"In hip-hop, you must write your own raps. Coming off the SSL I had probably given it a little bit too much bottom, so when I was mixing I wanted to push its top end a bit, and instead of having a huge, rumbling, low bass, give it a little bit more pop and harshness. We didn't set out with a deliberate ambition to completely break the rules and have singing and rapping and motion and melody. 'Outro40lead' is my keyboard part, which is a synth lead. instrument in Pro Tools, routed through a Waves guitar amp simulator and the inevitable Lo-Fi plug-in. I want to be able to use anything at any given moment, so I'm constantly running two systems. Noah '40' Shebib was born in Toronto in 1983 to an Irish-Lebanese father, and was a bit of a child prodigy, acting in Canadian TV series like The Mighty Jungle, Goosebumps and Wind At My Back. Samples give an aesthetic to a record that is difficult to achieve without one, whether you are featuring the sample prominently or have it running in the background. "I still use Mac because there are some inconsistencies between the two formats in the programming and software and sometimes updates are available on Mac but not yet for the PC and Windows. Inside Track | Secrets Of The Mix Engineers. I grew up in the entertainment industry, with my family being actors and so on. I have a main control room and a booth and a small room at the back. Jay-Z and Kanye West's Niggas in Paris sample of Reverend W.A. Web site designed & maintained by PB Associates & SOS. As well as working with Drake, 40 has also contributed to the success of Abel 'The Weeknd' Tesfaye (left), who guests on and co-wrote several songs on Take Care. We're just a couple of kids making records and it has worked out pretty good for us!”. In general, I want it as clean as humanly possible. I understood that you need reference points to be able to hear music properly, and when you go back to your own music, you can hear right away what's right and what's wrong.”, Campbell ran a label with Chris Smith, called Blacksmith, which was licensed to Universal, and for which 40 engineered albums by rapper Jelleestone and R&B singer Divine Brown in 2004. Unusually, a single processing chain was used for the entire lead vocal on 'Headlines', including Waves' Q10, De-esser, Renaissance EQ and Vox, Bomb Factory's Pultec EQP-1A and Avid's Smack! "After running the 16-bit stuff through the analogue domain, I remained in the box for this record. He probably spent a couple of nights writing. On this record I actually tuned the raps! I worked with a program called Sonic Foundry Acid 3.0, and by age 12 or 13 I was fluent in any computer platform. "I was there to track and mix. Because a song like 'Marvin's Room' has a lot of bass, I had to do quite a bit of tweaking during mastering to make the whole album fit together. So when I'm using outboard gear, I'll always print these tracks back into my Pro Tools Sessions, retaining both wet and dry versions of each track, giving me the flexibility to choose. Boi-1da and T-Minus both use Fruity Loops to do their beats, and until recently it only spat out 16-bit files, so I almost always end up putting these through the 80-input SSL 4000 G+ at Metalworks Studio 2. All rights reserved. Those keyboards also have the Sansamp on them. We were making music in a very different way. "In an R&B song there are four sentences per verse, but in a rap song there are four sentences per bar. While the majority of the tracks on Take Care were created by Drake and 40, the rapper's albums also feature other big-name producers like Boi-1da, T-Minus, Just Blaze, Swizz Beatz, Needlz, Kanye West and Timbaland. Close. The official lead single from the album and the main subject of this article, 'Headlines', was released in July 31, also on October's Very Own, and sold in similar quantities to 'Marvin's Room'. I arm one track in Pro Tools to record him, and I then drag the clip down to an empty track. Sota is a legendary Canadian company that makes big reference monitors, amongst other things. I sent all my vocals to one bus, and the drums and music to another bus, so I could balance them against each other just before I hit the stereo bus. When you walk in, there's a huge producer's desk and console, which is the Control 24. We haven't spoken to an A&R man, ever. Written by Drake Graham, Matthew Samuels (Boi-1da), Noah '40' Shebib, A Palman. This video is unavailable. I depend on the Pro Tools Lo-Fi a lot. Produced by Boi-1da with additional production by 40. The 'Reverb', 'Delay', 'Exciter' and 'Delay2' tracks are all aux tracks associated with the vocals on this record. 40's processing chain for the sawtooth bass synth included Waves' Renaissance EQ and Bass, and Avid's Lo-Fi, a big favourite of his. Drake studies the console at Metalworks Studios, where 'Headlines' was mixed. One night at 3am, I'd already been working non-stop for two or three days, Gadget walked into the control room and said: 'Listen.' I recall that we took all the drums out at that point, but then decided this didn't work, so we put the kicks back in. From Drake's perspective, it's also nice to go to Metalworks, because they have a big room and we can get a crowd in there that he can entertain. This experience informed his later successes as an engineer and a producer. If someone else were to write them for you, you'd have no credibility whatsoever, and you'd be out of the window immediately. "I had the Pultec and some drastic outboard EQ on the first marcato string part, and a mid-range EQ and some drastic top-end EQ on the second string part, but left the third string part alone. You must be logged in to comment. Key Help. Why not? Another advantage of using drag and drop is that Drake does not want to hear the playback in the headphones before I punch him in. Another common way of writing songs in hip-hop and R&B is to use a track written by another producer as a starting point, and in the case of 'Headlines', the starting point came from fellow Toronto producer Boi-1da who, with some help from one A. Palman, provided the basic string staccatos and synth arpeggios that resulted in a slightly more full-on and energetic arrangement than is usual for Drake. The record company just said, 'This is great, make it happen.' Instead of simply going for the 'bang pow wow' factor, we explored all kinds of things in the arrangements and in the music, and were in a situation where it was fun to be breaking rules and crossing boundaries. So I took the session to Metalworks, where I put the Boi-1da stuff through the analogue gear, tweaked the rest in the box for three hours, and before I knew it, it was done.”. When we first put out So Far Gone, we were really scared, but the reactions were so good that we decided to embrace doing things differently. "At some point while Drake was writing to the stereo MP3, I was calling Boi-1da, begging and demanding all the exported separate files of his session. Sample chain found! I'll record the keys, usually with a [Neumann] U87, and his scratch vocals. I was also lucky because Gadget worked me really hard; he didn't let me sleep. I also have Bryston and Crown amps. But when he was working on So Far Gone, I saw how frustrated he became looking for music. The man behind that sound is Noah '40' Shebib. I looked at the Boi-1da track from a mix perspective and added things that I couldn't achieve just by mixing. We'll still put out records that are obviously commercial and foolproof in hitting the charts. Donaldson's Baptizing Scene, Lil Nas X's Old Town Road sample of Nine Inch Nails's 34 Ghosts IV, XXXTENTACION's Jocelyn Flores sample of Potsu's I'm Closing My Eyes, 21 Savage feat. Take Care Young Money 2011. I also added a bass track, using Xpand!, which is a stock plug-in in Pro Tools, and again adding the Lo-Fi, in which I pulled the sample rate down to 4400Hz, so it's degraded a lot. It's a mind-blowing situation, really, for us to step in and be in full control, and be able to put our own material out on the Internet the day after recording and mixing it.”. It's a full-size chip, not a mobile chip, so I guess my machine is not really a laptop but more a notebook. Strings and keyboards: Pultec and SSL desk EQ, Avid Lo-Fi, Sansamp PSA1 and Xpand!, Waves GTR Solo.One of the main keyboard parts in the song was added by 40 using the basic Xpand! "It's located across the street from my home in Toronto. "I'd always be sitting at the console, so they called me 40/40, meaning 40 days and 40 nights, because I never slept. Tonight, Drake will perform in Toronto alongside Rick Ross and The Weeknd. I always have an open mic in the studio. This happened over three or four days of Drake and I working alone at my studio. But after that I decided to focus on just engineering and mixing, and that's what I was doing when I first met Drake. It was done at a studio in LA that had previously belonged to Marvin Gaye, and I made the beat one day, we turned it into a song the next, I mixed it the third day, and 48 hours later we released it on a blog on the Internet, and then the record went global and sold 500,000 copies! Instead it was more a matter of Drake asking for the drums to be taken out of a track, or for me to 'lo-fi' an entire song, and me initially saying, 'You can't take the drums out, the record won't move,' or 'You can't take all the top end out' — and then me realising that I could, and that it would give a unique perspective on his message. It's literally simply an apartment in which I put up some dampening against the walls to try to get the reverb times down. If I left it off, I'd be surprised if many people would notice. Drake's Hotline Bling sample of Timmy Thomas's Why Can't We Live Together. Kanye West feat. News; Browse; Charts; Submit; 6º Game; GET AD-FREE WHOSAMPLED PREMIUM! There also are very few plug-ins on the drum tracks I added, including some 808 tracks, one of them being a hi-hat ride ['40808']. But for me, the feel of this record was of a guy on stage singing the song, so it had to be coherent from the beginning to the end of the song. Drake's atmospheric, brooding sound has revitalised hip-hop, selling millions in the process. I used an instrument in Xpand! Producers: Boi-1da, Noah "40" Shebib. It gave us the courage to continue. Written by Drake Graham, Matthew Samuels (Boi-1da), Noah '40' Shebib, A Palman. I can't use the Waves or Air Lo-Fi, it has to be the stock Digi one.”. It was meant to be a 'teaser' for the rapper's second full album, Take Care, which was released in November and sold 631,000 copies in the first week after its release, reached number one in the US and number five in the UK, and has by now sold 1.5 million copies worldwide.

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