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Hi, I'm Jack Antonoff.

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I'm here with Mix With The Masters
at Rue Boyer Studios,

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and this is how I made "King"
by Florence and the Machine.

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If you add
that low piano,

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you essentially have three instruments
covering this entire feel.

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Low end, it's a place to explore
and it's actually, in my opinion,

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often the most important place
to explore that is often

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the least encouraged
place to explore.

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The louder things are the less
I want to compress them

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because they're
already loud.

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I think compression
on heavily-played things,

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it's almost like saying, something smart
and then yelling it.

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It's like you just ruined
the interesting thing you were saying,

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you pushed
it too far.

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Whereas compression on a very quiet thing,
like I'm talking like this in the room,

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and then someone's
whispering to their friend,

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I wish I could hear
that super loud

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and then put the two
things together.

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And that's essentially...

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that very uncompressed drum.

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And then same time
this is happening.

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I'm barely touching it,
but it's beating to hell.

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If I were to draw you and
it looked exactly like a photograph,

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you would be like, "Oh my God,
you're so talented. Wow."

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But you wouldn't
be touched.

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You think about Picasso, where he
draws you and your eyes are over here

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and your mouth's over here,
and it's a line drawing

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and it's more important than
a perfect image of the photograph.

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Recording
is just like that,

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if you hear something
in the room, you want to record it

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and capture this quality in it
that is bigger than the sound of it,

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the soul of it.

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If you capture the perfect sound
of it, then you're just

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the best recording
engineer of all time,

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but there's actually something
more important, which is feeling.