Making the Mix with Matty Amendola – Part 4 of 5: Colors & Keys

From here, this is probably when it was now four o’clock in the morning and we started playing around with what I call colors. The things that really don’t need to be there, but take an hour and mess around with them, and if you do something and everyone really kind of goes, “What was that,” get it down and as quickly as possible.

So here’s some of those elements. The first thing was a Rhodes, and this is what the Rhodes was doing. So check it out.


So we got a nice crunchy Rhodes kind of doing a Todd Rundgren kind of thing.

Now something that I feel like made the bass even cooler was this piano, which is MIDI, except being squashed to holy hell with a Distressor.

[piano and Rhodes]

After that, we add some cello.


So now we’re really getting into the thick of it. There was one more color that made this song take another step further.

So in this bridge, which you’ll see later makes a little bit more sense with the vocal, I used a Mellotron, except it’s completely wet with reverb, and let’s see what’s going on there.

I’m using a Valhalla vintage verb. Great reverb. Thanks to Jake Antelis, who was the first person to tell me about it.

We have a decay of four seconds and a bright hall, a little bit of pre-delay, and the mix is at 100%, and the send is sending it at 100%.

Let’s just mute that for a second so you can hear the Mellotron by itself and kind of why I added what I did.


Here it is with the reverb back in.

[Mellotron with reverb]

Alright, so this is the part of the song where we really needed to break it down. It was a third verse, but it was also kind of — you know, kind of like a secondary bridge, or a transition into the last chorus, which is pretty explosive.

So the reason why I wanted to drop it down, and it just ends up being Mellotron and vocal, which is pretty cool, now we’re going to move on to those vocals.

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