I have not tried the acustica version of the W295. I'd be curious to hear it!
Hey EV: can you send me the files for that summing mixer? I'm thinking about building a similar thing for my studio (with a couple of other twists I'll tell you about if they work) and I'm curious how my notes compare to yours and the info from Undertone etc... Thanks!!
I'd like to know the algorithm for it. Eg. so that I can test my ear, if I actually think soothe sounds good or if I'm fooling myself. With a understanding of how the plugin works I could also maybe make my own customizations to it or find a more manual way to do it where it sounds like it's needed. Anyone have a idea for where I should be looking? Could be on some other dynamic ressonance supressor.
Thanks Eric, That Vocal is a high heater. Really enjoy hearing music from your prospective. Are you hitting the tape hard then going into the DAW with plenty of headroom?
Yeah I typically turn up the level to the tape machine until it sounds bad and then just turn down till it doesn't... ignore the meters haha! The tape is definitely getting hit quite hard. When tracking at barefoot I have a fader between the output of the tape machine and the input of the computer so I can get the level to a humane place for the A/D conversion.
Watching this for the 50th time and thought to ask Eric, with the drum tuning on this song was it worked out to be in key between the starting key and the key change? Or was it just set to the initial key?
I love that the song has a classic vibe to it right out of the gate. Like, it sounds familiar without feeling like it's a copy of something. Would have enjoyed Grace's take on the process from her perspective. Maybe on the next one (you know there will be more from this for sure).
I think I chose to not have her on this episode specifically so I WOULD have a reason to do another haha!! I'll definitely get her on here at some point :)
i too put the hoozie in the whatsit ! that can get you into all sorts of trouble but ultimately its worth it . have you tried the spectre plug in by waves factory for harmonics ,if not, you should check it out, i love it ! yet another amazing video eric thank you .
@@mrwev yea i just bought both of them too ,great plugins ! i;d love an in depth vocal recording and vocal mix session ,i always make my vocals too loud and when i compress like i see the big guns its just too much for me ,sounds too squashed .
Hi Eric, just wondering what u are using to print the mastered version to 16 bit 44.1 from whatever sample rate U recorded at?? Do u use a fancy SRC or just print it in protools. Also for a future video perhaps, any insights how loud U like to master or different mastering for Spotify or anything like that? Utterly wonderful video btw. About to watch it all again on a plane. So good to hear the entire story of the song.
When recording really dynamic vocals like this, do you ever ride the threshold and gain knobs on your compressor going to tape? I have always had a hard time getting the compression to work well in both the verses and choruses if there is a huge dynamic range like this song.
Hey Eric! First, love these videos, TY! Secondly, when you were mastering from the 3 (?) pairs I didn’t see where you limiter ended up. Did you just bus them to an aux with the FF plug? Also, how did you handle the dithering down to 16 bits? Thanks again!
Sean McDonald yes the three stero tracks are busses to an aid that has the FF limiter plug on it. I let pro tools do the dithering and sample rate conversion when I export the files for 44.1/16bit. I experimented with a bunch of different SRCs and dithering and the built in pro tools was as good or better then the others.
Yes I do like Saturn and I have used other tape emulation plugins as well. The Waves J37 plugin has been really good, I have used the Slate one and the UAD ATR102 emulations as well. They all can help but none have inspired me to sell my real tape machines yet :)
Hey Eric, one thing is not 100% clear for me: do you blend the bass pedal and the bass guitar (the Bass VI) as if they were one bass instrument? Or the bass pedal has a different role than the guitar?
Good question! I do tend to approach those 2 instruments as one unified bass sound for the song. I intentionally left the sub-bass out of the Bass VI sound so the bass pedals could cover it. The Bass VI added definition to the attacks of the notes that the bass pedals inherently lack. So yes they are kind of designed to add up to one thing.
@@mrwev Thanks again, Eric! This channel is truly awesome and gives me a lot of new insights into how a pro mix is created in such a genuine way like you do :)
Do people realize what’s happening here? One of the most sought-after producers and engineers simply started a TH-cam channel on his own, doesn’t give a s*** about common TH-cam rules of thumb (do short videos!) and just gives us a 2 hour in-depth walkthrough of a song. This is something other providers ask serious money for. Incredible, Eric. Watched this from start to finish, better than wasting time with Netflix. And thank you 😎
Dude, you could record a fart opera and I would watch the process. Thanks for doing this.
As usual, learned more from you in a half hour than I’ve learned in six months from other sources. Thanks, Eric!
For me it’s been 20 years. Funny my earliest recordings I screwed up so bad that I had to learn all these weird ways of fixing them.. like grabbing Subby low end from a mic across the room, gating top end on close mics so you don’t hear how bad I screwed it up with accidental clipping or recording so soft that it’s all hiss. Screwing up the tom mics so bad I had to automate frequencies in the overheads just to get a Tom sound. Low passing everything like crazy because my mics are garbage. Now to see that’s how it’s done when you do things right, I just needed to do it with intention. dammit. Once I fixed my technique I was happy I didn’t have to do that anymore lol. Shoot.. I should have just kept screwing up! so close ...so far.. I love these shows.. watch and learn.
Love the video. Love the honesty and thanks for sharing. Thank you for putting out all these videos for us. They really are helpful, informative and inspiring.
I saw Grace opening for the black crowes in 2008/9 at Massey Hall, I remember it well because her voice just floored me and I went out after the show to immerse myself in her recordings. This track totally raises the hair on my neck the same way it did when I first heard her. Such a killer performance captured so beautifully. The mix and how you managed to keep the room and band performance so natural only augments this great song and amazing vocal.
EV, never apologize for the length of these or the nerdy inside details, I find them all fascinating (as I think a lot of us do). It really shows off the multi-sided experience that is music making! Thanks for taking the time to share!
What a song, what a voice!! And what expert production/engineering/mixing/mastering choices, which let us be hit by the feeling the song and the voice carry! Thank you so much for doing this!
I wasn't familiar with Grace Potter's work until I watched your videos. I have to say, the production is some of my favorite I have heard in recent times. You manage to get the best of the late 60s/early 70s AND the benefits of modern production without smearing the aesthetic. It's a tough line to walk, and many fail.
It's part of my 4 month old daughter's routine to dance to "Love is Love" with me every day now, she loves it too!
Thanks so much for sharing Eric!
Cheers!
Can't thank you enough Eric ! the inside stories, the gorgeous Welson guitar, pulling up my Sie-Q again, etc.etc how freaking awesome. love it
I just discovered this record. I cannot stop listening to it. Everything about it is perfect. I just discovered you and your channel. I am so grateful to be listening to you discuss the making of this record. I have had it playing over and over and over. The production is the best I've ever heard for many reasons, but it kicks freakin ass.
Thanks a lot for this, please never stop making those video's. You are one of the best examples of a mixer/producer who keeps it crunchy, yet clear and modern.
Best audio videos on the web hands down. Cannot wait for any TEB - gonna blow minds away.
Of course I'm interested in a deconstruction of this new song I've never heard! I've been picking up these little jewels you've been dropping on us for a good while now. I love your new show, and applaud you for taking the time to bear your soul and skill to those interested. Your electronic skill and ability to design and build consoles and vintage style gear amazes me as well. A great teacher never hesitates to release information. And thats huge...so Thanks again!
Just watched again. Outstanding, loved what you did with the 3 pce. horn section... perfect tone and execution. Ive been a fan of Grace Potter for a long time... you two make sense to me
Thank you Eric for sharing this. I hung on every word. Thanks to you and Grace for this beautiful song that hits my ear holes in only the best way. And please continue to discuss this record!
Your channel is my favorite thing online at the moment - amazing, amazing stuff!
I simply can't get enough of this Eric. Amazing.
Hi Eric. I'm absolutely loving this channel. You've been a massive inspiration to me as an audio engineer! This track is incredible. I'm always blown away at how clear and defined you manage to make the low frequencies of individual instruments - it's tricky down there.
It would be really cool if you could break down 'Liar' by Taking Back Sunday. It's one of my all time favorites. I'd love to see how you managed the super energetic guitar sounds!
Keep these videos coming please, sir!
I'm definitely gonna do a TBS song at some point :) and I LOVE the song Liar.
Eric Valentine is a genius producer and engineer. Learn so much from every video. Thank you brother!
I love this channel. Thanks for taking the time to make these.
Thank you so much for this am REALLY EXCEITED about this album
Brilliant Eric. Absolutely fantastic tune and your production is as always top notch. I'm learning a ton on this channel and I've been doing this for over 30 years
Eric, we'll love to hear about anything you produce. Getting insights into your lovely wife's music is fantastic, and we appreciate it!
And hey, if you want 20 episodes on your wife's record, we're all eyes and ears!!
Very cool discussion - of everything! Thanks for taking the time to share your techniques and approaches, Eric.
Just discovered this - this is amazing! Such a genuine human explaining his craft. Loving every minute of this.
Thankyou Eric. You are so generous sharing ALL this information. Kind beyond words. I hope all your kindness and good vibes comes back to you one hundred fold.
What a great song, what a great production, mix and deconstruction. Thank you, your videos are fantastic.
Hey Eric! We met in Kinsale a few years ago... Just came across this video will watch with great interest! The song is great! Salutations from misty Ireland! ☘️💪🏽👀👍🏽☘️
The sound of this song and Daylight are like everything ive been chasing for a year or 2, idk man its crazy. I think people that create music tend to catch on and ride the same wave lengths. Its something ive noticed every time im on about some sonics and sounds, I find other people sharing the same stride for the same type of sounds. so cool I love this. thank you for sharing!
As a huge Grace Potter fan (I've been to every Grand Point North LOL) THANK YOUUUU!!! Love the new tune and can't wait to watch this.
Oh man! Just found your channel... THANKS for letting us in on all of your work and for sharing some great tips and tricks! Love it!!!
Love it! Very insightful👌
Keep these in-depth breakdowns coming🙏
Outstanding Share Brother! Thank you so very much for this in depth reveal! I have always been curious how to find the studio musicians you work with and how to negotiate pricing.
Keep Doing That Voodoo That You Do!
I've seen that Amazing Randy documentary. What an amazing person he is. In it he provides evidence that people, even when confronted by facts that clearly prove their long held opinions are objectively wrong, will retrench into their belief system instead of being open to objective reality. Anyway - thanks Eric - Great video as always. Learning a ton from you.
This hit me, man. I am trying to make a few records right now while trying to navigate some difficulties in a relationship. Thank you so much for sharing your knowledge and your life, you're a huge inspiration to me!
i cant wait to watch this. freaking love your videos man and your work thank you so much for sharing it.
You're the absolute best. Thank you soooo much for these videos
Eric this video is awesome thank you so much for sharing your knowledge and approach. Also don't mind if you talk about this record for the next year it sounds amazing. cant wait to hear the whole thing
stunning work sir. Grace has one of those vocals i could listen to 24/7
We'd also love to see the making of grace potter's album MIDNIGHT
I love your methodology dude. Your creativity is very inspiring. I love that you will mute mics if the music calls for it. Mind you, a cole ribbon is a fantastic mic and you really exploited that in the perfect way!
Thank you for sharing knowledge (and life)! I'm in love with sound of your records, I can somehow identify a "taste" not a real sound you transfer to the music, every record has it's own sound, don't know if make sense. Anyway, really inspiring and so useful! Greetings from Italy!
Great episode Eric - really enjoyed all the in depth analysis. Would love to hear more about the tracking setup for the horns. Also, turn the oversampling on in soothe, it will change your life even more.
Holy shit I'm definitely trying that. thank you for the tip!
Speaking for me at least, im here not hear a certain song, im here to learn why you make the decisions you make and everything is important. Thank you so much for this!!!
Top of the morning all the way from sunny Singapore 😊 love this channel!!
Patiently awaiting the next video of the demigod known as Eric Valentine.
Eric, Thanks a lot for sharing your knowledge, tips, tricks and your expierience.. nerdy stuff included.. :-). Big respect..Ciao from Italy
Great vocal! Great tune. Congratulations on the love, the child, and the record. P. S. Saw Grace live with stones a few years ago. Missed most of her set but saw her come out and sing with the stones. Very cool
I downloaded this track as soon as I started watching this video and I'm looking forward listening to the whole album when it's released. Grace Potter is such a soulful singer. Very vibey!
Love love this INFO Video - Thank You
My favorite song on this channel so far- so beautiful!
Thank you for another great video! Concerning level matching in Pro L2 , it has this small "1:1" button that does it automatically (seen here 1:56:45).
Couldn't wait for you get to the pitch bending sound and find out what it was!! I've seen guys pitch bend down on a B3 by toggling the power switch off and on real quick. Don't know if its controllable enough to get a perfect interval bend but is a cool effect worth playing with...
And those isolated backing vocals are absolutely amazing...!
Erick,
For what it's worth....I'm a big fan of the way you approach music production!
Duuuuuuuuuude this song is fucking AMAZING! Big fan of all your work but you must be so very very proud. Congratulations.
that multiband attack trick on the 6 string bass is really great at 57:50
Love the total overview on this one. Thanks Eric!
Thanks for sharing! Great story and song!
have you ever used the "split mic signal to two preamps" trick on Grace's voice? I've seen someone do that for SUPER dynamic singers. The mic is split to two preamps: one with good level in, possibly it's own EQ and color in the comp. second preamp turned down for bailing moment. two tracks, make a comp of each take right away ( and yes the "loud " preamp would have blown signal). One performance and mic, two signal chains!
Great stuff bro! Many thanks for your generosity.
Wow, what a story. thanks for sharing, I always learn something.
Hey Eric, no worries man, music fixes everything in life. Thanks putting this video out
both soothe and spiff are greats tools, thanks Eric really great channel!
Damn you get that bottom end sound amazing. Really nice sounding mix. You inspire a lot and I realize how much more I need to work with the high passing : )
Normally not my genre but what a great song and what a performance!
Only thing I want is a tiny bit more bass guitar pluck in the mix. Just a tiny bit! : )
26:37 room mics
28:36 kick/snare mic
30:10 mono room mic
36:26 low end
51:00 bass
1:43:47 mix bus
I love how open you are at the beginning of this video.
Also another masterclass on EQs. Almost exlusively Pro Q3, is the approach "compressors for colors, eqs for utilitaries"?
Have you tried Newfangled Saturate or Slate FG-X (or any clipper) before Pro L2 for the last dB?
Also Newfangled Punctuate seems to be an amazing tool when you want to slightly rebalance the drums in the music stem as you did in that song, it's a multiband transient designer sort of tool.
I'm gonna stop talking now, but thank you for the content as always, so inspiring, I love it. :)
I have used Slate FGX at times. the video I'm about to post demonstrates when I used it. I've also used K-Clip at times. I have not tried the Newfangled stuff. I'm gonna check it out. Thanks!
@@mrwev amazing! thank you for taking the time to answer. Can't wait to watch it. Thank you Eric
This is great, do the whole album we don’t mind at all.
Awesome as usual. Super nerdy question: When you are automating things like gate threshold, are you literally riding that in a pass through the whole song? Is there a "quick" way to do that? Copy-paste? And sorry if this was asked/answered in another video.
Good question! definitely cut&paste works best for me. Fortunately, the stuff I work on is not improvisational jazz and the drum patterns stay quite consistent haha! I come up with automation that works for the 2 or 4 bar pattern (whatever it happens to be) and then start pasting it through the song. I only have go back and clean up where there are drum fills and variations. Usually takes about 10 mins. at the most.
@@mrwev Awesome, thanks Eric!
MAKING RECORDS with ERIC VALENTINE and I just learned another amazing tip! Great question!
Ok dude. We need more info on this Welson guitar. What model?
Awesome work + Grace's voice = great song 👍🏻
Love your honesty!
Happy release day Grace (and Eric)!
hey eric. I absolutely love your videos! Is there any way you could do a special episode on mix bus processing/mastering? I see that you compress the vocals and music separately, and hope you could elaborate a little bit on this tehnique.
I'll put it on the list! thank for the input!
My favourite section is the swell into that chorus, so eerie
Eric, that T-shirt you are wearing. There was a band in my hometown (Inverness, Scotland) called the Galapagos. Any chance thats the same band? :p
Eric, did you record 96khz? also do you know if the HdTracks, Qobuz, ProStudiosMasters versions of the album ( HD versions 96 kHz 24bits) are specifically "soft, transparent" masters specially for HD release ? maybe requested by you ? or they are the normal CD master just in a higher sample rate and bits?
I did record the whole project at 96K. I mastered the record including the HD tracks version and I did back off the limiting to preserve more dynamics in the HD version. So the HD version is proper 96K with about 4dB less limiting :)
@@mrwev thanks! I'm onto the HD version then ;)
Hey Eric, cool to see that you do a more dynamic master for vinyl! Do you see any value in doing the same for Spotify/Tidal/TH-cam - vendors that normalise? Sounded so good when you disabled the limiter ;)
I did not do a more dynamic version for the normalizing streaming services. I'm gonna do an episode soon that talks about it. I just got the vinyl test pressings today and can't wait to hear them :)
I see you always use your proq on zero latency , personally to me the super killer brickwalls or 96 db p octave filters sounded better linear phase most stuff sound better natural phase and some super notch boost sounded better at zero latency , dont know exaaactly why , whats your take on that that makes you preefer zero latency on the pro q ? anyway linear phase latency makes me lazy! will be great to know.
pd dod you try the acustica audio siemens eq ? i think it sounds preety great but its a cpu killer i wanna know your opinion since you are a heavy user of the hard counterpart and you like the soundtoys a lot
Great questions! When I looked into the phase stuff on Q3, the phase response curve they show for ZeroLatency actually "looked" the best to me. There is less of a difference in phase shift across the spectrum than the natural phase version, so I typically start with that. I do use the others at times if things aren't adding up right. The linear phase stuff is great for specific things but if you use a very steep cutoff filter in the low frequencies at high resolution, the "pre-ring" is very audible and totally unusable in my opinion. The low frequencies are simply totally out of time with the rest of the spectrum. When I am playing with blending multiple sources in the low frequencies, I will audition natural phase and linear phase to see if either of those add up better in the blend. I have not tried the acustica version of the W295. I'd be curious to hear it!
@@mrwev thanks for ur reaponse eric. Hive that a try
Its called silk eq
Hey EV: can you send me the files for that summing mixer? I'm thinking about building a similar thing for my studio (with a couple of other twists I'll tell you about if they work) and I'm curious how my notes compare to yours and the info from Undertone etc... Thanks!!
Those guitars dude. Sheeeesh.
Why not record piezo´s taped to kick and snare and use these as trigger/sidechain tracks to trigger the snare eq automation ?
I don't find the magic mastering preset in Saturn 2..... does anyone have the same problem?
I saw Grace at the Newport Folk Fest over ten years ago. The music stopped and I could hear her voice without a mic from the back of the crowd. #pipes
I'd like to know the algorithm for it. Eg. so that I can test my ear, if I actually think soothe sounds good or if I'm fooling myself. With a understanding of how the plugin works I could also maybe make my own customizations to it or find a more manual way to do it where it sounds like it's needed. Anyone have a idea for where I should be looking? Could be on some other dynamic ressonance supressor.
Fantastic Eric. Love it. Thanks for sharing. Wish we could work together sometime.
Thanks Eric,
That Vocal is a high heater. Really enjoy hearing music from your prospective. Are you hitting the tape hard then going into the DAW with plenty of headroom?
Yeah I typically turn up the level to the tape machine until it sounds bad and then just turn down till it doesn't... ignore the meters haha! The tape is definitely getting hit quite hard. When tracking at barefoot I have a fader between the output of the tape machine and the input of the computer so I can get the level to a humane place for the A/D conversion.
Watching this for the 50th time and thought to ask
Eric, with the drum tuning on this song was it worked out to be in key between the starting key and the key change?
Or was it just set to the initial key?
I love that the song has a classic vibe to it right out of the gate. Like, it sounds familiar without feeling like it's a copy of something. Would have enjoyed Grace's take on the process from her perspective. Maybe on the next one (you know there will be more from this for sure).
I think I chose to not have her on this episode specifically so I WOULD have a reason to do another haha!! I'll definitely get her on here at some point :)
These vids are crazy good.
i too put the hoozie in the whatsit ! that can get you into all sorts of trouble but ultimately its worth it .
have you tried the spectre plug in by waves factory for harmonics ,if not, you should check it out, i love it !
yet another amazing video eric thank you .
Haha!! Yes I have been playing with the Spectre plug from Waves Factory. I also REALLY like their Trackspacer plug. That thing is really clever.
@@mrwev yea i just bought both of them too ,great plugins !
i;d love an in depth vocal recording and vocal mix session ,i always make my vocals too loud and when i compress like i see the big guns its just too much for me ,sounds too squashed .
Hi Eric, just wondering what u are using to print the mastered version to 16 bit 44.1 from whatever sample rate U recorded at?? Do u use a fancy SRC or just print it in protools. Also for a future video perhaps, any insights how loud U like to master or different mastering for Spotify or anything like that? Utterly wonderful video btw. About to watch it all again on a plane. So good to hear the entire story of the song.
These are great questions!! I'm gonna do an episode on where I'm at with all this mastering stuff soon.
When recording really dynamic vocals like this, do you ever ride the threshold and gain knobs on your compressor going to tape? I have always had a hard time getting the compression to work well in both the verses and choruses if there is a huge dynamic range like this song.
Hey Eric!
First, love these videos, TY!
Secondly, when you were mastering from the 3 (?) pairs
I didn’t see where you limiter ended up.
Did you just bus them to an aux with the FF plug?
Also, how did you handle the dithering down to 16 bits?
Thanks again!
Sean McDonald yes the three stero tracks are busses to an aid that has the FF limiter plug on it. I let pro tools do the dithering and sample rate conversion when I export the files for 44.1/16bit. I experimented with a bunch of different SRCs and dithering and the built in pro tools was as good or better then the others.
MAKING RECORDS with ERIC VALENTINE I even learn from the comment replies! Haha! Best audio/engineering channel on youtube!
Pre liked this video and will do to with no plan to stop:)
Im on a plane and this song is playing right now, sounds good in mono too
If you didnt had tape machines you use the saturn, right? what about the j37 or another tape machine?
Yes I do like Saturn and I have used other tape emulation plugins as well. The Waves J37 plugin has been really good, I have used the Slate one and the UAD ATR102 emulations as well. They all can help but none have inspired me to sell my real tape machines yet :)
its possible to turn off the guide thingie in pro q3 :)
My god those vocals are legendary
Hey Eric, one thing is not 100% clear for me: do you blend the bass pedal and the bass guitar (the Bass VI) as if they were one bass instrument? Or the bass pedal has a different role than the guitar?
Good question! I do tend to approach those 2 instruments as one unified bass sound for the song. I intentionally left the sub-bass out of the Bass VI sound so the bass pedals could cover it. The Bass VI added definition to the attacks of the notes that the bass pedals inherently lack. So yes they are kind of designed to add up to one thing.
@@mrwev Thank you Eric! I was not sure if they play the very same notes together.
Péter Albert ahhh ok yeah they are not playing the exact same part. The Bass VI is playing some passing notes the pedals don’t.
@@mrwev Thanks again, Eric! This channel is truly awesome and gives me a lot of new insights into how a pro mix is created in such a genuine way like you do :)