Chords for How We Made THE CLICK (Part 2)

_ _ _ _ [Dm] The very first step was coming up with that [Bb] main hook melody
So we were listening to this Peter Paul and [B] Mary Civil War song and it sounds like [Abm] this
_ _ _ [B] _ _
[Gb] _ [Bm] Jack was fooling around and [E] he did a harmony over that last part _
[B] _ _ [Gb] So [N] that was really the birthplace of that melody for _ _ the musical bed underneath we [C] wanted to lift this sample we took a Bach classical [E] sample
[Dm] _ _ [Bb] As we really wanted it to sound [G] like a graduation [Ab] ceremony that you're kind of sad to [Eb] be at and next step was the drums
_ _ _ _ _ [Bb] So I added all [C] those drums in then I really [D] wanted it to sound like a hip-hop song [Bb] on a shitty car speaker
Every time the kick hits [E] it just the [F] whole thing distorts _ _ _
[D] _ _ _ [G] _ The [E] idea for bud like you came when we were up at Columbia.
[Ab] We heard this song.
It's such a bizarre song
[Fm] _ _
_ [Ab] So we were super inspired by that [G] frat guy singing [A] sound
_ [B] None of us have manly voices [G] so we got our dad to sing everything.
Our [Eb] dad is basically tone-deaf
He's like the worst singer in the world
So we had to figure out how to record him and then just auto-tune the [D] hell out of it
[G] _ _ _ _ _
Our [B] neighbors and me Adam and Jack singing
[N] _
The
_ _ Juxtaposition of frat guys singing and a song about how stupid this party is we sidechained all of the instruments into the drums
So essentially that means every time the snare hits everything else pulls [D] out _ _
_ [G] _ [D] That made it into a very modern sounding bloom kind of production
_ [Dm] _ So
[C] I think one of the main [G] signature sounds and sober up [F] is this cello and originally we had a real [Bb] cellist come in
But he wasn't really capturing the percussive [E] quality that I was hearing in my mind.
So I downloaded this artificial cello and [Bb] it has this
[F] _ very aggressive _ _
One of my favorite albums of all time is meet the Beatles such a raw energy to it
It sounded like they didn't [Ab] even put that much effort into the production
So we got like five
Acoustic guitar tracks and all of them are a little bit out of tune with each other
It's [Dm] that feeling that it's just like a lot of people jamming don't [C] really give a shit what it sounds like
For the [E] drums, we wanted a lot of [N] organic layers
_ _ _ _ _ _ [D] _
[G] This thing
[C] We had a really cheap mic and we wanted the feeling when you listen to it that you [F] just imagined a [Dm] living room
You don't imagine this meticulous studio bunch of guys just [D] chilling making a song
_ _ _ [G] You hear that's [E] kind of swung kind of straight [Cm] like that's what makes you want to really bob your head [D] to it
_ [Am] _ _ _
[C] I think the first thing we wanted to lay down was bass line without [D] all the effects on it.
It sounded [A] like this
[Db] Pretty typical boom boom, but we wanted it to [G] go
So I threw what's called a transient designer on it [Eb] and it compressed it and really upped the [A] attack _
_ [G] We ended up layering these organic drums and these really [Bb] modern distorted drums on [Gb] top of each other A
_ _ [B] _
[G] Super dubstep East there.
The thing that most people ask [Bb] us about this song is how we got that trumpet sound
[Am] _ _ [Bm] It's a mix between live trumpet and then really manipulating it this was the raw recording
[Em] _ _ [Eb] Then we did this pitch bend thing on it to make it sound like what what?
[F] _ Felt like a new [Am] kind of instrument _
_ _ [C] Here we are in our new apartment our new studio and I'm gonna show you how we [Am] produced role models
All my role models are [D] on TV
Role models was one of these [G] songs where there's very few instruments in it
And so we wanted [N] to really let each instrument shine
I was [Eb] producing it without Jack and I just needed to get it out and Jack [C] is the one that played guitar
So [B] I ended up just using this like really shitty garage band [Am] guitar loop
_ [D] _ And then we [G] ended up going back and recording real guitar and real ukulele on top of it
I think we recorded it in a hotel [D] room in Arkansas and we [Bm] fed it all right through this [B] thing called the decapitator
Which is kind [Ebm] of like a [Gb] distortion compressor and it made it all sound like one big lo [Am]-fi guitar _
And so for [D] that trumpet solo we had something really specific in [G] mind.
There's this song by Fountains of Wayne [D] called Fire Island
[Bm] _ _ [B] That's so beautiful and it was exactly the feeling we wanted just like swimming in reverb
[Am] _ _ _ [D] _
_ [G] _ [C] We just dropped the turning out music [E] video and it was Jack and my first experience at [G] writing and directing for animation
Learning [Eb] how to take these characters from basic sketches and turning them into the [Cm] living breathing characters they [C] became
[Ab] _
_ _ [Bb] _ We started with this [Eb] horribly drawn storyboard where Jack and I planned [Cm] out each shot that we were imagining
And then the [Ab] actual animator stepped in.
[N] The first time we saw storyboard
We knew that this is something we really wanted to do
I mainly worked with the animation and the camera [Ab] work of it the layout
I [C] took the storyboards and put them into a [Cm] 3d world and then I [Gm] worked with a lot of other people and [Ab] we helped animate
And [Eb] bring these characters to life
Probably the most difficult [Ab] shot to get right was that final sequence where [Cm] the astronaut wakes up in a sea of paper footballs
[Ab] All the emotion in that scene [Eb] comes from the characters acting so to get it right at one point
I think I sent [Cm] over this live action video of me acting out the character
The animators ended up using