In Dr Luke’s studio I’m chief engineer I oversee studio operations, train the engineers and do the mixes there, although I do most of my mixing at home now.” “I do IT in the offices of Prescription Songs: e-mail, tech support, help songwriters and producers with their set-ups, upload sessions into the archive, and deal with final delivery of tracks. Before then he divided his time between his home studio, the offices of Prescription Songs, (Dr Luke’s production and publishing company) and Dr Luke’s studio. Gibbs did all the mixes in his home studio in Los Angeles, where he’s been holed up since the pandemic struck last year. He’d send me the files, I’d send him the mixes for approval, he’d play the mixes to Laroi and others and then hit me back with notes.” Khaled Roheim, Laroi’s main co-writer, was my go-to contact for this project. Although there were many producers on the album, I didn’t interact with most of them. I knew what to do after hearing the roughs in most cases they were very close and just needed some embellishment, but some needed more work and finesse. “It was just: ‘do your thing.’ There weren’t many conceptual talks. “I was pretty much left to my own devices while mixing the 10 tracks for the original version of ‘F*ck Love’,” recalls Gibbs. Five of those tracks are skits with only spoken word, leaving 10 tracks showcasing Laroi’s trademark mixture of pop, trap and emo rap. Bibby decided it was time for a mixtape and asked Gibbs to mix the entirety of ‘F*ck Love’, a total of 15 tracks. He’s a huge talent.”īy this time Laroi had already released seven singles, among them ‘Diva’ and ‘Fade Away’ with American guest rappers Lil Tecca and Lil Tjay. “Laroi wasn’t so well-known at that point,” explains Gibbs, “but some of my peers had worked with him and were saying great things so I was excited to get the call. In May 2020 Lil Bibby asked his mix engineer, Clint Gibbs, to mix ‘F*ck Love’. In 2018, Laroi was a finalist in the Triple J Unearthed competition, which led to him being discovered by American rapper Lil Bibby and signed to his Grade A Productions label. Since then he’s had 17 singles chart in the Australian Aria top 50, the biggest three being ‘Go’ (with Juice WRLD), ‘So Done,’ and ‘Without You.’ These are staggering achievements, and The Kid Laroi’s breakthrough is undoubtedly a big deal for Australian hip-hop. It made him the youngest solo artist ever to top ARIA’s albums chart, earned him three ARIA Music Award nominations (Best Male Artist, Breakthrough Artist, and Best Hip Hop Release), and a J Award nomination for Australian Album of the Year. It went to number one in Australia and several northern European countries, number two in New Zealand, number three on the American Billboard 200 chart, number 10 in the UK, and more. Born Charlton Howard in Waterloo, Sydney, The Kid Laroi was only 16 when his first mixtape, ‘F*ck Love’, was released in July 2020. It marked his meteoric rise from relative obscurity to worldwide fame. Like I mentioned, I want to lift the vocals as best I can without taking much away from the power of the rock drums and guitars.Although 2020 was a challenge for most of us, for The Kid Laroi it was a year made in heaven. So this is where I come to ask for some advice on how best to try and fix those vocals. Sounded like it's an improvement, but I also had to listen carefully to not roll off too much of the low end, yet just enough to keep the glue together. I opened up the Q2 plugin there, and played with its parametric EQ and the frequency knobs within the vocal range. For kicks, I used another audio application called Sound Studio, because it's less clutter than Audition. It was decent, but I want to try and do better. I have read that the female EQ sits between 165-250Hz, and I have played with Adobe's built-in EQ. I was able to use Adobe Audition to elevate the vocals, and the band was pretty pleased.īut now I want to try the fixes using Q2. I have only done this once before with a friend's band who wanted me to record her, but had similar issues back then. In the end, the music sounded great.but it was mainly female vocalists, a lot of them in a rock/punk style. I would have brought one, if I had known.Īnyway, the recorder is a Tascam DR-07 with a built-in mic setup. To be fair, I didn't have a line-in cable.
MIXING VOCALS WITH FABFILTER PRO Q2 PORTABLE
I didn't know ahead of time that there were going to be sound folks there helping the bands out, which is natural, but it seems the main sound guy wasn't versed on how I could hook up my portable recorder to any suitable inputs. Yesterday, I recorded a bunch of live sets at a festival.
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