Lukas Flott

Song: All I Need (Jacob Collier)

The song „All I Need“ by Jacob Collier is a medium disco-ish influenced R&B-Funk-Pop Song featuring Mahalia and Ty Dolla $ign.

In this article I will analyze the song by listening to it and zooming into the spots that trigger some sort of emotional response in me and by using Jacob Colliers Youtube video called LOGIC SESSION BREAKDOWN: „All I Need (with Mahalia & Ty Dolla $ign)“ as a reference and validation for my findings. For the purpose of making my analysis easier to read I will mark important keywords that correlate to used techniques in blue and the effect it has on me in orange.

These moments in the song stood out to me:

031) 0:01

→ Layered sounds (Logic mellotron + Keyscape Toy Piano + Retrosynth mellow brass) with high and low cut + RC20 plugin and LFO-Tool on it
→ organic, unique and interesting sound/texture

032) 0:10

→ Slapbass (Trilian: Hardcore Funk Slide Down) entering with a lot of volume and high frequencies contrasts the previous sound
→ contrast, surprise as a statement

033) 0:20

→ Call and response vocal lines in between phrases („there must be something…“, „hello“)
→ feels conversational, alive

034) 0:25

→ Backings („The way that…“) in low register harmony with low cut
→ creates a warm texture but without distracting from the lead vocal

035) 0:34

→ Kicks without pad/backings/synth
→ contrasts the dense arrangement, sounds empty

036) 0:44

→ Backings: harmony without lead voice leading into verse two
→ opens up the sound

037) 0:48

→ Backings: Male voice doubles female lead an octave lower
→ makes a higher, thinner voice feel strong and supported

038) 0:57

→ Bells in background
→ gives an „airy“, open feel

039) 1:19

→ rhythmical synth (Omnisphere: Prince Combo Comp Brite) sidechained to kickdrum, doubled by vocals with two different LFO shapes layered
→ disco-like, makes me want to dance, „razor-clean“ rhythmical sound

040)1:20

→ synth bass playing syncopated transitions between bass notes + side chained to kick by LFO-Tool
→ drives the groove forward, creates movement, energy

041) 1:20

→ Three different snare sounds layered, no reverb
→ sounds snappy, interesting texture

042) 1:37

→ thick vocal harmonies with chromatic voice leading as transition between chorus and verse (different energy levels)
→ makes me feel lost, like falling into the next part

043) 2:05

→vocal pyramids, chimes, „ahh“-sound create different sound layers
→ feels like a lot is going on, unexpected and interesting sounds in a dense mix

044) 2:15

→ modulation to a different tuning (b-half sharp)
→ throws me into a different universe, lifts energy

045) 2:25

→ backings: very high vocal note, octave jump upwards
→ creates euphoric atmosphere

046) 2:40

→ high synth note
→ creates euphoria in me, makes the atmosphere glow

047) 2:57

→ fast changing harmony with chromatic voice leading followed by simple, diatonic, slow moving harmony
→ feels like falling/losing orientation and then being caught again

Because the song has so many different backing vocals with various different functions I tried to analyze them by categorizing them only by listening in the context of the whole mix:

Use of vocals:

– Lead vocal mostly dry sound without reverb, presence changes many times throughout the song
– Backings sound mostly natural (no reverb, no high cut), variety through vocal technique, diverse functions and different types of backing vocals keeps the colorful arrangement always interesting and unpredictable
– still an excessive use of backings supporting lead and answer phrases is noticeable
– voice used to create special effects (kissing, screaming, breathing) makes the song feel human and natural

General remarks:

– Sounds are often either layered and heavily processed to create new textures or rather natural like most of the vocals
– The song is more like a collage of a broad variety of sounds surrounding a song (e.g. gongs, bells, synths, bubbles, strange and unusual voice sounds, vinyl crackle)rather than a „band in a room“ performing


→ Arrangement: strong use of contrasts in various dimensions (full-empty, frequencies, harmonic density) adds an element of surprise and keeps the listener involved

Song: Monster (Jamie Cullum)

The song „Monster“ by Jamie Cullum is a slow and heavy alternative pop tune.

In this article I will analyze the song by listening to it and zooming into the spots that trigger some sort of emotional response in me. For the purpose of making my analysis easier to read I will mark important keywords that correlate to used techniques in blue and the effect it has on me in orange.

These moments in the song stood out to me:

016) 0:01

→ Wurlitzer has a lot of saturation, hard compressed, brings out noise and details
→ feels analog, close, human

017) 0:29

→ Saturation on the voice, especially noticeable in high register
→ feels warm and energetic

018) 0:31

→ Organ enters softly and with little high frequencies
→ creates atmosphere, hardly hearable but you can feel it

019) 0:46

→ backing vocals as an echo of the main voice (harmonies+lyrics+reverb)
→ creates feeling that you are not alone, stresses the words „so sweet“ (sounding „sweet“)

020) 1:09

→ automated organ swell up
→ creates movement, leading into next part

021) 1:11

→ Drums are very upfront, very little reverb, no high frequencies
→ Drums sound absolutely „dead“ like recorded in a bedroom

022) 1:11 – 1:41

→ Backings singing „ohh“ as a pad sound, a lot of sound processing (formant shift, no high frequencies, sidechained to kick drum), getting louder in the second part of the verse
→ creates a dark, gritty, unnatural, swelling and moving atmosphere(sounding like a monster slowly approaching)

023) 1:42

→ Backings singing lyrics harmonizing important words
→ open up the sound, feels freeing

024) 1:42

→ horns in low register come in for the refrain
→ feels powerful and dense

025) 2:20

→ backings sing „ahh“ in high register as a pad, doubled by horns in low register
→ opens up the sound once more and lifts its energy even more (supporting the words „make a lot of noise“)

026) 2:36

→ main voice no reverb at all, highly compressed, a lot of saturation and distortion with only piano (instead of wurlitzer) accompaniment
→ creates a drastic cut in the setting pulling you in from the high energy of the refrain to a very intimate and close feeling situation like he is whispering in your ear, arms-like

027) 2:53

→ again full band for the final finale of the song
→ contrasts the intimate part before

028) 3:13

→backings sing contrasting line leading upwards towards the last refrain, trumpets also play a different upwards leading line into the final refrain
→ creates maximum pull and energy towards the final refrain

029) 3:18

→ trumpet in high register in the final refrain
→ sounds epic and energetic

030) 3:32

→ vocals are again very close and saturated and compressed
→ song ends as intimate as it started (conversational to the listener „I just wanna hear it singing back to me“)

General remarks:

– Voice has a lot of distortion on low frequencies, a lot of compression, moves between intimate (close) sound and being buried in the dense mix
– Natural drums are heavily produced with saturation, extremely few high frequencies (sound „dead“)
– Backing vocals: serve different functions, following the meaning of the lyrics
– Bass is not standing out, feeling more as a sub than having character
– Brass supports vocals or serves same function as backings
– Reverb used sparsely

– General mix has distortion on low frequencies (hard distortion, low mix)

→ Arrangement: nothing goes through and sounds change with the energy, the song goes through different settings varying drastically in energy, intimacy and sounds, the music often clearly supports the meaning of the lyrics/song

Song: Mankind (Jamie Cullum)

The song „Mankind“ by Jamie Cullum is an energetic and uplifting medium-slow backbeat gospel tune.

In this article I will analyze the song by listening to it and zooming into the spots that trigger some sort of emotional response in me. For the purpose of making my analysis easier to read I will mark important keywords that correlate to used techniques in blue and the effect it has on me in orange.

These moments in the song stood out to me:

001) 0:01 – 0:06

→ Short, rhythmical beginning with only Wurlitzer and Snare (backbeat), reverb covers the silence in-between
→ keeps my interest and attention despite simple and sparse beginning

002) 0:06

→ When bass drum enters the snare gets more layers, reverb only on brightest sample, deliberate use of reverb
→ allows for clarity while having a dense and full and energetic sound

003) 0:06

→ Bassdrum is quite loud and has a lot of distortion on low frequencies
→ Bassdrum sounds warm and has a lot of energy

004) 0:06

→ Drums sound is highly produced (heavy compression, gated reverb with high pre-delay)
→ drums feel „upfront“ and full which gives it a lot of energy

005) 0:36

→ guitar plays little answer fills between vocal lines
→ creates movement and conversational feeling

006) 0:48

→ Backings in pre-chorus singing lyrics, harmonized in high register (chords)
→ opens up/brightens up the sounds, gives it new dimension

007) 0:49

→ Hihat sounds dead (no reverb on cymbals)
→ creates a warm, intimate lofi-like feeling, bedroom-studio-like

008) 0:50

→ bass plays rhythmical on bassdrum hits (like common in dance music)
→ lifts the tune on another energetic level

009) 1:11

→ guitar plays little answer fills between vocal lines
→ creates movement and conversational feeling

010) 2:17

→ real world wind sample as background
→ feels organic and human

011) 2:17

→ backings singing „ooh“ as chords in high register
→ adds to the „windy“, angelic feeling in the bridge

012) 2:33

→ filtersweep in background drone (wind) to end the part
→ pulls the energy down

013) 2:34 – 2:50

→ no reverb on vocals, highly compressed but sung softly, whispering
→ very intimate, „asmr“-like

014) 2:39

→ drum sound switches to analog samples (Roland 808)
→ playful, changes mood, pulls you into a different setting

015) 2:59

→ vocals have a lot of distortion
→ gives presence and energy

General remarks:

– Voice sound develops throughout the song: Slapback/gated reverb → dry sound → distortion
– Natural drums are heavily produced with saturation, instrument change to 808 and back
– Backing vocals: only in pre chorus rhythmical harmonies with lyrics, bridge as pad, after bridge whispering
– Bass comes in after verse 1 and drops out for the bridge and the asmr-part
– Reverb used consciously and treated like an own instrument

– Voice and drums have distortion on low frequencies (hard distortion, low mix)

→ Arrangement: nothing goes through and sounds within the instruments themselves change

Lukas Flott Research

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