Gadgetory

yo guys johnathan here first off thank you guys so much for the incredible love on the latest video featuring Henny the business honestly creatively this might have been the most fun I've had not only shooting something editing something but kind of taking a step back away from the front of the camera and directing it so it should be no secret that have a huge passion for film and cinematography but I think I also have an equal passion for music and music productions so to have someone like Henny and then Ken freakin Lewis together using technology as that means to bring two immensely talented people together for me was such an amazing experience and seriously I'm sitting there holding the camera and you could not slap the smile off of my face with that said I think it got kind of lost into the story so much to the point where I almost did not want to include my voice whatsoever it was just kind of one of those situations where I'm sitting there editing everything watching it come together to the point where the story essentially told itself the entire process from flying Haiti and Ken out to shooting to editing to get ended up on YouTube was all within a 24 hour window so kind of sitting back and watching I think my biggest self critique was not including enough of the educational aspect there was a ton of feedback that I 100% absolutely agree with wanting to see what was happening on the iPad display especially with someone like Ken Lewis whose track record is about as legitimate as it gets he's a multi Grammy winner he's mixed engineered produced written songs for everyone from Kanye West to Mary Jane polite to fun the list is absolute insanity so to have someone like that in the room not only with his knowledge but just reacting having a pure genuine moment mixing on the iPad for the first time I think is invaluable what I did was kind of put together a looser more kickback educational feel style video kind of similar to what I did with the editing on the iPad pro video I'm not a hundred percent sure if I'm gonna leave this up publicly I might switch it to unlisted and then link it back to the original video for those that want to see more of an educational site but if you guys dig this and you think it's worth leaving up let me know with a comment down below and also drop in a like and with that said let's go and check out henny mixing with Ken Lewis on the iPad for the first time in his life so what I had is basically three different ideas right the piece with just kinda like the drums the swing part and the bass in the sample light in the string sample right and then like it gets funky and you take the string sample out and it kinda has the pianos and synth that's part of a different part of the sequence and then throughout we could try to figure out how to bring those lives and so so I have anything you're gonna start the record off probably with the string sample as a solo so if you take the pin you can little let's let's let's copy it out so if you grab the whole thing I down here you have three different functions right yep that's that's two copy that you just kind of drag around that whole thing yep and then just repeat yep that's dope yeah one more time yeah all right now this is kind of like how you get back forth up there and so say for instance it was string sample if we just wanted it to go maybe eight bars you can always just spread it out and take out the pieces that you want so if I just draw like this everything but the string sample and rich remove there we go so now we have an arrangement there were some comes in there maybe the blaze every basin bells so you can literally take those here and you can drag it over you know what I do is hit undo is up there mm-hmm I'll just take that drag it over one and then where am I yeah where's the drag all right yeah well just in the middle of it all I see you know and then just and then repeat it smart yeah yeah I see what you're doing and let's do the same thing with the bells and see how that hits us okay in there the drum yeah we have this as a prelude so and then repeat that so yeah so if you go up here and play from there so we're looking right at that so there's two here's the cut piece do I need to select this first yep okay and now any on any line you just cut it and then you can go back to their throat go back to select and then delete and if you want to go all the way out right that's Italy or the let's say the synth lead for the hook okay and maybe the pianos to the rock kept so no I say this is moves the whole arrangement yep gotcha all right so the synth lead may will cut this was that cut this much more out yep and sometimes you can just tap on it if it's the whole piece ah okay it's in pieces I didn't yeah they're in there they should be in either for eight more pieces there you go okay let's see see what this gets us why so now going back to where we were sometimes you can just do that nice and then would you you do that and then you use the cut tool or you get elect to the car I want you to cut the cut tool put a line and then and that automatically does it yeah so now we have I don't know if that was it or if we wanted oh I think trying yeah we just let the loop rock through it they're not for ya setup okay so so if we wanted that I think from that point we can start to figure out there all right the mix right yeah this is plenty to dig into so now we have sequence window mix window double tap this is all your fix so you have these normal effects that beatmaker comes with right but all these third-party people make these other effects so if you you're saying you know compressor I'll show you where it is EQ show you where it is well so it's just like I can select congas yeah add effect go maybe I want a dynamics processor mm-hmm and then how do you fast forward we can yeah just maybe loop a full section of let me just get a bye for a whole thing and another can see how that fine Tunes itself so where's the McCain for detail now is there a meter that shows up and it's like right full mixers there's a company called cleb grande that makes some really cool third-party ones right so we want stereo widening they have this thing called haze so say for instance we like you never want right yeah yeah just like you know by frequency that's great yeah it's kind of like a waves spread look yeah do it with one finger I'm very nice so you can get really fine-tuned into the frequency rate I want and the mix and how do you bypass this and come here yeah it's nice and if you want out of it so that's like a wet/dry yeah parallel balanced and then if you want to eat you there's are these up to or how much yeah here I hear what it's doing where is the what yeah esto are there different types of overdrive you see can you automate on-the-fly so like if you arm I'm I think it's too complicated right I'll pick you and I'll sign but if I arm this and in real time I could yes man yeah that's what that's what you call a media video let's hear that in the whole mix and then if I just want to adjust like a string is there a way to set it automatically sentimental if I wanted to add a second plug in I just did that they're like a tap delay you can select this is actually it's been left and right inside it's already on Wow yeah that's always prudent is a right throwing it back to that up again so I could bypass the fuzz and just you know what's doing about it yeah so at this point we basically have a basic arrangement and I've kind of got a feel for how the plugins work okay let me go to the full mixer and just pull the faders down and get an idea of just how the faders are you know we're looking is let's go and that way you have the whole sequence so it did bring this all the way back and I'll just keep it looping like that okay okay cool that's the master up I can just do this with my fingers that's really nice so let's loop a section that has everything in it with it that way I just know all right so all faders down I'm just gonna start building a mix from scratch just you know getting basic balances and see how the functionality is can I turn the speaker's no it depends on the song usually I like to plastically stun volume for about 15 minutes get all of my basic balance yeah so if I want is all compression under dynamics processor yeah no clipping that makes me move coverage stuff too like yeah that sounds more on my hey you don't that I've no idea how to use this but let me find out kind of a squeeze it out you have a my god attack time I'm liking what's going I'm gonna just add another compressor to it okay which one what hit went from there I want to take down just the initial attack okay so it's not so sharp and more of the resonance of the bell comes out then the initial like mallet hit that nominee so super fast attack and wheelie is higher compression and just get a little bit of reduction so that that now at strike isn't so we can't filter do I just wanted to so that the compressor is only looking at more the high-frequency unless the low-frequency watching but you know a crisis let's just put it back I'm also gonna try a spreading effect on that perfect stereo one I want to do the way does this do really really short delay times like 4 milliseconds now it's only on tempo yeah yeah how do I get rid of this you do that's perfect let's see what else we got here modulation delay widening out that's nice I'll kind of keep it away from the drums and vocals and keep it lower do anything to see if [Laughter] that also brings a little bit that shake around in there we didn't really hear it like that before this is a ban for that come bring out that sharpness in the snare stop and see what it sounds like from it from the top yeah let's do it and then I'd love to like give the mixbus a a try and see what kind of mixbus stuff they they okay have now let's see I get back to the take that whole piece and just Joe yeah there you go and where's the stop start I'm pretty good with where we're at now how do you feel like you know your whole first take on the iPad is something I never really thought I would be doing this on an iPad yeah but if but from from your experience it's very much it's very capable right yeah I mean the thing I love about it is is it's all tactile and I come from old school analog you know you have 15-foot mixing consoles in front of you and those have gotten smaller and smaller but I'm still on an analog board and one of the reasons I'm on an analog board is because it's all tactile and I can't touch it and you know and work it and get the the feel for that musical connection that you know turning the knobs gives you and moving the faders gives you and it feels like one of the things that I have always disliked about the mouse that's kept me analog for so long is that that tactile experience of being able to look at the whole console and just grab whatever you want to tweak on the fly and to me this is like the best version I've seen so far of that in the box Wow and I mean I haven't used the Raven so the Raven might be this or you know who knows but the Raven is multiples more expensive and write in a much bigger footprint and you can't stick it in your backpack so this guy yeah I am definitely gonna be like taking this to the beach and putting the headphones on with the controller and sitting there for hours at a time just making music and the my favorite part is the tactile response of it that I can just scroll around and I can very easily select everything that I want to do and it's and I don't have to use a mouse to do it that's that to me I love that and it seems like their effects packages and their plugins are super usable yeah so it's only getting better device I'm sure as third parties come on board and and the awesome