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"Once I have the music where I want it, I return to working on the vocals. This is all about getting the kick and 808 to blend well together. I may also side-chain them to each other, or with the bass. I may have anywhere between two to five parallel compression chains on my kick. After that I work on the kick, using a parallel compression chain. I always start with the UAD Pultec EQP‑1A and often the Waves RBass on the 808, plus the TS Overdrive, the UAD version of the Tube Screamer, to give it some more punch. Getting that blend right is the most important thing. "I get the track to sit right, working first on the kick and the 808.
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If there's not enough low end or depth in a track, we're responsible. All mixers want the full track-out of a beat, because it all falls back on us at the end of the day.
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It happens sometimes that you only get the stereo mix of the beat, but nowadays that happens a lot less.
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After that I almost always start working on the music. I may add some delays and reverbs and adjust the settings. "So I start with the vocals, and spend an hour or so on getting them sounding cleaner and closer to the end result. I'm very upfront about the vocal not sounding like anyone else." Tillie: "I always say to an artist that individuality is the biggest thing. But sometimes when you correct and clean the vocals too much, it's not what the artist wants. I may adjust the settings during mixing, and I use Melodyne as well, sometimes just to correct one note that's kind of weird. I have specific settings for different artists, and all that needs to be done during tracking is to set the key. The vocals are normally tracked with Auto–Tune, which is the reason why it's always in my template. Everything in urban music is a vibe and an energy, and Auto–Tune is a vibe and an effect. As I mentioned above, after tidying up the session I deal with the vocals, and this can include dealing with the tuning. I regularly create new templates, and just created one with 47 effects ready to go! So when I think I want an eighth–note delay, it's already there. "The 13 aux effect tracks at the bottom are part of my mix template. protools-sessioninsidetracklilbaby-tillie0620.zip The full Pro Tools session view for 'Sum 2 Prove'. Next are 13 aux effects tracks and an aux bus called 2Mix, which sends to the MainPrint and Master tracks. There are eight vocal audio tracks, and more vocal aux tracks such as Lil Baby Ad Libs, Chorus, and Chorus Ad Libs. Below these is the main Lil Baby vocal aux track. The Instrument aux also is sent to the Beat aux. Some of these nine tracks go to a Drums aux, others to a Beat aux. It starts with an Instruments aux at the top, followed by five instrument tracks, and nine drum, 808 and sub–bass tracks. Mann's mix session of the song has close to 50 tracks. Video of Lil Baby - Sum 2 Prove (Official Video)
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