Chords for In The Studio with Fab Dupont
Tempo:
121.3 bpm
Chords used:
A
B
C#m
C#
G#m
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D]
[B]
I dance with [A] your notes
[C#]
[B] An echo in my eyes holds [C#m] all the letters
[A] Hi, I'm Fabre DuPont, I make records for a living.
Over the years I've [G#] worked with mostly indie [B] people
because I started just, you know, making my [C#] own music and doing [A] this and that.
So there's a lot of indie people [G#m] I work with, there's some bigger people I work with
[F#] in ranges from Shakira for the World Cup song
to [A] illustrious unknowns, to people in the middle like Will Knox [C#m]
or
Bebel [B] Giberto or people like that.
It really runs the gamut.
The name of the person [A] doesn't really matter, what matters is the quality of the music.
[C#] I'm a computer guy.
I've been making records with computers since [B] day one
because I couldn't afford to go to studios, so I would do it with whatever computer I had
and whatever processing inside the computer.
So I started, there were maybe 10, 20 plugins available.
Now there's like, I have probably 300, 400 plugins in my folder.
I used maybe 30, [N] 40, because today's problem is there's too much choice.
So you can get lost.
What matters is to go to the essential stuff that really does something for you,
stays out of the way and sounds good.
A lot of things changed for me when I got the Sonox EQ.
The results were very different from everything I could get.
And since then, I really started paying attention to the different quality of tone
and the different quality of usage feeling between the different companies of plugins
and the different styles of plugins.
I use my Sonox plugins as my console, if you will.
It's my staple because I know how it behaves.
It stays out of the way.
It enhances my music.
I get no artifacts.
It's super easy to use and it's very stable.
Then I use other companies to color or do special effects.
My staple has always been, since I've got them, the three or four Sonox plugins that are on all my mixes.
The Sonox EQ changed a lot of things for me, so I can't get away from it.
I tried every new plugin that comes out and they're all great.
They're wonderful.
But there's something special about the Sonox that always brings me back to it.
It's easy to use.
It's totally transparent.
It sounds nice.
You can't really mess it up.
It's cross-platform.
I can use it in any software I want.
If I'm live creating some track, I can use the Sonox EQ.
When I mix the song in Pro Tools, I can use the same EQ.
I'm in familiar territory.
The filters are awesome.
[D#]
You can have a lot of gain.
It doesn't crumble or bit crush or anything.
It's great.
I use the dynamics because I don't hear them.
If I'm going to level a track, I don't want to hear the compressor.
If I want to make it sound funky, I'll use something else.
But if I want to have a true leveler and I don't want to spend 800 [Gm] hours automating my track,
I'll put the Sonox dynamics [G#m] on it because it just works.
Inflator is an invaluable tool.
It's kind of like the magic dust.
It makes everything sound a little bigger and better.
Reverb is totally transparent.
It sounds mono-perfect.
You can really tell the difference between a good and a bad plugin [N] when you hit the mono button for reverbs.
You hit the mono button and everything goes away?
Bad programming.
The Sonox Reverb doesn't do that.
It's always lush and lean.
It's beautiful.
It's never in the way.
And then the suppressor is the magic tool.
Because recordings are so [G#] creative these days.
You get stuff where you [F#] have 10 dB peaks at 200 Hz and you don't know what to do with it.
The suppressor is a great tool for that.
And also for de-essing.
Since everybody records vocals about this close,
you spend half your mix de-essing everything.
And the suppressor is magical.
Just truly magical.
So those are my staples.
I do use the Denoiser quite a bit for PureMix, which is a website about tutorials.
We like things to be very clean, so we use the Sonox Denoiser to remove the computer noises.
It's fantastic.
Every plugin that came out of there is just [G#m] great.
I know it's going to work.
So it's a staple of quality.
As I was learning how to do this, there was a lot of confusion.
Because there's a lot of confusion, it's pretty complicated.
Everything is interconnected.
Compression, EQ, leveling, bad tracking, good tracking, arrangement.
It's a difficult thing to wrap your head around.
[N] So I had a lot of questions.
And I had nobody to ask the questions to.
Nobody.
And then one day, somebody was kind enough to take an hour of their day to explain something to me.
Something very simple about compression.
And it completely changed everything for me.
And I was very grateful.
And so as I got a little more into the business and started getting better at what I do,
I started getting a lot of phone calls from people that were like me five years before.
Like, how do you do this?
How do you do this?
And hundreds and hundreds of emails.
So I told myself, you know what?
Instead of answering every one question one by one, which was basically eating me alive,
I said, let's just shoot a video and put it online.
And then apparently the response was very nice.
So we put that together into a site called PureMix.net.
Where basically it's like, what I wanted to recreate is the experience of being an assistant
to somebody who's kind enough to tell you what they think things should be like.
And there's nothing like that.
There was nothing like that.
So we made it happen and the response has been great.
So you can go to PureMix.net and you can watch me and other engineers mix or track.
We're trying to explain the concepts behind moving that knob this way.
As opposed to just telling you, well, this knob, you know, the DB knob gives [A] you gain or cut.
Big deal.
But what happens if you push five DBs at 500 hertz on a bass drum?
Why would you want to do that?
What does it do to the snare drum?
That's the fun [C#m] stuff.
And that's what we're trying to do.
So [B] the key to cut through the mace of all these options that are totally [A] overwhelming,
I find, [C#m] is to find your staples, [B] to find your tools that work for you and [A] learn them.
Deeply, deeply, deeply [C#m] learn them until [B] they're part of you.
And that's the way to make a better sounding record.
[A] [C#] [B]
[A] [C#m]
[B]
I dance with [A] your notes
[C#]
[B] An echo in my eyes holds [C#m] all the letters
[A] Hi, I'm Fabre DuPont, I make records for a living.
Over the years I've [G#] worked with mostly indie [B] people
because I started just, you know, making my [C#] own music and doing [A] this and that.
So there's a lot of indie people [G#m] I work with, there's some bigger people I work with
[F#] in ranges from Shakira for the World Cup song
to [A] illustrious unknowns, to people in the middle like Will Knox [C#m]
or
Bebel [B] Giberto or people like that.
It really runs the gamut.
The name of the person [A] doesn't really matter, what matters is the quality of the music.
[C#] I'm a computer guy.
I've been making records with computers since [B] day one
because I couldn't afford to go to studios, so I would do it with whatever computer I had
and whatever processing inside the computer.
So I started, there were maybe 10, 20 plugins available.
Now there's like, I have probably 300, 400 plugins in my folder.
I used maybe 30, [N] 40, because today's problem is there's too much choice.
So you can get lost.
What matters is to go to the essential stuff that really does something for you,
stays out of the way and sounds good.
A lot of things changed for me when I got the Sonox EQ.
The results were very different from everything I could get.
And since then, I really started paying attention to the different quality of tone
and the different quality of usage feeling between the different companies of plugins
and the different styles of plugins.
I use my Sonox plugins as my console, if you will.
It's my staple because I know how it behaves.
It stays out of the way.
It enhances my music.
I get no artifacts.
It's super easy to use and it's very stable.
Then I use other companies to color or do special effects.
My staple has always been, since I've got them, the three or four Sonox plugins that are on all my mixes.
The Sonox EQ changed a lot of things for me, so I can't get away from it.
I tried every new plugin that comes out and they're all great.
They're wonderful.
But there's something special about the Sonox that always brings me back to it.
It's easy to use.
It's totally transparent.
It sounds nice.
You can't really mess it up.
It's cross-platform.
I can use it in any software I want.
If I'm live creating some track, I can use the Sonox EQ.
When I mix the song in Pro Tools, I can use the same EQ.
I'm in familiar territory.
The filters are awesome.
[D#]
You can have a lot of gain.
It doesn't crumble or bit crush or anything.
It's great.
I use the dynamics because I don't hear them.
If I'm going to level a track, I don't want to hear the compressor.
If I want to make it sound funky, I'll use something else.
But if I want to have a true leveler and I don't want to spend 800 [Gm] hours automating my track,
I'll put the Sonox dynamics [G#m] on it because it just works.
Inflator is an invaluable tool.
It's kind of like the magic dust.
It makes everything sound a little bigger and better.
Reverb is totally transparent.
It sounds mono-perfect.
You can really tell the difference between a good and a bad plugin [N] when you hit the mono button for reverbs.
You hit the mono button and everything goes away?
Bad programming.
The Sonox Reverb doesn't do that.
It's always lush and lean.
It's beautiful.
It's never in the way.
And then the suppressor is the magic tool.
Because recordings are so [G#] creative these days.
You get stuff where you [F#] have 10 dB peaks at 200 Hz and you don't know what to do with it.
The suppressor is a great tool for that.
And also for de-essing.
Since everybody records vocals about this close,
you spend half your mix de-essing everything.
And the suppressor is magical.
Just truly magical.
So those are my staples.
I do use the Denoiser quite a bit for PureMix, which is a website about tutorials.
We like things to be very clean, so we use the Sonox Denoiser to remove the computer noises.
It's fantastic.
Every plugin that came out of there is just [G#m] great.
I know it's going to work.
So it's a staple of quality.
As I was learning how to do this, there was a lot of confusion.
Because there's a lot of confusion, it's pretty complicated.
Everything is interconnected.
Compression, EQ, leveling, bad tracking, good tracking, arrangement.
It's a difficult thing to wrap your head around.
[N] So I had a lot of questions.
And I had nobody to ask the questions to.
Nobody.
And then one day, somebody was kind enough to take an hour of their day to explain something to me.
Something very simple about compression.
And it completely changed everything for me.
And I was very grateful.
And so as I got a little more into the business and started getting better at what I do,
I started getting a lot of phone calls from people that were like me five years before.
Like, how do you do this?
How do you do this?
And hundreds and hundreds of emails.
So I told myself, you know what?
Instead of answering every one question one by one, which was basically eating me alive,
I said, let's just shoot a video and put it online.
And then apparently the response was very nice.
So we put that together into a site called PureMix.net.
Where basically it's like, what I wanted to recreate is the experience of being an assistant
to somebody who's kind enough to tell you what they think things should be like.
And there's nothing like that.
There was nothing like that.
So we made it happen and the response has been great.
So you can go to PureMix.net and you can watch me and other engineers mix or track.
We're trying to explain the concepts behind moving that knob this way.
As opposed to just telling you, well, this knob, you know, the DB knob gives [A] you gain or cut.
Big deal.
But what happens if you push five DBs at 500 hertz on a bass drum?
Why would you want to do that?
What does it do to the snare drum?
That's the fun [C#m] stuff.
And that's what we're trying to do.
So [B] the key to cut through the mace of all these options that are totally [A] overwhelming,
I find, [C#m] is to find your staples, [B] to find your tools that work for you and [A] learn them.
Deeply, deeply, deeply [C#m] learn them until [B] they're part of you.
And that's the way to make a better sounding record.
[A] [C#] [B]
[A] [C#m]
Key:
A
B
C#m
C#
G#m
A
B
C#m
_ [D] _ _ _ _ _ _ _
_ _ _ _ _ _ [B] _ _
I dance with [A] your notes
_ [C#] _
_ _ [B] An echo in my eyes holds [C#m] all the letters
[A] Hi, I'm Fabre DuPont, I make records for a living.
Over the years I've [G#] worked with mostly indie [B] people
because I started just, you know, making my [C#] own music and doing [A] this and that.
So there's a lot of indie people [G#m] I work with, there's some bigger people I work with
[F#] in ranges from Shakira for the World Cup song
to [A] illustrious unknowns, to people in the middle like Will Knox [C#m]
or
Bebel [B] Giberto or people like that.
It really runs the gamut.
The name of the person [A] doesn't really matter, what matters is the quality of the music.
[C#] I'm a computer guy.
_ I've been making records with computers since [B] day one
because I couldn't afford to go to studios, so I would do it with whatever computer I had
and whatever processing inside the computer.
So I started, there were maybe 10, 20 plugins available.
Now there's like, I have probably 300, 400 plugins in my folder.
I used maybe 30, [N] 40, _ _ because today's problem is there's too much choice.
So you can get lost.
What matters is to go to the essential stuff that really does something for you,
stays out of the way and sounds good.
A lot of things changed for me when I got the Sonox EQ.
The results were very different from everything I could get.
And since then, I really started paying attention to the different quality of tone
and the different quality of usage feeling between the different companies of plugins
and the different styles of plugins.
I use my Sonox plugins as my console, if you will.
It's my staple because I know how it behaves.
It stays out of the way.
It enhances my music.
I get no artifacts.
It's super easy to use and it's very stable.
Then I use other companies to color or do special effects.
My staple has always been, since I've got them, _ the three or four Sonox plugins that are on all my mixes.
The Sonox EQ changed a lot of things for me, so I can't get away from it.
I tried every new plugin that comes out and they're all great.
They're wonderful.
But there's something special about the Sonox that always brings me back to it.
It's easy to use.
It's totally transparent.
It sounds nice.
You can't really mess it up.
It's cross-platform.
I can use it in any software I want.
If I'm live creating some track, I can use the Sonox EQ.
When I mix the song in Pro Tools, I can use the same EQ.
I'm in familiar territory.
The filters are awesome.
_ [D#]
You can have a lot of gain.
It doesn't crumble or bit crush or anything.
It's great.
I use the dynamics because I don't hear them. _
If I'm going to level a track, I don't want to hear the compressor.
If I want to make it sound funky, _ I'll use something else.
But if I want to have a true leveler and I don't want to spend 800 [Gm] hours automating my track,
I'll put the Sonox dynamics [G#m] on it because it just works.
Inflator is an invaluable tool.
It's kind of like the magic dust.
It makes everything sound a little bigger and better.
_ Reverb is totally transparent.
It sounds mono-perfect.
You can really tell the difference between a good and a bad plugin [N] when you hit the mono button for reverbs.
You hit the mono button and everything goes away?
Bad programming.
_ The Sonox Reverb doesn't do that.
It's always lush and lean.
It's beautiful.
It's never in the way.
And then the suppressor is the magic tool.
Because recordings are so _ _ _ _ [G#] creative these days.
You get stuff where you [F#] have 10 dB peaks at 200 Hz and you don't know what to do with it. _
The suppressor is a great tool for that.
And also for de-essing.
Since everybody records vocals about this close,
you spend half your mix de-essing everything.
And the suppressor is magical.
Just truly magical.
So those are my staples.
I _ do use the Denoiser quite a bit for PureMix, which is a website about tutorials.
We like things to be very clean, so we use the Sonox Denoiser to remove the computer noises.
It's fantastic.
Every plugin that came out of there is just [G#m] great.
I know it's going to work.
So it's a staple of quality. _ _ _ _ _ _
_ _ As I was learning how to do this, there was a lot of confusion.
Because there's a lot of confusion, it's pretty complicated.
Everything is interconnected.
Compression, EQ, leveling, bad tracking, good tracking, arrangement.
It's a difficult thing to wrap your head around.
[N] So I had a lot of questions.
And I had nobody to ask the questions to.
Nobody.
And then one day, somebody was kind enough to take an hour of their day to explain something to me.
Something very simple about compression.
And it completely changed everything for me.
And I was very grateful. _
And so as I got a little more into the business and started getting better at what I do,
I started getting a lot of phone calls from people that were like me five years before.
Like, how do you do this?
How do you do this?
And hundreds and hundreds of emails.
_ So I told myself, you know what?
Instead of answering every one question one by one, which was basically eating me alive,
I said, let's just shoot a video and put it online.
And then apparently the response was very nice.
So _ we put that together into a site called PureMix.net.
Where basically it's like, what I wanted to recreate is the experience of being an assistant
to somebody who's kind enough to tell you what they think things should be like.
And there's nothing like that.
There was nothing like that.
So we made it happen and the response has been great.
So you can go to PureMix.net and you can watch me and other engineers mix or track.
We're trying to explain the concepts behind moving that knob this way.
As opposed to just telling you, well, this knob, you know, the DB knob gives [A] you gain or cut.
Big deal.
But what happens if you push five DBs at 500 hertz on a bass drum?
Why would you want to do that?
What does it do to the snare drum?
That's the fun [C#m] stuff.
And that's what we're trying to do.
So [B] the key to cut through the mace of all these options that are totally [A] overwhelming,
I find, [C#m] is to find your staples, [B] to find your tools that work for you _ and [A] learn them.
Deeply, deeply, deeply [C#m] learn them _ until [B] they're part of you.
And that's the way to make a better sounding record.
_ _ [A] _ _ _ _ _ [C#] _ _ _ [B] _ _ _ _ _
_ _ _ [A] _ _ _ _ [C#m] _
_ _ _ _ _ _ [B] _ _
I dance with [A] your notes
_ [C#] _
_ _ [B] An echo in my eyes holds [C#m] all the letters
[A] Hi, I'm Fabre DuPont, I make records for a living.
Over the years I've [G#] worked with mostly indie [B] people
because I started just, you know, making my [C#] own music and doing [A] this and that.
So there's a lot of indie people [G#m] I work with, there's some bigger people I work with
[F#] in ranges from Shakira for the World Cup song
to [A] illustrious unknowns, to people in the middle like Will Knox [C#m]
or
Bebel [B] Giberto or people like that.
It really runs the gamut.
The name of the person [A] doesn't really matter, what matters is the quality of the music.
[C#] I'm a computer guy.
_ I've been making records with computers since [B] day one
because I couldn't afford to go to studios, so I would do it with whatever computer I had
and whatever processing inside the computer.
So I started, there were maybe 10, 20 plugins available.
Now there's like, I have probably 300, 400 plugins in my folder.
I used maybe 30, [N] 40, _ _ because today's problem is there's too much choice.
So you can get lost.
What matters is to go to the essential stuff that really does something for you,
stays out of the way and sounds good.
A lot of things changed for me when I got the Sonox EQ.
The results were very different from everything I could get.
And since then, I really started paying attention to the different quality of tone
and the different quality of usage feeling between the different companies of plugins
and the different styles of plugins.
I use my Sonox plugins as my console, if you will.
It's my staple because I know how it behaves.
It stays out of the way.
It enhances my music.
I get no artifacts.
It's super easy to use and it's very stable.
Then I use other companies to color or do special effects.
My staple has always been, since I've got them, _ the three or four Sonox plugins that are on all my mixes.
The Sonox EQ changed a lot of things for me, so I can't get away from it.
I tried every new plugin that comes out and they're all great.
They're wonderful.
But there's something special about the Sonox that always brings me back to it.
It's easy to use.
It's totally transparent.
It sounds nice.
You can't really mess it up.
It's cross-platform.
I can use it in any software I want.
If I'm live creating some track, I can use the Sonox EQ.
When I mix the song in Pro Tools, I can use the same EQ.
I'm in familiar territory.
The filters are awesome.
_ [D#]
You can have a lot of gain.
It doesn't crumble or bit crush or anything.
It's great.
I use the dynamics because I don't hear them. _
If I'm going to level a track, I don't want to hear the compressor.
If I want to make it sound funky, _ I'll use something else.
But if I want to have a true leveler and I don't want to spend 800 [Gm] hours automating my track,
I'll put the Sonox dynamics [G#m] on it because it just works.
Inflator is an invaluable tool.
It's kind of like the magic dust.
It makes everything sound a little bigger and better.
_ Reverb is totally transparent.
It sounds mono-perfect.
You can really tell the difference between a good and a bad plugin [N] when you hit the mono button for reverbs.
You hit the mono button and everything goes away?
Bad programming.
_ The Sonox Reverb doesn't do that.
It's always lush and lean.
It's beautiful.
It's never in the way.
And then the suppressor is the magic tool.
Because recordings are so _ _ _ _ [G#] creative these days.
You get stuff where you [F#] have 10 dB peaks at 200 Hz and you don't know what to do with it. _
The suppressor is a great tool for that.
And also for de-essing.
Since everybody records vocals about this close,
you spend half your mix de-essing everything.
And the suppressor is magical.
Just truly magical.
So those are my staples.
I _ do use the Denoiser quite a bit for PureMix, which is a website about tutorials.
We like things to be very clean, so we use the Sonox Denoiser to remove the computer noises.
It's fantastic.
Every plugin that came out of there is just [G#m] great.
I know it's going to work.
So it's a staple of quality. _ _ _ _ _ _
_ _ As I was learning how to do this, there was a lot of confusion.
Because there's a lot of confusion, it's pretty complicated.
Everything is interconnected.
Compression, EQ, leveling, bad tracking, good tracking, arrangement.
It's a difficult thing to wrap your head around.
[N] So I had a lot of questions.
And I had nobody to ask the questions to.
Nobody.
And then one day, somebody was kind enough to take an hour of their day to explain something to me.
Something very simple about compression.
And it completely changed everything for me.
And I was very grateful. _
And so as I got a little more into the business and started getting better at what I do,
I started getting a lot of phone calls from people that were like me five years before.
Like, how do you do this?
How do you do this?
And hundreds and hundreds of emails.
_ So I told myself, you know what?
Instead of answering every one question one by one, which was basically eating me alive,
I said, let's just shoot a video and put it online.
And then apparently the response was very nice.
So _ we put that together into a site called PureMix.net.
Where basically it's like, what I wanted to recreate is the experience of being an assistant
to somebody who's kind enough to tell you what they think things should be like.
And there's nothing like that.
There was nothing like that.
So we made it happen and the response has been great.
So you can go to PureMix.net and you can watch me and other engineers mix or track.
We're trying to explain the concepts behind moving that knob this way.
As opposed to just telling you, well, this knob, you know, the DB knob gives [A] you gain or cut.
Big deal.
But what happens if you push five DBs at 500 hertz on a bass drum?
Why would you want to do that?
What does it do to the snare drum?
That's the fun [C#m] stuff.
And that's what we're trying to do.
So [B] the key to cut through the mace of all these options that are totally [A] overwhelming,
I find, [C#m] is to find your staples, [B] to find your tools that work for you _ and [A] learn them.
Deeply, deeply, deeply [C#m] learn them _ until [B] they're part of you.
And that's the way to make a better sounding record.
_ _ [A] _ _ _ _ _ [C#] _ _ _ [B] _ _ _ _ _
_ _ _ [A] _ _ _ _ [C#m] _