Breaking It Down | Clinton Cerejo | Ep.2 Mehram

Breaking It Down | Clinton Cerejo | Ep.2 Mehram

Hey guys ! What’s up? How’s it going? This is Clinton. And welcome to another episode
of Breaking it Down. I know its been a really long time since the
last Breaking it Down But we’ve been really busy in 2019 with a whole bunch of projects One them is a mammoth film called ‘Badla Directed by Sujoy Ghosh . And after that we did another really interesting film called Section 375. On the non film front we’ve been busy Working very very closely with Mr. A.R Rahman and QYUKI On NEXA producing and collaborating
with some incredible Indie artists from all over the country But coming to what I want to talk about today… A track that happens to be one of my personal
favourites. It was from the movie Kahaani 2 and was sung by the incredible Arijit Singh and its called ‘Mehram’. So without further ado, lets dive right in
and check it out. So here’s my final production session and
Ive just grouped everything into twelve stacks to make it easy for you to understand. Theres basically a piano stack. A swell and reversed piano stack …i’ll
come to that later There’s a Taylor or acoustic guitar stack There’s a warm pad We also have a bass Then there’s a drum stack a Tele bridge stack (tele is obviously a telecaster,
for the beginners that might be watching this video). This is PRS mutes. There’s a PRS chords stack. (PRS is another electric guitar) A Les Paul power chord stack A Les Paul lead stack. (I’m not even going to say what a Les Paul
is I’m sure if you actually clicked on this video you know what a Les Paul is.) and last but not least, a String stack. so what I wanna start with actually is the first
instrument I put down. It was a simple pop chord progression and
it’s on acoustic piano. It’s a part of the piano stack
I’m gonna solo it for you. This is how it sounds. Later on I’ve played a different pattern
when it gets to the chorus which is a little busier. So its kind of got this almost Coldplay-esque
piano movement and the drums reflect that as well. I wanted it to have that kind of motion as
a rock song. To build the momentum, I decided do a double
track of acoustic guitars. This is a 700 series Taylor. Absolutely great guitar for rhythm and for
cutting through a dense mix. So a very busy, very rhythmic, very urgent
guitar part which is pretty much the backbone of the song
right through. I’ve got a warm pad that’s filling up
the mid range. Just stating the chords that’s all it’s
doing really. I’ve also got a programmed bass. Modern 4-string from Spectrasonics Trillian. Actually its just an old Trilogy patch that’s
going through a logic bass amp, which, as you can see, is just giving it a little gain
and a little more crunch and saturation. The bass starts off high and then starts moving
downwards and really forms the low end, the the bed
on which the whole tracks sits. It take a while to get to that low E but once
that low E actually come it really starts feeling very
gratifying. You know i like to start sometimes with a
high opening line on the bass much like a bass player would
and then slowly work my way down to the tonic. Moving on, this is my drum stack. It starts with just hats. A very simple pattern. When the kick and snare come in, this is what
they’re playing. ok so that the verse. In the chorus I decided to change it up a
bit. We have a pick up and then we move to a slightly
different pattern in the chorus. It’s just building on the first pattern. So the drums in the song keep alternating
from one pattern to the next. Now we come to the electric guitars. This first layer is double tracked open chord
voicings. I used a PRS straight into this Avalon right here. Most of the time I
just mic my amps and record that output back into Logic. But this time i chose to use TH2 which is
a really cool guitar amp simulator and this is what it sounds like So you can hear that there’s a little chorus
effect and there’s also some distortion, some crunch
on the guitars as well. i also have a muted guitar layer which gives
me some motion. again the TH2 with just a little bit of internal
Logic delay and is also being compressed with a Tubetech compressor and some EQ. That’s the Abbey Road Brilliance Pack. So when I play these two parts together, one’s
giving it a little bit of groove and the other is giving
it fullness. When we come to chorus I wanted the chorus
to really open out wide so I recorded a Les Paul. Open chords just double tracked which is a
much heavier sound. And that acts as a heavy layer over the PRS
chords. I’m gonna solo the Les Paul chords for you. Now we’re at the chorus.There is another
guitar part which i should mention at this point which is driving these chords forward. This track below is just a pick up line to
get into the single note lead. So when we play all these guitar part together,
it sounds like this. Moving on to the strings, one of the features
or one of the highlights of the song was the string arrangement which many people really
appreciated. Now, how I do my string programming is I tend to have a lot of automation on my strings not just volume automation but also if put
the volume automation off, there’s a lot of
modulation which i’m kind of using to emulate the bowing
action of the string player. There’s just three string parts we have first violins second violins and violas so the first and the second violins are pretty
much playing the same thing almost till the end
of the song. its only at the last chorus that they actually
split up and it becomes three parts. For most of the song we have the first violin
and the second violin that are playing the same thing and we have a viola that playing
something different. i’m just gonna solo a little bit of the strings
for you so you can hear what it sounds like on its
own. So, at this point, you’ll hear the strings
dividing into three parts now. The strings are a very integral part of what
makes this song really sound lush especially towards the end. ok i wanna now talk about Arijits vocals
and this just illustrates what a fabulous singer he is. Arijit brings so much natural dynamics to
his tracks that there’s not much that i have on his vocal treatment at all. I have just a basic waves LA2A which is then
going to a bus with a UAD Fairchild on it. a little bit of logic delay. We did add a bit of de-essing and stuff at the mix stage but basic production session is just this so what i’m gonna do now is i’m gonna show
you just his dry vocal take as it was recorded. It’s easy to see what a crazy vocal performance
this is. wow That’s just brilliant. I just love that vocal take just
as it is, just completely dry. Just sounds amazing and there’s some much
emotion in there . ok i’m now gonna talk about the Backing vocals. very simple treatment the BV’s are pretty much just
Bianca and myself behind one mic. We’ve just done four track of the lead vocal. Then there’s a low octave which is this. That just me singing the low octave. Then we have a couple of harmonies. I’m gonna play you one pair of harmony tracks. There’s yet another harmony. Yeah, so when we play all these vocal harmonies
together, it sounds like this. So there’s one very very interesting element
that’s creating a lot of fullness that i that wanna talk about now. I said that I’ll come back to this reverse
piano track right? So that reverse piano track is essentially
just a piano chord that been reversed which I’ve looped now if you notice there’s only one chord. It’s just E major. Now I’ve rolled off all the lows in this
chord. So the beauty of it is, if you play the bass
under it, while this is going on, its very easy to see that the bass is making it feel
like the chords of the reverse piano are changingas well. Do you know what i mean? It’s just that one E major
in the reverse piano but when you play it with the bass
it creates a lovely colour. It seems like its going through
all those chord changes but nothing’s happening actually. Just the bass notes are changing. You can try this with your music as well. Don’t use the same inversion with every instrument
that you layer on every track. So if you’re playing an E major with the piano
and let’s say the next chord is a C#minor. Try holding the E major on the piano for the
next chord and just let the bass move down to C# so what you end up getting is a nice
C#minor seventh colour. Then on a third track you could maybe layer
a pad playing a G#minor on the second chord which now makes the resultant chord a C#minor
ninth, when played with the piano and the bass. So when you try and create different colours
with a combinations of sounds, that will give you’re music a much wider, broader sound scape, rather than everything playing the same inversion or the same chord. So yeah, that pretty much it. I’ve gone through all twelve stacks with
you. Let’s put it all together and hear what
it sounds like. Allright guys, that was Mehram. I hope you enjoyed that
And I hope you keep checking out all the episodes of Breaking it down that we’re gonna release im gonna try and do this more often. So if there’s one thing I want
you take back from the episode it’s the fact that you should decide when your producing one or two elements that can be the hero
of the song and build you’re whole song around that. a classic case in point was when i
was recording this song, I decided to record live drums. In fact, I worked with a really amazing drummer,
an international drummer, but when the tracks finally came in, I felt
that the song was actually now becoming about the drums, and the soul of the song was kind
of getting lost So it was a very hard decision, some people might hate for this but i actually
took the decision to go with the programmed drums and not the live drums, but i think that when you’re working on your music,
you have to realise, there’s one singular emotion that you need to communicate. And if there’s any element
that’s not assisting you in communicating that emotion,
it has to go. it doesn’t matter if u recorded the song it doesn’t matter if you spent the money you need to make sure that you have one or two elements that can be the hero of your
song and build your whole song around that. i hope you enjoy these videos as much as i
enjoy making them Don’t forget to like, share and subscribe click the bell icon to get notified each time
i upload a video. and keep watching the Clinton Cerejo YouTube
channel. Ok Cheers I’ll see you on the other side.


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