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Transcript of Phase 1
Critical Analysis Of Mix
Evaluation and analysis of work
The plan and recreating the sound
Nine foot Yamaha
Pair of DPA's over and a bit behind the hammers
U 67 placed where the bass strings cross
This technqiue is also spoken about by Huber and Williams who say that 'A single coincident pair can be positioned just inside the piano, between the soundboard and its fully or partially open lid.'(Huber, Williams, 1998)
KICK - AKG D112 and Sony C500 right next to each other inside the drum, with a Neumann U 47 FET outside of the drum, and a Yamaha NS10 woofer as a sub.
SNARE - Shure SM57 on top, AKG C451 on the snare bottom.
HIGH HAT - AKG C451.
TOMS - Sennheiser MD421's.
OVERHEADS - was a pair of Schoeps CM5U’s.
ROOM - Neumann U 87’s
API and Neve Mic pres
Paul Williams for “Touch” using a U 67.
“Fragments of Time” - Todd Edwards with a U 47.
On both of those vocals a Neve 1073 preamp/EQ was used and an LA 2A compressor.
Recorded Vox for 'Get Lucky' was very clean and dry with little ambience
Everything on this album was recorded to Pro Tools running at 96 kHz, with Lynx Aurora converters and Antelope clock.
Analogue tracks then transferred back to Pro Tools so they could work between the two.
'Get Lucky' is all Digital recording
"They just wanted the sound to be very natural. Think 1970’s when things were not very processed, but think hi-fi too – modern quality, but natural sounds." - Guzauski
Pharrell & Daft Punk
Pharrell first met Daft Punk in 2008 &
around the same time released two albums 'Seeing Sounds' and 'Nothing'.
Nile Rodgers & Daft Punk
Nile Rodgers met Daft Punk at a New York listening party for their 'Discovery' album in 2001.
When in Paris with Daft Punk, Pharrell coincidentally suggested a song along the lines of a 'Nile Rodgers Groove'.
'Nothing' features Daft Punk on the song 'Hypnotize you' the hip hop cousin to 'Get Lucky'.
There are multiple similarities
between 'Get lucky' and other Daft punk songs, i.e the vocoder.
Without realising it they all had an
ambition to take people back to a time
where music moved people.
Whilst recording the live instruments that make up this track, whether drums, bass, guitar, piano, keyboard or Vocals, accurate performances.
- Intense listening
- Use of MIDI
- Large Amount of takes
Mic placement and style influenced by research, keeping true to the track's style.
Desk - Neve 88R
Outboard Gear - LA2A Compressor
DBX 902 De-esser
EMT 140 Plate reverb
PCM 42 Delay
Blend of traditional and electronic, digital instruments (electric kick etc) further backs up old school feel with modern sounds... as you can hear...
Using The Space
Vocal Effects & How They're Used
Half inch tape was also used.
Mixed to 3 different types of tape which sounded slightly different. Favourite chosen upon listening back.
Keyboards were also DI’ed
Fender Rhodes was miked with Neumann U87s
Bass guitar DI, via a Neve 1081 and a [Teletronix] LA2A
Bass amp and DI
for fuller sound
He is most famous for his role as the guitarist in Chic, his collaborations with David Bowie, Madonna and Duran Duran.
Pharrell was given a Nile Rodgers 'grove' to write to and this was the skeleton of what we now know as the incredible 'Get Lucky'.
Nile Rodgers was chosen especially for this song when Daft Punk were recording in New York. Brought up in the jazz fusion era he injects the soul Daft Punk were looking for.
He is renown for his recognisable 'funky' guitar rhythms as well as his smooth voice leading which could be argued to be the most important part of
'Get Lucky' as a disco/dance song.
Other people involved on the track included Giorgio Moroder, Todd Edwards, Panda Bear (Animal Collective), Chilly Gonzales, DJ Falcon and Paul Williams.
Almost completely out of the box mixing
- Warm analogue sound
- Vintage feel
- More diverse processing
Mixing in the studio
- Large flat response speakers
- Acoustically treated room
Still work in progress
Under pressure stayed true to the analogue sound and method
Some parts may need dubbing
- Beginning to sound like the original
Significantly assisted by
- Good performances
- Desire for perfection
- A good song choice
- Time, Space and Equipment
General Mixing Technique
Claps, although real, looped.
Context and Background
Giving each instrument
its own space.
Important to take into account the timbres of the varying instruments.
Consider the instrumental parts need impact, not just vocals.
- EQ Neve 88R - Low end shelf, boost 5KHz,
high boost 15 to 20KHz. Emphasize diction.
- DBX 902 de-esser - Decrease sibilance and prevent lower "S" sound taking up the room of cymbals.
- EMT 140 Plate Reverb - Genuine plate reverb with EQ'd send.
-PCM 42 Delay - delay on top of the reverb and then second slap back delay very subtle in the mix.
- similar to above. However, 3 cent shift
Kick and bass need to be at a decent level.
Snare not too emphasized.
Vocals sit above but are supported by chordal instruments.
Ensure and frequencies sticking out of chords are evened out. SMOOTH.
Reference to 70s disco to keep the feel.
Keep as natural as possible. No over processing
use more aggressive electronic sounds when
Keep the aspects that make you move.
Parallel compression on drums.
Recording the instruments;
Daft Punk - Get Lucky
Diego Sánchez. (N/A). Nile Rodgers Biography. Available: http://www.nilerodgers.com/about/biography. Last accessed 13th october.
Cliz Beats. (2013). Pharrell And Nile Rodgers Inject Their Soul Into “Get Lucky” By Daft Punk: A Look Behind The Song. Available: http://clizbeats.com/pharrell-and-nile-rodgers-inject-their-soul-into-get-lucky-by-daft-punk-a-look-behind-the-song04261303/. Last accessed 13th october.
N/a. (2013). Random Access Memories: The collaborators Project. Available: http://www.randomaccessmemories.com/. Last accessed 13th october.
David Weiss. (2013). Icons: Mick Guzauski on Engineering and Mixing Daft Punk’s “Random Access Memories”. Available: http://www.sonicscoop.com/2013/05/27/icons-mick-guzauski-on-engineering-and-mixing-daft-punks-random-access-memories/. Last accessed 10th October 2013.
Paul Tingen. (2013). Daft Punk - Peter Franco & Mick Guzauski: Recording Random Access Memories. SoundOnSound. Jul13, 1-9.
David Miles Huber, Philip Williams (1998). Professional Microphone Techniques. Vallejo: MixBooks. 73.
dbx902big.jpg, photograph, viewed 13th oct 2013 <http://www.dancetech.com/aa_dt_new/hardware/images/emt140_plate.jpg>
EMT 140 - EMT plate reverb., photograph, viewed 13th oct 2013 <http://www.stonemanstudios.com/images/dbx902big.jpg>
PensadosPlace, 2013, Mix Engineer Mick Guzauski - Pensado's Place #115 [video online] Available at: < [Accessed 13th oct 2013.]
Listened to each instrument intensely to find its characteristics