I’ve added a little Fielding DSP Reviver for some tasty third order harmonics, Logic EQ, Fairchild-style compression, tape saturation and mild limiting. Next I routed all the tracks (including the reverb) to a bus so they can be processed together. I’ve routed all of the instrument to a return track using Logic’s excellent convolution reverb Space Designer, using the 1.6 Diffusion Hall preset. I also used some graphic EQ and compression in the same pedalboard plug-in and finished it off with some more amp sim, this time the Brownface amp with a 4×12 cab and using some EQ to attenuate around 2 kHz.įrom a now taken-down video, we could see that there was plenty of acoustic baffles but it’s still tracked in a big room, so our reverb should reflect this accordingly. I set the track’s automation mode to “learn” and recorded in the sweeping effect. Hit cmd + l to arm the MIDI learn function and selecting the pedal’s main action, move a MIDI knob/slider. Rather than using a real wah pedal I resorted to Logic’s pedalboard and recorded the rocking myself. Lastly there’s a guitar with muted string and a wah pedal rocking back and forth. Similarly to the picked guitar I found I could keep this really low in the mix to give the chords enough attack without overpowering the rhythm section. The rests and slides are important to getting those grooving properly. I’ll use the real for the resampling in this demo, but as you can hear Kontakt does a good job. The key to this sound is getting the note lengths correct (something I am a being proponent of is tweaking note lengths to get funkier bass lines) and the slides correct – if you can get both of those it’ll sound there or there abouts. In Scarbee I’ve changed the player profile to Soul & Funk and FX preset to Old School. I’ve used some of Logic’s Bass amp (tweaking the 70’s Solid preset), Waves JJP Bass and LA-style gain reduction using Logic’s stock compressor. Failing that the Logic EXS-24 sounds aren’t even that bad!
ERYKAH BADU HONEY SLOW PATCH
N.B If you don’t have complete there’s a fantastic free version of Kontakt called Kontakt Player that has a very competent bass guitar patch in it. However if you don’t have a top bassist at your disposal there’s a plethora of good bass guitar plug-ins out there. I’m going to use the Scarbee MM-Bass that comes as standard with Native Instruments Komplete (we can A/B the real and MIDI bass for you to compare yourself). We recorded his Warwick Corvette into a Dbx 580 preamp and FMR Audio RNC500 ‘Really Nice Compressor’. I was blessed with the chance to have a talented bass player and good friend of mine David O’Neill to track the bass for this tutorial. Let’s turn our attention to the bass part. Just like Brexit, set the year to 1970 and increase the input gain a little. This was still a little too hi-fi so I added some iZotope Vinyl, which can be used a little like an EQ.
![erykah badu honey slow erykah badu honey slow](https://i0.wp.com/liveforlivemusic.com/wp-content/uploads/2019/01/Badu-1-tojo-fotos.jpg)
The sound is quite dry and thin so I’ve brought the internal reverb down and used some Logic EQ to remove some low-mids and boost around 7.5 kHz. I opted for another Native Instruments Kontakt sound, this time the New York grand. It’s good enough for us to move ahead with. Then I’ve added some basic Logic EQ to tame the subs and higher frequencies, which wouldn’t be as present in an older soul record. I’ve added some Vulf Compressor by Goodhertz, using the 2-Bus Glue (Parallel) preset adding in some Analog Lo-Fi noise and reducing the amount of compression. However judging by the age of this record I’m going to hazard a guess it was made with fewer microphones and will just work processing the stereo output.įor every track in this I’m going to add some Waves Kramer HLS Channel strip to simulate the type of desk that might have been used to track this. Logic’s Drum Kit designer has a dead-posh multi-output setting, allowing us to mix each individual element of the kit separately. I’ve also tuned the kick and hi-hats up a few cents and tuned the snare down. I made some small changes to the kick drum pattern, added in a crash cymbal and slightly tweaked the high-hat pattern to 16ths instead of 8th notes. You can convert this to a MIDI track by ctrl + clicking (or right click) the newly created region and following Convert > Convert to MIDI region. I’ve loaded the R&B drummer “Rose” and used the “New Soul” preset. The backing track comprises of drums, bass, a few guitars and piano. I’ve got the sample at roughly 81.9982 bpm but I think we’ll work at a nice round 82 bpm if that’s alright with everyone else?