Panic At The Discos Company Producer
This Ain't No Disco is a world premiere musical from the creator of Hedwig and the Angry Inch, Stephen Trask and Peter Yanowitz (The Wallflowers,. At The Disco’s day at L.A.’s Sunset Sound Studios. Miguel Alvarez directed this portrait of Panic’s Brendon Urie spending a day at the studio. In anticipation of the release of their new album, “Pray for the Wicked” Panic! Recorded two live tracks in the studio for Pandora. At the Disco, and Album has highlight a Pop, Rock sound. It was released/out on 2014 in English dialect, by some Music Recording Company, as the follow-up to last studio/Mixtape Album. The Album features coordinated efforts with makers, producers and guest artists and is noted for Panic! At the Disco experimentation with new melodic types.
At The Disco’s fifth album, Death of a Bachelor, is a hyper-extreme sonic circus that will either make you a believer or make you scream—but resistance is futile. Essentially the one-man-band of songwriter-vocalist-instrumentalist Brendon Urie, Panic! At The Disco’s Death of a Bachelor is a riotous production playground where Frank Sinatra meets Freddie Mercury, where samples of Chicago’s “Questions 67 and 68” and The B-52’s “Rock Lobster” smack up against Urie’s dynamic drumming, synthesizer layer-cake, and soaring vocal profundity. Death of a Bachelor (DCD2/Fueled By Ramen) packs more excitement into its eleven songs than many bands express in their entire careers.
“I wanted each song to feel like a special event,” Urie says. “I wrote songs on piano or guitar, moved them into Logic Pro 10, then I used a lot of UAD and Fabfilter plug-ins, even a lot of demo plug-ins. I treated background vocals with all kinds of little fun tricks. I used the Universal Audio Apollo 8 Thunderbolt 2 interface for vocals, and the UnderToneAudio UTA MPDI-4 Mic-Pre/DI unit, which is awesome; it has extra gain and filters and controls everything really well. I love using the UAD stuff, they have a lot of tape machine and compressor emulations that are really fun to use.”. Extremes, extremes, extremes! Every song on Death of a Bachelor seems treated for maximum impact, the album leaving no tech trick unplayed.
And in a world where hard pop candy doesn’t always register on radio formats, Death of a Bachelor has already racked up considerable chart success. “I had a concept to take Brendon in a future Sinatra route,” explains producer Jake Sinclair (Taylor Swift, Fallout Boy). “We put that element in every song. We layered Arturia synth lines with a big band horn section recorded at Avatar in New York City.
That added depth so the songs take on a different life. And it really helps that Brendon is the best on every instrument of anyone I’ve recorded. As a singer you can use his last take and it sounds perfect.” Producer Jake Sinclair with engineer Suzy Shinn Upending the sonic blitzkrieg of such Death of a Bachelor songs as “Emperor’s New Clothes,” “Victorious,” and “Hallelujah,” Sinclair, engineer Suzy Shinn, and Brendon Urie didn’t treat every instrument and grid every beat. Theirs was a minimalist production model.
With Urie’s Urielectric Studios built to mirror Jake Sinclair’s studio at the Infrasonic Studio/Vintage King complex in Los Angeles’ Echo Park neighborhood, Death of a Bachelor showcases Urie’s extraordinary energy, mind-blowing musicianship, and inventive songwriting. “I used a lot less plug-ins than you might think,” Sinclair says. “I’m EQing and compressing on the way in and only using UAD plug-ins and Soundtoys. A lot of the impact comes from the writing and arranging.
If you design the songs to have quiet moments before loud moments the dynamics will be more extreme. And we were creative in the production, layering our own samples with live instrumentation. It’s a huge juxtaposition of different types of sounds. It sounds like there is a lot going on, but I try to keep the arrangements simple so that certain things pop out.” BREAK Sinclair and Urie made their own recording rules: lead vocals first, drums last, everything else in between. Urie is an inspired vocalist, recalling Sinatra and even Scott Walker (look him up, kids) on the title track and the theatrical closer “Impossible Year”; Freddie Mercury in the transitions of “Victorious”; and when stacking vocals, an alien choir from an epic space odyssey.
(White Seas/M83’s Morgan Kibby and engineer Suzy Shinn also stacked BG vocals.) “A song usually begins with me and an acoustic guitar,” Urie notes. “I run through the song with a click track and a room mic so I can work on the arrangement if need be. I lay down acoustic guitar or piano and a vocal, then go into Logic just having fun with moments in the song. If a lyric is special I might suck out the drums or add a two-bar break at that moment. It’s a playground.”.
Jake Sinclair engineered two prior Panic! At The Disco albums: Too Weird To Live, Too Rare To Die and Vices & Virtues. Sinclair and Urie’s working relationship was more personal than business, and it shows in dynamic songs and seamless, larger-than-life production. “We didn’t begin production until we had the songs nailed down,” Sinclair says. “Brendon would also make demos then stay up all night tweaking.
The soft synths and weird samples are all Brendan. I dropped songs into Pro Tools and rearranged things.
Then Brendon tracked drums, bass, and guitar at my studio. We tracked vocals at both studios.” Sinclair’s Infrasonic Sound rig includes Macbook Pro SSD 15' 768GB, Apogee Symphony I/O Audio Interface, Sonnet Thunderbolt Chassis w/ UAD Octo card, Pro Tools HD Native, two G-Tech G-Drive PRO external hard drives (4TB), two G-Tech G-Drive Mobile external hard drives (1TB), and Barefoot MicroMain27 and Auratone 5C monitors. “We used lots of UAD plug-ins,” Shinn says, “and Soundtoys Decapitator and Little MicroShift for doubling vocals.
We bused everything out to an overall mix bus then to the PSP Vintage Warmer. The PSP gives more warmth to the compression, a light but warm sound that glues all the tracks together. We used Spectrasonics Omnisphere for soft synths, and Native Instruments Kontakt too. But it’s minimal. Brendan did up to 20 tracks of vocal layering. He plays live drums in every song and some samples are triggered by the drums underneath the kick and snare.
There’s a little Roland TR-808 hi-hat to give it that digital aspect. And live shaker and tambourine.
Brendon plays everything!”. “We build everything around the vocal rather than the vocal being built around the track,” Sinclair says. “That gives us a starting place production- wise that is different than if you cut vocals at the end.
You could say we use the scratch track, but with Brendon the scratch track is the final vocal. I don’t want to miss anything the first time he sings it. I might as well have him singing into a good chain.” Urie’s vocal chain: Wunder Audio CM7 FET into a BAE 1073 mic preamp, to a Purple Audio MC77 compressor and a Universal Teletronix Audio LA-2A Leveling Amplifier. “I’m trying to mirror what Sinatra did at Capitol with the mic just hanging there in front of him,” Urie explains.
“I wanted to hear every little pop. I put the ratio at 4 to 1. I compressed it so you hear every breath, every pop, every tongue movement, every syllable.
Then I tried to match the vibe on the piano. The Wunder CM7 FET holds a lot of good frequency for me.
My voice either gets really shrill or a little too bassy. The CM7 picks up the mids where my voice carries different frequencies. It holds that crispness and tone, and it’s easier to filter than some microphones. We also put the Wunder CM7 mic on upright piano. For the money and what I need, the Wunder is amazing. I try to not EQ.
I just use a filter to take out any pinch in the frequency.”. And as for the exceptional vocal peaks Urie hits in “LA Devotee,” “Hallelujah,” and the stunning “Golden Days,” where he glides from Carl Wilson sweet to Freddie Mercury/Robert Plant intense, “Jake and Suzy pushed me!” Urie exclaims. “It was trial and error to see if I could reach the note. The only insert I used is the UAD Fairchild 670 Legacy Compressor plug-in, which is great. My voice has a weird natural compression. It sounds strange when I double vocals sometimes. It sounds like Auto-Tune.
But I try to get the best take and not use Auto-Tune, ’cause for my voice it removes the feel. If there is a flubbed note, we’ll use Celemony Melodyne to pitch one note.” BREAK Shinn describes tracking specifics: “For additional production, like vocal transitions and weird pads, I used samples from my own sample base, drum programming in Ableton, and Spectrasonics Omnisphere. I also sampled and layered my voice shouting ‘hey kid!’ to make chords or other ambient effects. I processed the vocals through Waves H-Delay, Soundtoys Echoboy and Decapitator or Waves/Abbey Road Studios The King’s Microphone plug-in, which models the 1920s and 1930s microphones used for the British Monarchy’s radio broadcasts. For the kids’ choir in ‘Victorious,’ I used the “1970s tape trick”: Varispeed. I changed the bpm of the instrumental to 10 to 20 percent faster or slower than the original BPM, tracked the vocals at the new tempo, then used Varispeed to put the music and newly tracked vocals back to the original BPM.
This creates morphed or child-like vocals!”. “I LOVE PLAYING ALL THE INSTRUMENTS” Brendon Urie sings his ass off and writes songs that may be considered classics in some future where song-craft is valued over beats. He’s a good bassist, guitarist, and keyboardist.
When Does Panic At The Discos New Cd Come Out
But he’s a phenomenal drummer. Urie’s drumming sparks every song on the album, from the driving eighth-note rock of “LA Devotee” and the Gene Krupa tub-thumbing of “Crazy=Genius” to the galvanic swing triplets of “Hallelujah.” The song kicks off with a sample of Chicago’s “Questions 67 and 68,” prefaced by Urie executing, note-for-note, the triplet rolls of Chicago’s rhythm machine Danny Seraphine. “It’s so weird,” Urie muses. “Sometimes I will chop up a sample and then insert it differently. I did that with the opening tom fills of ‘Hallelujah,’ then I played the same fills on the drums as well. I chopped up the triplet form; that made it more fun to figure out how I was going to play it. I love taking an idea and pushing it into a different sound.
Panic At The Discos Company Producers
I love playing all the instruments.