Andy Meyer Mixing Justin Timberlake Live

Live Sound Mixing

In this video, FOH audio engineer Andy Meyer (Janet Jackson, Guns N’ Roses, Bob Seger, Rage Against the Machine) takes a detailed look at the plugins he uses the most when touring with Justin Timberlake.

Andy Meyer Mixing Justin Timberlake Live

Video Text:

hi guys Andy Meyer here I’ve had the

opportunity to mix some really cool acts

in my lifetime way back I remember doing

Laurie Anderson with a performance

artist that was pretty cool I’ve done

different things like Bob Seger I’ve

done some orchestra work rock acts like

Motley Crue Rage Against the Machine

Megadeth’s Janet Jackson and Justin

Timberlake it’s been a great ride so far
the one plug-in I gravitated to

initially was the art channel because I

had so many options available to me you

know compression gating the gait is

excellent on being able to key things

with it on and on and on and uh and so

I’d also realized very quickly that I

could build a library of presets with

that exact plug-in and move to any tour

drop them in and go I use max volume as

a big one that I lean on and SSL each

channel as well for tonality changes in

summary Keeling I had to use one plug-in

I carried it with me everywhere and it’s

a one plug-in I had to have it would be

the c6 you can shape tone correct all

kinds of problems say your guitar is a

little too harsh I can compress the high

end energy out of it and warm it up I

can excite the maybe the air in it and

maybe tighten up the low end with it if

I want to do that Justin’s actual vocal

um key component there is the fact that

I have a c6 I remember Justin sings he

has a deep rich voice he sings really

high falsetto which is much thinner and

everything in between

sometimes he cups the mic a little bit

for the sound he wants sometimes he

holds it perfectly

sometimes it’s moving around a little

bit because he runs around he’s

performing as well he’s dancing so that

enables me to really balance everything

I don’t have to chase it all night I

really makes for an easy day as far as

his his actual chain is we come analog

only on him I come analog all the way up

old like old school up the snake right

to front of house to an analog preamp

then I converted a yes and bring it in

the desk it just gives it an extra added

warmth that I really need with his voice

so it works out quite well alright so on

the kick drum we use the art Channel and

the Tweed tech and it’s just a low-end

boost and a high and boost basically

very simple I like to take it all the

way down to 20 Hertz well not really

worry about high passing it cuz the

actual systems high

just a little bit but it gives me that

the deepest riches kick drum sound I can

get I bus all my horns into one stereo

group and I use Renaissance ax and that

kind of thickens it up and gives it a

nice life and then we go from there to

the SSL channel an SSL channel I do some

V queuing and expansion an expansion is

key because it’s very smooth and musical

and it keeps all the ambience out both

my guitar players I do the same thing

with and what you’re seeing now on the

screen is the SSL and if you look up

here under dynamics the actual threshold

as you spin the threshold clockwise when

you get up around 10 15 20 DB you’ll

hear a tonality change in the actual

plug-in it gives it more of a low mid

growl so to speak so it gives it a

really nice sound for guitars and then

at the end of that you’ll see the s1

imager and I just incorporate that in

certain snapshots I’ll I’ll use panning

with it and I’ll also spread the guitar

a little more so that’s kind of a cool

effect too to have instead of you

queuing a little bit of the harshness

out of the overheads I choose to to

compress and that’s why when he lays in

the cymbals and open rides and things

like that it’ll kind of compress that

upper mid energy that gets kind of harsh

so I don’t have to cue that away and

also at the same time I’m exciting some

air in there too and getting some 1012 K

in there as he lays into it makes it

sound a little bit sweeter so it

perceives it as basically maintaining

its same tonality whether he’s hitting

it hard or whether he’s hitting it soft

we’re finally gonna look at Justin’s

input strip okay and the waves

processing there and you’ll notice that

right there we have the c6 and as I

discussed before

basically we’re de-essing in a couple

places we’re cleaning up the upper mids

and low mids and adding some warmth at

the same time again he has he sings in

falsetto he sings rich and thick he

sings high-end you know really high

parts he’s basically got an extreme

range which is wonderful and this kind

of keeps it all together then we move on

to the H comp you’ll notice that what

I’m doing here is basically a mix is

about 70% and I’m getting into that

between 2 and 3 dB kind of averaging it

out a little bit and it gives it to nice


nice analog warmth without the analog

setting actually it still thickens it up

nicely and then we’re gonna go to one

knob this particular snapshot has the

one knob turned on the one knob driver

gives a nice distortion to it in certain

effects I want in songs it sounds over

driven down between four and five but it

doesn’t give you that telephone

bandwidth restriction it still is nice

and thick sounding but it gives you a

nice nice edge now we’re gonna move over

to the vocal distortion Channel okay and

basically I use it on an arc so send

obviously the vocal into it and process

and return it first you’re seeing the

SSL channel again I use the expansion on

the SSL channel so it opens nice and

naturally then we use guitar amp right

here and you’re seeing the GTR plug-in

and that that’s been fantastic it

enabled me to dial it in quite nicely

and then the final plug-in on this chain

is the mondo mod and that’s for movement

um there’s a song we do in the beginning

of our second half of our set that is

has a great big giant 20 foot wide

picture of Justin basically and it moves

in folds in and he’s singing the words

and then it folds out and there’s lasers

and all kinds of cool things happening

at the same time so I wanted it to be

more dramatic so not only is there that

full distorted voice but there’s a lot

of movement with it as it fades in and

out and kind of work musically with it

so it’s become a really cool part of

this show


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