That automation trick on the master is a game changer right there. I be exploring it from now on. Love when people break the rules knowing exactly what they wanna achieve.
@@swagboyyy helps OP and others understand which techniques are common in music production, allowing for a deeper understanding of music production as a whole?
@@extrasoggybagel9015Not everyone does music production with the intent of gaining the deepest understanding possible - some do it just to make stuff that sounds cool. OP was expressing joy over finding a new technique, and the reply only served the purpose of trying to bring OP down a bit. We mustn't make others feel bad/or self-conscious for progressing at different rates.
I’ll never tire of seeing stuff like this with Jack. He is really a genius and has helped create some of my favorite records of all time. Also, Call Me After Midnight has me in a chokehold.
His automation method is so fluid, I love that. The idea of playing small to make things sound big, imo, works like this; If the instrument really was huge, like larger than you, (like a bass guitar 20 feet long with strings as big around as your fingers), you would be very small and weak in comparison. So if you scale this down to the size your instrument actually is, and play gently, then slam it through compression to magnify it, it sounds like a huge instrument played by a normal-sized person. That or the idea that, because it sounds softly played, your brain thinks your head must be really close to it to be able to hear it, so it looks larger.
Years ago I naively panned the bass slightly left when I recorded a song of mine called Nova Daze. I pictured the bass as it would be in a band, slightly to the side of the drummer. I got lucky and landed a publishing deal with that song, and the bass was still panned left 😂 I recently did a newer version of the song with the bass panned center and my publisher preferred the original version! So now I live with a song that is released on streaming services with a panned left bass, I’ve grown to like it, it’s got character 😊
@@simonhornmusic I make indie alternative/ pop-rock. But I love everything and play everything! Lately I’ve been wanting to make funk R&B jazz just like you and Moonchild !
My friends and I used to share earphones on the bus, one of us had L the other R. When I started mixing my own music I didn’t want to pan things in stereo too much, because I wanted both listeners to get the full experience, ha.
I think his comments about playing the drums small and quiet to make it sound big is exactly the reason so many people hate his production, it just hit me like a truck when he said it. It's definitely a staple of his style, and I think it works to his advantage on some songs but his detriment on others.
Yeah for sure, actually turning a knob/fader is a very lively way of writing in effects an i mostly do live sound and im playing fx controls along with the song. If I wanna hit a delay tap at the end of a line I have to push the fader at just the right moment to grab just the word I want, and have the send perfectly in time. Or I’ll play big fx swells that sound like risers in to contribute to a musical crescendo and then kill the return when the band cuts out
so true about the friggin loud drums. literally it makes no sense to hit the drums hard. the trick is to get a rackmount mixer and record only the mono out. and feed it into the drummer's ears full blast ideally one with a limiter or with a limited sound... so that when the drummer plays he can Hear what the actual sound sounds like. mic preamps only sound good at ONE level these people who literally smash the drums makes no sense bro you will never get it to sound big out of the speakers its impossible. I think if "loud drummers" stopped actually played like this they would realize just exactly how "narrow" the level window is of the preamp and mic. once you hit a drum so hard, the mic is thrown to the end of its maximum possible exursion, and then just sounds like a generic pulse. gosh I'm glad he mentioned that in this video that is like my biggest pet peeve of all time . LOUD "tone" drummers like wtf dude get out of here
I mostly do live sound but also play drums but for live I’ll have a drummer walk up to a kit and I’ll be like “sounds like shit” then another guy plays the same kit, hits way harder, and it sounds miles better. I appreciate a quiet drummer if it’s delicate music but the kit has to be tuned that way to serve quiet playing well. For most genres hitting harder sounds better to meeee. Drums hit harder definitely sound bigger out of the mains. I’m not typically a compressing drums super hard I just get a few db on each shell and usually squad the overheads and then I have a crush group that I mix in if I feel it’s needed But we dont care as much about preamp coloration and my preamps sound fine at any level and we never overdrive them, theres no narrow window I just get stuff fairly loud with a few dB buffer before clipping. Live is very different from recording!
question, in terms of prod how could i process and autom the master channel (in a creative way) with it being printed on the stems exported for the mixing session, just like jack antonoff does with the chorus and everything
I think he's wrong at the end. In general, I really like a lot of his sound. But his work often feels small, especially in the drums. And I don't hear the scale he's going for in that example he plays, I just hear a normal bass and guitar with a drummer playing small.
I think it depends. His old stuff felt bigger. “I wanna get better” sounds like a big track but nothing he ever makes feels larger than life to me. It all feels like it could be done live despite the fact that it clearly couldn’t be. That’s why I love it so much.
He’s obviously not into the Beatles enough to understand that the hard panning wasn’t a creative choice they made, it was what the consoles forced them to do for the stereo mixes, which were themselves an afterthought to the mono mixes. Every Beatles engineer has said in interviews, only listen to the mono mixes except for Abbey Road. The mono is what they focused all the energy on because that’s what was going on record and on radio, and that’s realistically what most people heard at the time. The “Beatles did it so why wouldn’t I” justification doesn’t hold any water in this case. Do as you like, but don’t listen to Beatles stereo mixes and think the panning is a creative choice made by the band, it isn’t.
@@uncanny.valley Let’s leave Jesus out of this since he likely never existed. I’m sure the Flying Spaghetti Monster would take pity on him. Lord knows the Satanists would gladly welcome such narcissistic behavior
You plug so many excellent products. You miss the fabulous microphone you use and you gave your guest the sound of your podcast is so good I want to know what your microphone is it is stupefyingly good 💽📀💿☎️Please reveal what your microphone is ?????
That automation trick on the master is a game changer right there. I be exploring it from now on. Love when people break the rules knowing exactly what they wanna achieve.
No offense, but you must be new if automating effects on the master bus is a game changer
@@godofgore6667 🤣🤣🤣
@@godofgore6667does saying this to someone make you feel better? Do you think it made them feel better? What was the point?
@@swagboyyy helps OP and others understand which techniques are common in music production, allowing for a deeper understanding of music production as a whole?
@@extrasoggybagel9015Not everyone does music production with the intent of gaining the deepest understanding possible - some do it just to make stuff that sounds cool. OP was expressing joy over finding a new technique, and the reply only served the purpose of trying to bring OP down a bit.
We mustn't make others feel bad/or self-conscious for progressing at different rates.
I’ll never tire of seeing stuff like this with Jack. He is really a genius and has helped create some of my favorite records of all time. Also, Call Me After Midnight has me in a chokehold.
People named Anton 😦
HAAAHAHHAHAHAHAHAHAHH
His automation method is so fluid, I love that. The idea of playing small to make things sound big, imo, works like this; If the instrument really was huge, like larger than you, (like a bass guitar 20 feet long with strings as big around as your fingers), you would be very small and weak in comparison. So if you scale this down to the size your instrument actually is, and play gently, then slam it through compression to magnify it, it sounds like a huge instrument played by a normal-sized person. That or the idea that, because it sounds softly played, your brain thinks your head must be really close to it to be able to hear it, so it looks larger.
These Jack episodes are so amazing and inspirational. Thank you so much for this.
Glad you're enjoying them! Our pleasure
AMAZING HOW FEW PLUGINS JACK HAS, MAKE IT SIMPLE AND MORE FOCUSED
Years ago I naively panned the bass slightly left when I recorded a song of mine called Nova Daze. I pictured the bass as it would be in a band, slightly to the side of the drummer. I got lucky and landed a publishing deal with that song, and the bass was still panned left 😂 I recently did a newer version of the song with the bass panned center and my publisher preferred the original version! So now I live with a song that is released on streaming services with a panned left bass, I’ve grown to like it, it’s got character 😊
This track is sickkkk!
@@SebastianMartinez-mx4gw thanks for listening 😀 what sort of music do you make?
@@simonhornmusic I make indie alternative/ pop-rock. But I love everything and play everything! Lately I’ve been wanting to make funk R&B jazz just like you and Moonchild !
@@SebastianMartinez-mx4gw nice one! Have you got some songs online I can have a listen to ? 😀
My friends and I used to share earphones on the bus, one of us had L the other R. When I started mixing my own music I didn’t want to pan things in stereo too much, because I wanted both listeners to get the full experience, ha.
such a gifted producer.
THIS IS GOLD
HOW
yeah i'd also like to know what exactly was priceless in your eyes
I could listen / watch Jack breakdown tracks all day. Genius. Thanks for doing this.
This was dope stuff. Enjoyed it.
I think his comments about playing the drums small and quiet to make it sound big is exactly the reason so many people hate his production, it just hit me like a truck when he said it. It's definitely a staple of his style, and I think it works to his advantage on some songs but his detriment on others.
Like Guilty as Sin. kills me those drums aren’t cranked up
his automation tip is almost like hes DJing
i was thinking the same thing!
Yeah for sure, actually turning a knob/fader is a very lively way of writing in effects an i mostly do live sound and im playing fx controls along with the song. If I wanna hit a delay tap at the end of a line I have to push the fader at just the right moment to grab just the word I want, and have the send perfectly in time. Or I’ll play big fx swells that sound like risers in to contribute to a musical crescendo and then kill the return when the band cuts out
2:32 this part is insane
Exactly we hear in stereo. Dolby atmos will never be the new stereo
Nice tricks and tips!🙃 thanks guys
Think a lot of tracks had crappy pan that made you feel vertigo because one side was so much heavier than another
the violence album is great
great tricks!
big on sprinkly moments and recognizing the human sonic field
worth watching
Would be curious to know what Jack’s go-to vocal Microphone is.
Wunder CM7 Suprema
so true about the friggin loud drums. literally it makes no sense to hit the drums hard. the trick is to get a rackmount mixer and record only the mono out. and feed it into the drummer's ears full blast ideally one with a limiter or with a limited sound... so that when the drummer plays he can Hear what the actual sound sounds like. mic preamps only sound good at ONE level these people who literally smash the drums makes no sense bro you will never get it to sound big out of the speakers its impossible. I think if "loud drummers" stopped actually played like this they would realize just exactly how "narrow" the level window is of the preamp and mic. once you hit a drum so hard, the mic is thrown to the end of its maximum possible exursion, and then just sounds like a generic pulse. gosh I'm glad he mentioned that in this video that is like my biggest pet peeve of all time . LOUD "tone" drummers like wtf dude get out of here
I mostly do live sound but also play drums but for live I’ll have a drummer walk up to a kit and I’ll be like “sounds like shit” then another guy plays the same kit, hits way harder, and it sounds miles better. I appreciate a quiet drummer if it’s delicate music but the kit has to be tuned that way to serve quiet playing well. For most genres hitting harder sounds better to meeee. Drums hit harder definitely sound bigger out of the mains. I’m not typically a compressing drums super hard I just get a few db on each shell and usually squad the overheads and then I have a crush group that I mix in if I feel it’s needed
But we dont care as much about preamp coloration and my preamps sound fine at any level and we never overdrive them, theres no narrow window I just get stuff fairly loud with a few dB buffer before clipping. Live is very different from recording!
question, in terms of prod how could i process and autom the master channel (in a creative way) with it being printed on the stems exported for the mixing session, just like jack antonoff does with the chorus and everything
thank you jack!
love this!
This is just more proof that people overthink music production. It's so simple really.
what headphones are they using??
Wondering this too. They look massive.
Probably Neumann NDH 20
Cheers, that them! @@Chandeen
Everything good starts with Jack and a vocoder
00:51 jack amaria a luca prodan y sumo
JAJAJJ
please please please please post the full videos on RUclips before I have to comment this on every video
The full video is on our patreon bit.ly/jackantonoffvideo
What DAW is he using to produce on? Anyone?
Pro Tools
Ah ok that makes sense. I wonder if the plugins he is using is specific to pro tools or compatible with ableton or Logic Pro
Nice
I think he's wrong at the end. In general, I really like a lot of his sound. But his work often feels small, especially in the drums. And I don't hear the scale he's going for in that example he plays, I just hear a normal bass and guitar with a drummer playing small.
I think it depends. His old stuff felt bigger. “I wanna get better” sounds like a big track but nothing he ever makes feels larger than life to me. It all feels like it could be done live despite the fact that it clearly couldn’t be. That’s why I love it so much.
Wow
No comments about his name?
¡?
Tape it to android 2025? 2026?😅
He’s obviously not into the Beatles enough to understand that the hard panning wasn’t a creative choice they made, it was what the consoles forced them to do for the stereo mixes, which were themselves an afterthought to the mono mixes. Every Beatles engineer has said in interviews, only listen to the mono mixes except for Abbey Road. The mono is what they focused all the energy on because that’s what was going on record and on radio, and that’s realistically what most people heard at the time. The “Beatles did it so why wouldn’t I” justification doesn’t hold any water in this case. Do as you like, but don’t listen to Beatles stereo mixes and think the panning is a creative choice made by the band, it isn’t.
he knows.
@@jacobfolk936 cool. thanks for clearing that up based on nothing.
I hope our lord and saviour can forgive his transgression
@@uncanny.valley Let’s leave Jesus out of this since he likely never existed. I’m sure the Flying Spaghetti Monster would take pity on him. Lord knows the Satanists would gladly welcome such narcissistic behavior
Kids have no culture
classic "completely dry" after going through 100k of outboard equipment
Jack is cool but that last Taylor swift album gotta be some of the worst production I've heard this decade
This guy looks like a total dork and hes got more money than i'd ever know what to do with lol
Maybe you should give your guests an introduction. Who is he, what has he done, who has he produced, what has he accomplished???
he probably does when you watch the full episode
this is lowkey trash
This is terrible. Dude has the worst production style of all time. Bad 80s
amazing. you guys really need mk.gee on here
Modern guitar god Mk.gee🙏
You plug so many excellent products. You miss the fabulous microphone you use and you gave your guest the sound of your podcast is so good I want to know what your microphone is it is stupefyingly good 💽📀💿☎️Please reveal what your microphone is ?????
It’s a Neumann 705