Tchad Blake was asked to mix the Blakroc and Brothers albums by The Black Keys. He is a renowned producer and mixer of music and has worked on everything from Crowded House, Pearl Jam to Gomez over the last 25+ years.
Tchad has a clear perspective of what he likes, he goes with his feelings. He’s happy to embrace modern technology to mix with. That’s not unusual but it is an interesting counter-point since both the albums, Brothers in particular, was (for the most part) specifically recordedÂ on analogue equipment with Mark Neill.
Working on these projects made Tchad offer this summation:
For me in this day and age, I don’t hear soul very much in music. I don’t mean the name for ‘soul’ music, old RnB and soul stuff, I just mean soul in music where you listen to it and it gets into your chromosones and your guts groove. [Brothers] is something that gets you in a real physical level and this is why I wanted to be in the music business when I started – for this type of thing. It shouldn’t be torn apart, you put the record on and have a bloody good time. It makes you feel good.
The feeling is obviously mutual. It was significant that The Black Keys should have made a point on their Brothers press release to have acknowledged Tchad Blake’s contribution to both the Blakroc and Brothers albums:
We are big fans of Tchad Blake. The way he approaches mixing is the same way we approach making music. Respecting the past while being in the present. The mixes he did for us on Blakroc impressed us so much we knew he had to mix Brothers.
The Black Keys Fan Lounge recently had a chat to Tchad about his relationship with the band, the challenges of mixing these albums, insights into his mixing techniques and equipment, and his attitude toward recorded music generally. The interview begins below the photo…
Photo courtesy of Buck Blake: Tchad Blake outside his home studio in England
It’s a pretty big compliment that The Black Keys paid you with the quote on their press release.
[laughs] They’ve given me a good wrap.
How did you impress them on the Blakroc album?
Well, I just did my thing really. That was a bit of a tough one. They got a hold of me and they needed the mixes within a week and I was on another project, a Peter Gabriel orchestral project, so I only had one day to do five songs. Normally it takes a day to do a couple of mixes, sometimes it takes a day per mix for some songs. With these guys I could probably do two or three songs in a day, but these were bigger sessions soÂ I had to do the five songs in about 16 hours. I got it done [laughs]. I think it came out pretty good. The thing about Dan and Pat, the ting about what’s similar, I really love the sense of abandon in making music – meaning you sort of let things go as you go. Just have a good time doing what you’re doing and you don’t really look over your shoulder too much, you just forge ahead and keep going, if it sounds good go with it. They’re incredible at that. I think that’s what gives them so much soul in their music – it’s just that approach. For me that’s when music is at its best.
I’m also wondering whether the fact that the Blakroc album was recorded at Studio G which is known for its analogue flavour and Brothers was recorded at Muscle Shoals Sound Studio with its traditional set up, you were able to bridge the old and the new. You’ve come from a traditional recording background and embraced the new as well it seems. Is that what Pat is also referencing in the quote?
It’s all about what’s convenient, and what’s fun to make the music. There’s good sounding analogue and bad sounding analogue. The same is true in digital. They’re two different animals. It doesn’t matter how you make the music if the music’s good. I don’t care which one I use. The reason I’m using digital is because it’s convenient. It’s the way people like to work now, and the budgets and all that, digital makes way more sense. All I want to work on is the music and not be worrying about anything else. If I owned a studio with all analogue gear and I had unlimited funds to have it maintained properly and somebody there to do all the stuff that’s not music-related, sure, I might have that, that would be cool. At the same time the way people want to work, go back and do things over, it’s easier in digital to start where you left off. I think the convenience is a huge thing. The difference in sound is such a small percentage of what really makes the music. Sure there’s a difference, a big difference in sound, but I like them both. I couldn’t tell you which I like better.
So with the Blakroc tracks they just sent you a hard drive?
Yeah, that’s part of the convenience factor. They can send me a hard drive, a flash drive, in the mail. [The Black Keys’] songs are usually only eight or ten tracks. They can send that over the internet, I can get that on my digi-delivery and then mix it. So the whole thing can be done in a day – they can send it to me, I can mix it, and send it back.
I think what they are talking about respecting the past but being in the present, is that I don’t have a problem with combing eras or genres or whatever. I like contrast. What i loved about the way these guys worked is that when they recorded their drums they did so on maybe one or two tracks. So there’s really not a whole lot you can do mix-wise, if its just a mono track of drums, unless I wanna get in and start cutting stuff up. You know, with studio trickery, cutting bits out of the mono track and adding them back in, maybe adding a sample in there from one of my bass drums, just to get some subs to make it more hip-hop record – I love that. I’m not a purist.
I don’t believe in recording a band and making them sound live. I like it when a band plays live, just because of the feel of the music. If you wanna hear live, go to the live show. Recording in a studio is a record, it’s different, and it should be different. Why would you want your record to sound the same as when you played live?Â I think maybe that’s what they are talking about. I like using the tools in the studio to enhance and make things sound like they are not live, like they are in the studio. That’s fun.
This raises an interesting point. There’s an ongoing debate amongst many fans who got into the band when they had a more raw, fuzzed-out, sound and now theÂ albums have developed into a more developed recorded sound. What’s your take on this? Were there any clear directions from the band regarding this?
We were both pretty much on the same page, I think. I did some mixes, the first songs I did, and I listened to them over a few days. I then talked to the guys andÂ I said ‘There’s something I’m not happy about’. The mixes aren’t getting me up. They responded by saying the mixes are OK but they wanted to stretch. They wanted ‘Everlasting Light’ to be more glam and have that T-Rex or early-Bowie delay on the drums – that’s a stereo, really short delay to make it really click. So they were really wanting to push things on this record. Dan’s singing falsetto on ‘Everlasting Light’ – I think that’s great.
How would you like to be somebody who eats beans on toast every day for the rest of your life? Give artists a break. If you make your first two or three records and they’re raw live records which are great, you’ve got those. Listen to those if you wanna hear that all the time. As an artist, they’re going to wanna up the bar a little bit and do something different. I don’t think bands change enough anymore. I think they should change more like this. This is what I remember whenÂ I was growing up with music. Everytime a record came out the artist kind of re-invented themself. And the public actually dug it. They were waiting, ‘Wow, what are they going to do next? What’s Jimi Hendrix’s next record going to be like? They’ve all been so wierd so far’. Labels and radio are the ones who don’t want bands to change, the public is into it. If you give it to them and let them hear it, they’re gunna go ‘cool’.
On an album like Blakroc, you mentioned it was mixed so fast, in layman’s terms, what are you trying to with the mix on a record like that?
[The Black Keys] specifically wanted it to have more low-end than they had on the recordings. They wanted bass drums to sound more subbie. They wanted more of a tip of the hat to a hip hop sound, than a rock sound. That’s what we tried to do. I also like wide-stereo, I like things panned pretty hard, left and right, using the two speakers to good advantage. There wasn’t a lot of time to think about it. They gave me a few comments. On both records actually, they just said, ‘Just have a great time, whatever you think you should do, just do it’. It was pretty cool.Â I haven’t been able to do a project like that in a long time. That’s how we used to do all our projects. It’s gotten a lot more conservative out there for most bands. But not for these two.
Dan and Pat are, of course, not only musicians but producers and recorders of music in their own right, they have their own studios. It’s interesting at this stage of their career they areÂ so open to letting others have an increasing influence on their music whether it be using additional producers or mixers.
They’ve made a lot of records and I can understand exactly that. They’ve probably reached a point where they’re real happy with what they do technically, but maybe they want the final thing to be a step beyond that. There are certain things if you want to get a lot of low-end clarity, but you don’t want it too clear, you want things to be messed up but exist in the hi-fi world – it’s not always an easy thing. Sometimes it just happens and it’s cool. More times than not you’ve got to choose the things that are low-fi and that are hi-fi and the things that work for excitement and size. You want to get level on the record – labels like level [laughs]. I do too.
They are probably happy to do it [let others produce/mix] because it gives them more time to concentrate on the recording and their music. They can concentrate on arrangements an being more experimental. the over dubs on this record [Brothers] are some great stuff. There’s harpischord and there’s vibes, all sorts of different types of guitars – there’s so many different types of sounds. I think they’ve felt a little bit more freedom.
With Blakroc and Brothers, from what I understand of the recording process, there was a desire to captured what occurred in some specific rooms at a specific time. With your mix, are you trying to draw out certain elements, correct some, or accentuate other aspects of that recording environment?
No, you’d be messing with the soul of the band if you were to try and correct stuff. There’s some music and some artists that require that because of what their goal is with their music, and they want that and they ask for it. I never thought of that for this group. For me it was hearing what they recorded and I wanted to make it bigger. If you listen to the original recordings [for Brothers], they’re really cool, but they sound like older records. My feeling is there are so many great old records, if you go and listen to some old RnB records. I don’t think it’s a valid thing to copy that, it’s great to have a tip of the hat, but then try and make it your own. It could be as simple as having your record sound like like an old RnB record but add a big subbie bass drum like a hip hop record. Just that one thing could be enough for me to go you’ve got two worlds here that are real high contrast because you wouldn’t necessarily get that on an RnB record. I like that. This for me is what this record was about. Really trying to make it more expansive in some ways.
Can you talk about some of those techniques then, specifically on ‘Brothers’?
‘Everlasting Light’ is a good example because they wanted the glam thing. Having the drums put through a wide delay so its an exaggeration of what you might hear on a T Rex record. Some of the bass drum tracks I could actually add some samples from drums that I’ve recorded over the years. Some cool bass drums that I like. Some of the things I used the most are the things that filtered the low-end of the bass drums because I’ve got some pretty low subs. Its an old Remo kick drum that I used to use with my old partner Mitchell [Froom]. We used to use it on all these old records that we did. You take off the mid-range of that drum and its got this beautiful low sub, it sounds almost like an 808 drum machine bass drum or an old 606 Roland drum machine. I used a lot of that on these tracks just to add to the bass drum that they had.
Some songs have reverb, which I don’t usually use. It’s spring reverb. There’s some some songs with this cool, almost reggae thing, or an RnB thing, which just sounded right with some of the voices and the reverb.
I don’t think about this stuff. I try to mix like they play. You come in, you hear something, you go, ‘let’s jam it out’. What happens, happens. You kind of work on it after that. It’s not something that you analyse as you are doing it. You hit a button, that’s good, move on, hit a button, ok, go back to the first button and adjust that and after an hour you’ve got something to listen to and go OK I like this direction.
‘Brothers’ corresponded with me getting a new plug-in [for Pro Tools] called ‘The Decapitator’. It was in beta version so it was kinda tricky to use because it was changing all the time. It was a really inspiring plug-in. It’s a kind of saturated plug-in, its meant to mimic the electronics of these different machines, these old analogue machines. I can’t tell you if it does those things or not – I just hear something and if I like it I use it. This just sounded so good.Â For years I’ve been using a Tech 21 “Sans Amp”, one of the main things I use for changing the sound of things. It add low-end, or you can filter the low-end out, you can flip the phase to get an octave below on a bass drum. So between filtering, EQ, distortion, and flipping phase, there’s so much you can do with the Sans Amp. Whether it’s with the plug-in or the pedal, both are great. I’ve been using that for 20 years now. ‘The Decapitator’ is the first thing that’s come along that’s inspired me as much as the Sans Amp has inspired me. It hasn’t made me give up the Sans Amp, I still use that a lot, but I can now have two tools which is great. I can get two completely different sounds and they compliment each other brilliantly. The guys [Dan and Pat] were like ‘Can we get more more!’. It’s probably on every song. It became almost my EQ of choice.
For some trying to listen in to the record, can you pick the effects created by ‘The Decapitator’ out?
There’s going to some going to be songs you can pick it out. It’s hard to discern what’s what. Say, on the drums they supplied me with there may be some distortion because they record like that. Their drums might have some real scrappy or low-end distorton on it, but I’ll wanna alter that a little bit to get a bit of a wider sound, or bigger sound top to bottom, with ‘The Decapitator’ you can do that and really extend the low-end and fizz up the high-end even more so. I couldn’t tell you which component that is on a song like ‘Howling For You’ but it’s on there. A lot of the big low-end you might hear on some ofÂ the drums is enhanced by ‘The Decapitator’.
And what about the guitar sounds?
Maybe my job on this album was to bring the drums out more. The guitar sounds great, as well as the vocal. They record some of the vocals distorted, some aren’t – that’s them.
I think there’s only a few things I’ve distorted more than they sent me. Just to get more of a contrasty to a solo guitar that was on there. there might have been a few things but I don’t remember things like that. Bass guitarsÂ I think I might have gotten those a bit bigger and distorted in places. There’s some songs they sent me which were incredibly distorted already, I didn’t do anything. It was different on every song – there’s no real template for any of this.
How many versions or mixes did you do before Dan and Pat were happy? It seems like a long time between recording [August 2009] and it was mixed and finished for release.
It took about 15 actual days to mix [Brothers]. We did 19 mixes, 19 songs, or something. Maybe it was more than that. They re-did a couple of songs, completely changed them. I started a little bit timid with them and they said ‘No, do what you want, take it out’. We got to a point where I found out it was OK for me to really push the boundaries with things. At that point I think we knew what we all wanted and we were all on the same page which made it easier. They had also decided to record more songs. So we started before Christmas  and then I didn’t get new stuff until half-way through January I think.