a deeper look into a billboard chart hit...
I found this sometime ago while lurking the webz and felt this could never get shared enough... of course you don't have 87 different melodies and rhythms playing at the same time, however the beauty in this art lies in the ability to layer sound and craft "moments in time" that were once impossible to do before the advent of our digital age. Enjoy
Title: Raise Your Glass
Songwriters: Max Martin/Shellback/Pink
Production: Max Martin/Shellback
Recording: Martin/Shellback/Michael Ilbert(guitars)/Sal Ojeda(Vocals in LA)
Mix: Serban Ghenea
Mastering: Tom Coyne, Sterling Sound
Track 1 Side Chain-Kick
- Here lies a kick on fourths, just used for side chain.
Track 2-4 High Livekick
- Three livekicks from some sound library. Plenty of real room on. These are the most bass cut. They have the most room.
Track 5-8 Hip-Hop Kicks
- Four steady kicks with bottom and punch which stands for the body.
Track 9-10 Hip-Hop Kicks with room
- Two kicks with a little more length that are cut in the bass. All nine kicks lies through the record.
Track 11 Hard Hihat
- This comes in at the pre chorus. There’s no snare here but we have a hard closed hihat and the 2nd and 4th beat instead.
Track 12-15 Snare
- Sampled snare in the chorus.
Comes as all other sounds from our sound library. Four tracks that doubles the same thing.
Track 16-17 Clap
- One clap on 2 and 4. The other just on 4. Only in the chorus.
Track 18-19 Tambourines
- Comes in at the pre.
Track 20 Tambourine
- Clap tambourine on 2 and 4. In pre and chorus.
Track 21 Shaker
- Lies off beat. As some how like a house hihat,.
Track 22-25 Hihat
- Four channels open hihats on 4ths. 808 and cut live hihats to get a dirty sound. Just in the chorus.
Track 26-27 Tambourines
- 16ths tambourines that lies left-right. They are a bit side chained so they won’t feel so static.
Track 28 Cyms
- Cymbal panting. Comes from a live recording of a another song where we have borrowed it.
Sliced hard in the bottom. Only in the chorus.
Track 29-31 Lasers
- Three laser sounds on the first beat in the chorus. Like house laser. Quite low but never the less makes a great sublte sshhh that leads into the chorus. Three different sounds that plays on the same beat.
Track 32-33 Crash
- 909 - crash. Static. Sounds euro. Plays on 1st in every 4th bar.
Track 34 - Machine hihat
- Plays on 4ths in the break to get a modern twist against the acoustic guitars. Changes to 16ths in the end chorus.
Track 35 - Livedrums
- Sampled. Helps the snare in the last chorus. All bass has been turned down.
Track 36-38 Bass
- The first is a synth bass, Yamaha cs-01 which is turned all the down below 200 hertz to get that twisted sound. Then comes a Studio Electronics SE01. Ilbert usually complains about it: “Use a real Moog instead”. It has the right bass. As I understand it’s a heritage from Denniz Pop. He always used the SE01’en as bass. Then it’s a live bass, Rickenbacker 4001, played through AmpFarm. All bass tracks doubles each other.
Track 39-40 Guitar
- This is the riff you hear most clearly in the intro. A low octave and a high. The guitar is a Fender Jaguar through Waves GTR and it was the first time we tested any thing else than AmpFarm, but Martin fixed a nice sound while I played like crazy.
Track 41 Organ
- This organ is from a studio in Los Angeles. I think we have it in the plug. B3 it’s called. Lies only on one note in the chorus and a little later in the bridge.
Track 42-43 Guitar
- Two crunchy Telecasters who also just playing open chords in the chorus. AmpFarm. A Tele that was in the studio in Los Angeles and was really great.
Track 44-45 Guitar
- Gibson Les Paul that plays loops, sustained, in the chorus. Side chained in every other bar so the last note in loop hangs and pumps. Everything side chained is controlled by the kick. One low octave and one high. AmpFarm.
Track 46-47 Guitar
- Two rock guitars just playing fifths in the chorus. Les Paul/AmpFarm. Left-right.
Track 48-49 Acoustic Guitar
- Two lovely Michael Ilbert guitars, left-right, acoustic, that play open singer-songwriter chords in the chorus. Shit tight. Recorded with AKG 451EB.
Track 50-53 Acoustic Guitar
- Acoustic guitar, bridge, left-right. These were recorded in Los Angeles since we didn’t had the bridge in Stockholm. Plays on the lowest strings . When the drums come in two guitars come as well that doubles the first with full chords.
Track 54-55 Solina
- The string machine. Lies panned left-right in the chorus. Plays really straight. Gives a little atmosphere.
Track 56 Punk punches.
- These are sampled punches in the chorus: dooooonnggg, with cymbals and everything. And then we just pitched it so they match the chord. Also side chained with every second bar. Gives a nice rock band feeling.
Track 57 Guitar
- Fender Thinline that also plays the loop in the chorus. Also side chained in every second bar. Has an octave pitch upon it that gives a nasty frequency that blows your eardrum.
Track 58 Synth
- Yamaha CS01 again that makes a double in the loop in the chorus. Also side chained every second bar.
Track 59 Synth
- Side chained Roland Juno 106. Comes in at the B-hook in the chorus and sparkles. Really low in the mix.
Track 60-61 Guitar
-Is called “Crazy Guitar”. Simple principle where you play as fast as you can on one string and one note and then it’s pitched after the chord. Sound a bit like the guitar pick has been but on an air fan. Has delay and reverb and comes in in second pre and lies a little in the bridge and end chorus. On the next channel it’s the same guitar fixed pitched to another note. Comes in in the end chorus. Fender Jazzmaster. That’s how indie it can be.
Track 62 Solina
- Another solina. Doubles the melody in the B-hook and end chorus. Also side chained every second bar.
Track 63 Guitar
- Is called “Sad Guitar”. Also Libert that has recorded it. A Jazzmaster recorded with a real spring reverb in real amps and after that we have bit crushed it and side chained it every second bar. In the B-hook and end chorus.
Track 64-66 Piano
- Two sampled pianos and one Nord Piano. Puts a beat on the first beat in every 4th bar. Is heard really clear.
Track 67 Vocal
- Ad lib-channel. Pinks vocal ad libs. From second chorus. All vocals are recorded in Los Angeles and the vocal-chain is Telefunken ELA M 251 to a Nece 1073 DPA, Urei 1176 Black and Teletronix LA2A.
Track 68 Vocal
- Lead in verse and pre. A little distorded in EchoFarm to make it a little more vintage.
Track 69-70 Vocal
- Two channels that double the end word in every A-verse, “What’s the deli-o”, “Where’s the rock ‘n roll” and so on. Panned right-left.
Track 71 Vocal
- Doubles every other sentence in the pre.
Track 72 Vocal
-Lies the vocal in second pre.
Track 73-75 Vocal
-Lead in the chorus and doubles left-right.
Track 76-78 Vocal
-Three channels of a high harmony voice in chorus. Lies center, left and right.
Track 79 Vocal
- I, Martin, Pink and her boyfriend Carey Hart, who stand and sing “raise your glass”. “Hockey vocals”.
Track 80 Vocal
- This is named “talking shit” and is all the small comments in the song.
Track 81-83 Vocal
- Harmony in the chorus. Center, right, left.
Track 84-86 Vocal
- Three channels where she sings the backing vocals in the chorus. That’s the loop with text. Just the last chorus, last 16 bars.
Track 87 Vocal
- Top harmony in the bridge with flanging effect. Sounds like that Led Zeppelin song...
The aux are 4: Number 1 is with a quarter note delay, EchoFarm, number 2 is with another type of quarter note delay, number 3 has a half note delay, and the last is a reverb.
Shellbacks 3 favorite tools
This really saves time when you’re recording guitars or live bass. Most of the guitars I have recorded on songs are played with AmpFarm. Adam Lamberts Whatya Want From Me is even full pitched a whole tone up in AmpFarm. Sounds really bold and beautiful.