Phil Beaudreau

Used on the trumpet for Justin Bieber's "Love Yourself", as stated by Purpose mix engineers Josh Gudwin and Andrew Wuepper in this May 2016 Sound on Sound interview about the mixing of the title track and others.

“I didn’t want to add much to the session, but I did continue working on it until it felt right to me. I wanted to maintain the fact that the arrangement is very bare, yet also add small things to make it sound fuller than it is. These small additions are like ear treats. When Phil came in to play his trumpet, I recorded him sitting in a chair, with a Royer mic right underneath and just a Neve pre, and no compression. Right after cutting it, I immediately worked on the sound. I put a reverse reverb on it, and a UAD MXR flanger and a delay. The ‘Audio 1’ track has a trumpet loop that I made, a texture thing on which I had the UAD SPL Vitalizer."

According to the official microphone list of Record Plant, where "Love Yourself" was recorded, the only Royer microphones are two R-121s.

Used on the trumpet for Justin Bieber's "Love Yourself", as stated by Purpose mix engineers Josh Gudwin and Andrew Wuepper in this May 2016 Sound on Sound interview about the mixing of the title track and others.

“I didn’t want to add much to the session, but I did continue working on it until it felt right to me. I wanted to maintain the fact that the arrangement is very bare, yet also add small things to make it sound fuller than it is. These small additions are like ear treats. When Phil came in to play his trumpet, I recorded him sitting in a chair, with a Royer mic right underneath and just a Neve pre, and no compression. Right after cutting it, I immediately worked on the sound. I put a reverse reverb on it, and a UAD MXR flanger and a delay. The ‘Audio 1’ track has a trumpet loop that I made, a texture thing on which I had the UAD SPL Vitalizer."

Used on the trumpet for Justin Bieber's "Love Yourself", as stated by Purpose mix engineers Josh Gudwin and Andrew Wuepper in this May 2016 Sound on Sound interview about the mixing of the title track and others.

“I didn’t want to add much to the session, but I did continue working on it until it felt right to me. I wanted to maintain the fact that the arrangement is very bare, yet also add small things to make it sound fuller than it is. These small additions are like ear treats. When Phil came in to play his trumpet, I recorded him sitting in a chair, with a Royer mic right underneath and just a Neve pre, and no compression. Right after cutting it, I immediately worked on the sound. I put a reverse reverb on it, and a UAD MXR flanger and a delay. The ‘Audio 1’ track has a trumpet loop that I made, a texture thing on which I had the UAD SPL Vitalizer."