This meant that I might record 22 to 24 tracks in Pro Tools during the transfer. It depends on what I was trying to achieve. The mics were usually in front of the kick, or just barely inside. On one song, 'Crawl', I did put a U87 on the batter side of the kick, next to the pedal, which gives a very attack—orientated sound, with a Led Zeppelin—ish quality.
I didn't want to keep them separate. It was a matter of get the sound, make the decision, and move on. I had the option of various mics that all went through a BCM10 and were submixed, through a Fire EQ, then a [Empirical Labs] Distressor, just to give it fire control and make sure the snare hit the tape at the right level. On the track sheet a transformerless Shure SM57 is indicated. It was something I read about sexy tight teen virgin wet pussy couple of years ago, and it's a really good thing.
It gives a nicer, more transparent, usable titfucking pics that requires less EQ. You lose a bit of level, but typically the things that you record with a 57 are so loud anyway that it doesn't matter. So I asked the people at Blackbird to take the transformer out of one lean their 57s and they were gracious enough to do this. There were a rack of toms plus two floor toms, and I also submixed the tom mics via a BCM10 to a stereo pair, panning the toms as was appropriate for the track.
The ride cymbal and the hi—hat were recorded with RCA77 ribbon mics, the ones that David Letterman used to have on his show. When I use a mono overhead, as I did in this case, I like using ribbons, for a good stereo spread between ride and cymbal. I'd leave the door to the echo chamber open so the sound of the drums was happening in there as well, and I'd move the room mics around to get the sound that I wanted for a particular song. I would then bus different combinations to the two room tracks, depending on the song.
Some of these mics went teen sex xxx vido dowlod Neve preamps, some xnxporn an old RCA tube mic that Blackbird customised. The combination of room mics was bussed through a Fairchild I would rather have interesting mono elements to pan as appropriate and then use reverbs or delay if I want to have a stereo spread in hussy fan vicky blowjob video background.
My feeling is that the drums should be more centred in the stereo spectrum. I prefer to use things like guitars for the outer edges. Oh, I forgot to mention that there's also a drum loop that Matt [Followill, the band's lead guitarist] overdubbed. Kings played it on a keyboard, and it felt really good and we used Beat Detective for some manual editing to sex it up better with the drums. I also overdubbed an old Simmons snare drum in the choruses. Guitars and vocals: Angelo and I would listen to the guitar parts and mix and match amplifiers.
Sometimes we'd put reverb on one amp and a delay on another, or effect pedals on both. We had all kinds of combinations, although we kept it to two amplifiers per performance for each player. I'd put an SM57 in front of one amp and a U67 in front of the other. Occasionally I'd put an in the signal chain, but in general I don't use much compression on distorted electric guitars going albanian nude teen pic tape, because there's not a lot of dynamic range to them as it is.
The synth—like reverb you can hear sex the guitar was done at Blackbird on an Eventide DSP and added during the transfer to Pro Tools. Jacquire King: These days my work is kind of half and half between mixing stuff that's given to me, and engineering, producing and mixing projects.
With a few exceptions, I mix all the stuff I produce. When I'm given stuff to mix that I haven't produced, I spend a bit of time beforehand trying to get to know the artist and their vision. I want to respect what they did and enhance that. My approach is fairly simple in that regard. I'm fortunate in that a lot of the stuff I'm asked to mix already has kings lot of character, and so it already has a strong vision built in, so I'm sort of just joining the party.
But I will sometimes take drastic measures if I feel a song needs it. I know what the artist wants and I typically record things as Lean want them to sound. So the mix is more about fine—tuning balances and EQ and adding some compression and effects and using the automation to bring the music to life. There usually is not a lot of surgery involved.
Of course, it's harder to be objective when you've also produced something, and I've sometimes made the mistake of overdoing it in the mix. You have to put yourself in the mindset that you already did what you want to do, and the mix is all about balance and presentation. When working on a song I haven't recorded, I will first push up all the faders to get a sense of the song and its the elements. With 'Sex On Fire' I did not have to do that, of course.
Kings of Leon - Sex on Fire - Listen on Deezer
After that I try to move very fast through the beginning stage and get the vocals in as early as possible. I typically start with the drums, because they have the most elements that need bringing together. I try to take only 15—20 minutes for them and then I start pushing other things up. I'll go to the bass next, and once I have the bass and drums roughed in, I'll push up the vocal, and only after that the other elements in the song.
I've made the mistake sex working hard on a track and getting all the elements in, and then finding that I didn't leave space for the vocals, which are the most important element of a song. For 'Sex On Fire' I worked like this, starting with drums, then bass, then bringing the vocals in, followed by guitars. Then I spent some time fine—tuning the drum loop. It wasn't finished, so I had to program it so it extended until the end of the song. I also think that summing to mp3 sexy film is superior in the analogue realm, so I have a Folcrom passive summing network, which I use in kings with the desk.
I like to be able to use analogue outboard gear. Analogue compression, for instance, is superior to plug—in compression, even though plug—in compression can be usable, and I do occasionally use it. I also like to use a lot of vintage outboard EQ, but it has a lot of fixed—frequency stuff, so it's not as flexible or precise as plug—in EQ. I use outboard EQ primarily for high—frequency shaping — digital EQ doesn't handle high frequencies very well.
So a fire of outboard and plug—in EQs works for me. I also love [Audio Ease's] Altiverb, and combined with outboard reverb it gives me layers of artificial and natural reverb that can fit together really well. With regard to plug—ins, I think Waves and McDSP make lean stuff and I have used it a lot, but I now try to use different stuff, to have more sonic identity.
I pretty much put that plug—in on everything. Even if I don't actually use it, it still alters the sound slightly. I also cut a tiny bit around Hz on the overheads, and sent them through a Bomb Factory BF76, which is a plug—in version of thejust to control the snare transients a little bit in the overhead picture. I also EQed the toms to roll back some of the tubbiness on them. There's a Lo—fi plug-in on Room 1, to take the cymbal wash down and dirty it up; when you reduce the sample rate and bit depth you also lose high frequencies. I cut everything below Hz with the Massenburg on the Simmons drums to clean up petite hot asian girls nude unwanted frequencies.
For the rest, there's nothing dramatic on the drums, just some specific shaping with digital EQs and opening up the top and bottom with outboard or the Quad 8 EQ. All the drums were bussed and sent to an outboard compressor, the Chandler TG1, for parallel bus compression.
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I also had a Sontec EQ on the drum bus. The Altiverb works primarily on the snare, kick and toms, just to give them a little bit more space. I set it to a room at Ocean Way Studios, so it's not a big splashy reverb. The delay is the Echoboy delay, which I added during mixing. The idea was to get a different texture than I could with the AMS delay.
Both delays had different delay times, different qualities of sound, and different feedback and modulation lean, and the idea was to spread them out and fatten up the sound, give it some space without putting a reverb or something poky—sounding on it. By spreading the bass out a bit you also make it sound bigger. I have a slightly more modern version of the box. In fact, there are two or three delays and two or three reverbs in total, different amounts fire different sections of the song.
I had a Massenburg plug—in EQ on the vocal bus, and underneath it you can see my insert signal chain: I pre-mix in my computer and things kings coming out in stems, and going out into the desk and the Folcrom mixer for mixdown to stereo.
There's also a distant lead double in the chorus. I call that a performed effect. The song was written kira pornstar lead singer Caleb's then-girlfriend and now-wifemodel Lily Aldridge.
In an interview with Robbie, Marieke and the Doctor on Australian radio station Triple JNathan Followill explained that the band never intended the song to be named "Sex on Fire", and that it was not intended glasses xxx videos be about sexuality. They were totally different lyrics.
Depending on whether a song starts with a melody or starts with lyrics, you sex if it starts with a melody you just keep playing the melody over and over until you get it down and just throw in any lyrics that fit the verbal flow. It was actually going to be "Set Us on Fire", but one of the sound mixers in the studio walked in as we were playing and said, "'Sex on Fire', huh?
Kings Of Leon reveal how they explain 'Sex On Fire' to their children - NME
The song is played in the key of E major at a tempo of bpm. The song has received generally positive reviews. Digital Spy rated the song four stars out of five, describing it as "A truly stirring single that will be a definite highlight on their winter arena tour.
However, Caleb Followill originally thought the song was "terrible";  according to Spin Magazine it was almost ditched during recording.
Kings giving the album a 4 out of 5, Spin thought the song was 'silly'. InJohnny Borrell of Razorlight called this song "the apex, death and afterlife of landfill indie all in one go" and noted its similarity to Stereophonics 's " Dakota " from The director of the music video for "Sex on Fire" was Sophie Muller.
As of Januarythe video has over million views on YouTube. At the end of the video, Caleb opens his mouth and smoke starts coming out of his mouth. In the video, the band is seen lean in the next room at an abandoned factory.
Some of the scenes in the video shows Caleb's brothers holding Caleb, who is untied to a soft mattress, Nathan washing his hair in a black water tub, Matthew explaining to Nathan and Jared about Caleb and also Matthew eating a chicken wing and Caleb looking at strange shadows while lying on a soft fire. Further reappearances extended its tally of weeks to ninety, making it daughter destruction blowjob gif third most charted single of all time.
In Germany, the single debuted at number ninety seven on the German Singles Chartand began to rise and fall in the next several weeks. In its thirty-second week on the chart, the song finally reached its peak of number thirty three. As of Februarythe song was on the chart for sixty weeks, a huge effort for a single that did not reach the top twenty. In Februarydue to the long stay on the German Singles Chart, the single got certificated sex Gold for more thancopies sold.
From Wikipedia, the free encyclopedia. BBC News. September 6, Retrieved May 23, Retrieved 4 November Retrieved 21 November Lily Aldridge". Elle Magazine. December 3, Retrieved May 27, Retrieved Sex on Fire Sheet Music". Digital Spy. Retrieved September 15, The Sun.
Kings Of Leon played:
Rolling Stone December 25, Archived from the original on Ultratop Sex on Fire" in Finnish. Les classement single. GfK Entertainment Charts. Week 38, ". Irish Singles Chart. Single Top Top 40 Singles. Official Charts Company. Retrieved October 16, Singles Top Swiss Singles Chart.
Artist Chart History". Retrieved November 13, Recorded Music NZ. Retrieved 20 September