VLOG #4: Reverb, Record Deals, Bhad Bhabie, DIY Ambience

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VLOG #4: Reverb, Record Deals, Bhad Bhabie, DIY Ambience

Hey folks, Matthew Weiss here.

Welcome to the Monday show.

Today, Mixing With Reverb is out, so in spirit
of that, we are going to be doing a little

bit of a cool reverb demonstration I’ve got
going, but before we get to all of that, first

of all, yup.

These are real, this is not a fashion statement.

I’ve been staring at a computer for too long,
so already, when you drop comments in the

comments section, please tell me if they make
me look smart or pretentious.

These are not mutually exclusive, I suppose.

And since we’re going to be discussing music
news, I suppose that I am behooven to talk

about Bhad Bhabie [attempting to pronounce].

Bhad Bhabie: Same way you would spell.

Say it the same way you would spell it regularly.

Matt: Okay, cool, Bhad Bhabie.

I got it right the first time.

So everybody’s been talking about the fact
that Atlantic signed her for upwards of a

million dollars in advance from what I understand,
actually, from a little inside information

is a little over three million, and it’s a
multi-project deal, but I don’t know the stipulations

of the contract, so it could be a lot of things.

Alright, so people are feeling pretty polarized
about this.

Before talking about the music itself, her
song this is coming off the back of is called,

“These Heaux,” and I have to say, just
as an aside, I’m really glad to see somebody

bringing back the original spelling of “hoes.”

I want to talk about what a record deal is,
and why you should or should not care and

what it means.

Here’s the thing about a record company.

A record company is someone that specializes
in the creation and distribution of music.

The crux of that is seeing an act that they
believe is garnering attention that they can

then use to capitalize off of.

So in the mind of a record company, that exposure
is actually the hard part to get.

The music itself, for them, is easier because
they have the musicians there, and ultimately,

promotion is actually the, by far, more expensive
part of releasing a record.

Understand that the way record companies have
been working for decades has always been based

on the visibility of an artist, and with social
media in play, visibility means a lot of things.

So this is not a new thing, this is not the
state of music, this is not this, that, or

the other, all it is is just a prime example
of somebody who has the available face time

in front of a wide audience, getting recognized
for that.

Okay, so now let’s talk about the music itself.

Look, if talent in terms of skill of music
was really the thing that was the crux of

the record business, then the Kirov Orchestra,
Rite of Spring would be like, ten times diamond,

and when you turned on the radio, you’d either
be hearing death metal or opera.

That’s not the case.

So when we’re evaluating how good music is,
we have to do it in context.

So with all of that being said, let’s play
a little snippet of These Heaux.


Now, I’m going to say, to be honest, I actually
like the song.

I mean, it’s not like, mind blowing in terms
of what it’s doing in the world of Hip Hop,

but the production itself?

Very cool.

I love the sound design, I love the distuned
bells, I love that sort of old cartoon sounding

organ thing that’s all grindy and stuff in
the chorus.

I like how they treated Danielle’s voice.

I think that it was a lot of really smart

Sometimes, as engineers, we need to do things
to kind of bring out the essence of a performance

that might’ve not been inherently there in
the original take, so using that distortion

on the adlibs and using that very highly stressed
compression on the lead vocal that breaks

up a little bit — I think that those were
really smart choices, and the layering in

the chorus of her vocal with the tucked auto-tune
that’s sort of spread out to kind of thicken

things up, it gives a lot of body to her voice
that might not have been naturally there.

Ultimately, I actually think that this is
really well done.

But, it’s not all about me, it’s not all about
what I think, obviously, you probably have

an opinion on it, so I’m going to say, leave
a comment in the comment’s section as to whether

or not you think that this song is good for
what it is, and also don’t just say good or

bad, give some context in terms of why you
might feel that way, because music is really

important to observe in context.

Alright, moving on, now Mixing With Reverb
is out today, and I am super excited.

I believe that this tutorial is going to be
the gold standard for understanding reverb

and music production, and in celebration of
that, I’m going to be dedicating our techniques

segment of the week to reverb, and what I’m
going to do now is play a little drum piece

for you.


So this is the Merlot Embargo.

If you’ve watched any of my other videos,
you know I’m a huge fan of them, I love working

with them, and I’ve put a link in the description
to their site, where you can get their last

album, and I did a lot of work on that.

Anyway, we’re working on some new stuff, and
I recorded these drums here at my studio,

and this is basically just flat in with maybe
a little tiny bit of corrective EQ.

You can see here, there’s not much on the
inserts, but I recorded a room capture, and

I didn’t really feel like it was giving me
the energy I wanted.

I’m going to play that for you real quick.

[drum room]

That’s just a mic setup in my live room.

It sounds good, but eh, this song is more
of like, this sort of bar room brawler kind

of song, like, it’s a very pub drinking kind
of song, so I wanted something that was a

little bit bigger, a little bit sloppier,
and I decided — well, here, I recorded it


Alright folks, Mixing With Reverb is coming
out tomorrow, so in celebration of that, I’m

going to show you the cheapest and best way
to create reverb is completely free as long

as you have cable, speaker, and a couple of
microphones, and you don’t even need the most

expensive microphones in the world.

All you need is the space, and some mics,
and a speaker.

This is going to be our drum reverb.

Alright, let’s go back on inside here.

Hi, Luke.

Alright, now let’s give this a little quick

[drum room 2]

Okay, so there’s some stuff that I like, and
there’s some stuff that I don’t like.

First of all, I like that it’s got this big,
boomy sound to it.

It clearly sounds like a parking structure

It’s got this sort of open sound, but also
stone wall sound.

It’s giving a lot of vibe.

Here’s how it sounds with the drums in the


Without it.

[mix, no drum room]

So it’s getting along with the drums really,
really well.

Now, I think there’s a few things that I want
to customize a little bit.

The one thing is that the snare, the way that
I positioned the microphones, I miscalibrated

it, and so my snare is leaning off to one
side, but a little bit of timing adjustment

can really fix that very easily.

[drum room, adjusting timing]

See, the problem is the microphones were not
exactly the same distance from the speaker,

and so the one mic, which was on the left,
was getting the signal ever so slightly earlier,

and I’m talking about ever so slightly.

I’ve only adjusted this by one millisecond.

So that’s not a huge timing discrepancy, but
just by moving the timing around a little

bit, we can move the sound to the concentric
center, and I think for the purpose of this,

that’s going to be a little bit better.


Now, a few other things that I want to do.

There is a bit of extra low end build up,
and a lot of top end overall, so I’m going

to cut out the low end, and I’m going to ease
off some of the top.

[drum room, EQing and filtering]

But when I do that, it sort of overly tightens
the sound, so what I’m going to do in response

is going to make it a bit more mushy, and
do that old rock trick where I kind of slam

the heck out of it with a compressor.

So before…

[drum room, before and after compression]

Now let’s hear that in the mix.


I really like what we’ve got going, and I
think what I’m going to do when it comes time

to do the actual mix is build the drum sound
around that stone wall, slapback-y sort of

sound that I captured out there to make this
one really glued, kind of crunchy-ish sounding

drum sound that’s sort of lower-mid focused,
and it’s going to be really, really cool.

And lastly, if I want a bit more width on
the sides of it, I can use a mid/side processor

to bring up the side information.

So here’s before…

[drum room, before and after processing]

Just gives it a little bit more spread.


So we’re well on our way to a really massive,
interesting, textural drum sound that I think

the band is really going to dig.

Now, my favorite part of that technique is
that I didn’t have to buy any plugins or spend

any extra money, I simply used stuff that
I had lying around anyway, and I created this

really, really cool, interesting reverb sound.

So now I’m going to turn it over to you.

What’s the most interesting reverb sound that
you’ve ever managed to capture?

Or, if perhaps you’re using a plugin, what’s
the most unique sounding plugin, or the unique

sounding way that you’ve used reverb?

Drop that in the comments section below, let
me learn something.

I’m looking forward to that.


Alright folks, that’s the show.

As always, if you dig what I do, don’t forget
to hit that like button like it was talking

trash on your momma, and if you want more
great, informative content, you’re going to

have to hit that subscribe button so that
you can get updates and all of the info coming

right to you, and if I haven’t said it enough,
Mixing With Reverb is out, you’re going to

want to check that out.

The link is in the description below.

Trust me, you’re going to learn a lot.

Alright guys, until next time.

VLOG #4: Reverb, Record Deals, Bhad Bhabie, DIY Ambience

Mixing with Reverb: http://mixingwithreverb.com
Merlot Embargo: http://www.merlotembargo.com

About The Pro Audio Files

Tutorials on mixing, mastering and producing music in Pro Tools with plugins from Waves, FabFilter, SoundToys, Softube, Sonnox, PSP, Slate Digital and more. Learn how to mix using EQ, compression and effects like reverb, delay, saturation and distortion on vocals, drums, guitar, bass and more.

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