The summary of ‘Andrew Wells Interview & Studio Tour – Warren Huart: Produce Like A Pro’

This summary of the video was created by an AI. It might contain some inaccuracies.

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The video features discussions on various aspects of music production and the music industry. Key points include the importance of professionalism, networking, and building trust in the industry, as well as utilizing specific tools and techniques for music production. The speaker emphasizes the evolution of recording technology, preferred equipment, and techniques used in their studio. Gear discussions encompass different guitars, amps, and recording equipment. The importance of room size and acoustics for recording, mixing approaches, and techniques are highlighted. The segment also touches on the significance of mixing modern rock and using specific microphones and plugins to achieve desired sounds. The conversation advocates for creativity, experimentation, and maintaining the rock genre's presence in pop music.

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In this segment of the video, Warren Hood and his friend Andrew WS discuss Andrew’s journey as a musician and producer. Andrew talks about dropping out of high school to pursue touring and his goal of becoming a producer. They discuss the importance of professionalism in approaching musicians and building relationships in the industry. Warren emphasizes the significance of trust and reliability when recommending someone for a gig, highlighting the importance of showing up professionally and not making others look bad. The conversation emphasizes the value of networking, professionalism, and building trust in the music industry.

00:05:00

In this segment of the video, the speaker emphasizes the importance of attitude and likability in musicians like Tim Pierce and Victor Andrizo. The discussion also touches on setting up a studio for production, writing, and basic tracking of instruments. The speaker mentions using tools like Steven Slate Trigger for drum programming and FG-X on the stereo bus. They also talk about their preference for programming drums and utilizing mono overhead recording techniques for a specific drum sound. Additionally, the conversation covers working with various studios and producers like Kevin Augunas, showcasing a versatile and creative approach to music production.

00:10:00

In this segment of the video, the speaker discusses recording drums with a tape dump process and mentions working with Thrills and Heat albums. They touch upon using ProTools as a tape machine and the convenience and reliability it offers. The conversation shifts to using Pro Control for TalkBack and headphone routing, highlighting its revolutionary features. The conversation also covers mixing techniques, the use of plugins like UAD, comparisons between different EQs, and the benefits of control surfaces for recallability in the mixing process. Overall, the discussion emphasizes the evolution of recording technology and the preferences of the speaker towards certain tools and techniques.

00:15:00

In this segment of the video, the speaker discusses using SSL Channel strips on every track, emphasizing their value and effectiveness in achieving consistent mixes across different playback devices. They also mention their preference for Focal monitors for their accuracy and transparency. The discussion shifts to the monitoring setup, with the speaker highlighting the benefits of keeping screens separate for easier workflow. The conversation touches on equipment modifications, such as the Black Lion modified 192s and the importance of quality components in audio conversion. The speaker expresses skepticism about upgrades due to the associated costs, while also discussing their usage of the 737 and its EQ characteristics. The segment concludes with a mention of potential upgrades and the consideration of using different equipment in the future.

00:20:00

In this segment of the video, the speaker discusses various pieces of gear they use in their studio. They mention a DI given by Mike Shipley, used on bass to enhance the sound. They also talk about using a geranium preamp on kick and bass for sub frequencies. The speaker recommends a transient designer for live drums and praises the versatility of distressors for compression. They highlight the universal audio La 610 Mark 2s for vocals, running it as a hardware insert. Additionally, they mention using crane song equipment on the stereo bus for mixing.

00:25:00

In this segment of the video, the speaker discusses using a warm audio unit to achieve analog-style distortion in Pro Tools, particularly emphasizing the tape knob for adding warmth and mid-range distortion. They touch upon common audio industry terms like “transparent” and “warm,” expressing skepticism about their meanings. The speaker highlights their use of the warm audio unit on the mix bus and for tracking vocals, appreciating its effects. They also mention settings used by Greg Wells on a Pultec EQ and how it can enhance the mix. The conversation includes a debate on analog summing, the efficiency of in-the-box mixing, and the prominence of laptop mixing by renowned professionals like Andrew Scheps. The speaker shares a critical view on analog summing, emphasizing that quality audio results can be achieved even without extensive gear. They stress the importance of breaking away from dogma in audio engineering and experimentation with gear for creative purposes. The conversation reflects a balanced perspective on equipment and techniques in music production.

00:30:00

In this part of the video, the speaker discusses various guitars such as the Jet City for higher gain tones, the versatile Supersonic amp, a Mustang bass, an old beat-up Jazz Master, a Mexican Strat, and a TV Yellow guitar. They also mention a Les Paul from Gibson that is their favorite, especially for a semi-hollow body sound. The speaker appreciates the different tones and qualities of each guitar and amp they own, highlighting their versatility in recording and performing.

00:35:00

In this part of the video, the speaker discusses different types of guitars they like, including thin line Telecasters, Gibson 335s, and Les Pauls. They then move on to talk about recording rooms, comparing the size of their own live room to a larger one. They emphasize the importance of room size and acoustics for recording drums, using baffles to control sound and referencing iconic recording studios like Sound City. The conversation delves into drum recording techniques, mixing approaches, and the influence of prominent mix engineers like Andy Wallace. The speaker shares their personal mixing method of adjusting levels to ensure an exciting sound.

00:40:00

In this segment of the video, the speaker discusses the importance of mixing modern rock at a high level to ensure excitement and engagement from listeners. They mention the benefits of using underrated vocal mics like the SM7 and the R21, highlighting their affordability and quality. The speaker also recommends using a Shure SM57 for guitar cabs and praises the versatility of the Sansamp plugin for bass recordings. They touch on the use of Echo Boy and Amp Farm plugins for guitar blending techniques. The segment ends with a mention of keeping rock and roll alive in pop music and a call for questions and comments from viewers.

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