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Mixing Masterclass with Andrew Scheps — Part 13

Mixing Master Class with Andrew Scheps Part 13
Mixing Master Class with Andrew Scheps Part 13
I’m actually super proud of that last one that I played you. I think that jumping off the cliff when the acoustics — like, that’s the kind of moment I always want. My hairs still stand up when that happens. That’s awesome, so I’m proud of that one.

They’re called Low Roar, and they’re on Tonequake Records, and it comes out July 8th, and there’s double 180 gram vinyl, which is awesome. It sounds quite good, I might add, and we actually — there’s one song where the bass is 180 degrees out of phase, which you’re not supposed to be able to cut on vinyl, and we actually cut it and it plays great, and it’s a super cool looking groove. It looks awesome.

So yeah, they’re called Low Roar, and they’re from — he’s from the Bay area, but they’re based in Iceland.

Their lathes are amazing. But again, that was a flat transfer. I just brought the files in, already spaced out in a Pro Tools session, because I had to get in and get out, because I couldn’t afford to be there for the whole day. So we just cut lacquers, sent them out, and I ran out as fast as I could.

I don’t know. 99 Problems I guess is something that’s still pretty cool and sounds big, and is a lot of fun. I was completely unaware of how big that song was, because I don’t normally listen in that genre, so I was proud of that.


I don’t know. I really — I mean, I really and truly think that most of the stuff I do sounds terrible, but my wife is raising her hand. What else am I proud of?

Oh, yeah, this is something most people don’t even know. I’ve been lucky enough to work with the Chili Peppers for the last three records, and for the last record, we cut 50 songs, and look at what I made happen.

The lights couldn’t believe it! That’s so many songs!

So I think it was 18 of them made it onto the album I’m With You, but the voting process for that wasn’t, “Oh, we all think these are the best 18,” it was more like one guy really didn’t like something about a particular song, and they’d say, “Okay, we have enough songs, we won’t put that one on.”


So there are all of these really great tracks that didn’t make it onto that record, and over the last 18 months, we did a series of seven inch vinyl with nine discs, which would normally be 18 songs, but it’s 17, because one of the songs is really, really long, and we cut side A, fade it out, and then actually resoldered the lathe to cut inside out, and side B plays from the inside out.

Because you just faded out part of the song, and if you know anything about vinyl, the inside sounds totally different than the outside, but it happens gradually, but if you pick up the needle on a fadeout on the inside, and drop it on the outside, like, “Hey, there’s all the bottom end! The top end isn’t distorted,” and this way, it sounded exactly the same, and it gets to the end and just sits in the outside groove, which is really cool.

So the vinyls themselves are super cool. We did a lock groove on one of them. You get to the end of a song, and there was a children’s choir, and as children’s choirs do, they can’t ever shut up, so the song finishes, and they immediately start babbling about something, and so that’s at the end of the song, and it locks in a loop at the end of the vinyl.

But it got put out for record store day, the double twelve inch, and I’m pretty sure they’re all available on iTunes. And a lot of those are awesome, because we did them super fast, super cheap, just finishing the overdubs at my place, and mixing them all really, really fast, because there was no budget, it wasn’t an album. They weren’t going to promote it, but they’re a lot of great songs, so there you go.

And I think they called I’m With You, and then this was I’m Beside You, because it’s B-Sides, get it?

Apparently, we’re shutting it down. Alright, thanks, everybody!


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