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So young
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Snares
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Now
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This is one common thing that
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Kind of drives me nuts about EDM in general but it works for the most part
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But
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The way that this is setup is as I'm moving my cursor here it's it's highlighting
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To a grade of
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Strict even though
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So
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This is
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1B that's you know to be as this is
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Hobart
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And everything is all very
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Quantized meaning that it
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It's going to lock right there
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One mistake I hear in EDM is you know
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Aldi's pre transients don't go through because
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Everything if you zoom in
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You know is being
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Triggered
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Like
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I'm like
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In
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Sample land right here meaning like
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The time scale is
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You know moving it from here to here is is not noticeable at all
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But as you can see everything is is perfectly locked to the thing now
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So I hear a lot of
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Out wall that makes
31
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Sound all right to some people
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It's just to bang on to me while at least for the snare the kick it doesn't really matter the kit can be like
33
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Mukbang on and all that stuff and that's great but you
34
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The rule for me is
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This is basically no
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The cake is the log track
37
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And then everything else can kind of go back
38
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Can for between the
39
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So now if I want to bring that transient
40
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Out on a snare a bit what'll end up doing is is taking that snare
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Maybe I'll just reduce this clip so that the snare only plays once
42
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And then
43
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What I do is I dragged that snare
44
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Just a little bit earlier than it should
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Now you're going to notice as I start to do this
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You're going to hear
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A different sound
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Too far out you're going to get it you know where it's at a time
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If you find a spot halfway in between
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You're actually going to get a different sound than you would if it was locked in because you're hearing a little bit
51
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The snare before the kick
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And you know there is
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Bottom end some in some cases and
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Low-end and mid-range frequencies in a snare drum
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Kick isn't exclusively low-end in Ennis
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Snare isn't top
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Typically like midden high it's all frequencies are all over the place
58
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So if I put this one back to
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You'll hear the difference between this section
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I was just going to be read right answer wrong way I guess
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I would
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MN
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If I play this other one
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You get a different sound
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So if you know that that's something you got to go into detail in and get really fit
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Finicky about nail experiment within your times
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And the same applies for like say the top end of a keg
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Delaying it you know like I can go in and you know one end and moving knowledge this way and that way on the timeline
69
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But there are other ways around it to like cellphone
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Now you hear the top way out of
71
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Time because it's negative 600 samples playing earlier or something like that
72
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But Ableton
73
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Do sit up a lot because of the latency the plugins and Deuce and all that stuff too so
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That's a whole nother
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World of problems if called PVC plug-in delay compensation meaning
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The heavier the process of the plug-in the more time
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It takes for the audio tube route into a get processed
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And come out so dull Azar induce because of that so
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What does try to do is compensate for that delay in
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More often than not to get so messy when you start having a whole bunch of different plugins doing
81
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Something so it's always best
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To just kind of move
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Anyway I find
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So
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We had it
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Pretty good right there
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And that's just
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2 out of whack there so that's fine so we'll keep that
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Will get rid of that
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The bad demo day
91
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Now another thing when shaping stuff
92
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Is
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So see you put a there's a lot of dead
94
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Space in in here there's not a whole lot of air or anything like that so I'm
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I tender you know
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Apply some kind of like you know like if that's near was coming out of a drum machine is going to be some ground left or something like that that's like
97
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You're filling up a little bit of that space or just are
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Dirt
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Stuff like that so
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For demo sake let's let's throw a big ugly Reverb on that snare
101
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So we're going to get something like that but
102
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Again you have this problem that the Reverb is in
103
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Really breathing or pumping with the rest of the tracks so
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I would add you know a compressor at the end of that
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Sidechain it from the
106
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From the
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Bottom kick which is that one
108
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And then as I bring the threshold down while give it like no ratio 10 to one with
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You know
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Really quick release and almost nil attack
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Now I start to bring the threshold down
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You hear
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You see that needle pumping up that's actually the game reduction happening coming from that
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Text
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So you're getting
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I'm more of a
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A pumping effect as opposed of it sitting on top of everything and just being in the way
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So you're going to get
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More that none of course you can go back and
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Baby changer
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Kate I'm on the Reverb to really hear it but
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You want something like that basically it is you know the kind of compressed something's now you can pick and choose a
123
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What you want to do that too I'm not saying you should put
124
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Side chains on everything because you really should
125
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But you know be very choosy about what elements you know you're going to squash like that and whatnot
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Now another thing I tend to do to is like I'll duplicate that channel
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Pick a different sample
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Sure why not
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And then maybe I'll take the Reverb out
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That one
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I'll keep the compressor on
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You know and then if I find that all that
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Got too much glow mid in it you know
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In that case I would take
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EQ
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Some of that out and you can see the frequencies that I'm cutting out
137
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That's just for this EQ course
138
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Ali neq isn't qzunique you you're going to have different flavors different styles
139
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And different process
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More less than
141
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Fundamentally the same
142
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So now I have these two snares playing at the same time
143
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Now for a little stereo Imaging I could add an extra one as many as you want just as long as they're mixed right
144
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It looks
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Not do that
146
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What I do want to do those come debut
147
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Just see how the sound spread
148
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A little laugh
149
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This guy little little right now I can't hear the image but
150
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I'm sure it's pretty wide
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Balancing all that kind of stuff
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Keeping in mind that on top of all this
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I have a transient designer that's
154
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You know, taken everything and then
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And then it's all going into a compressor that's like really freaking out
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Wonder why
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Whatever
158
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The drums in snow cone were kind of a different case
159
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So what I have here is
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I would have been really terrible naming my stuff so
161
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What you're listening to his the group of this
162
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And this was a a percussive group and then outside of that
163
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So if I break this down
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These are little
165
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Snippets of some shaker
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And this is just some
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Dirt noise
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That was where I don't know where I got that recording
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Generally the drums from snow cone
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Shaker stuff not going to combine all these elements II
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This with all little cut-up
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Bits
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Of a of a vintage drum loop I just
174
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Found some Libor and if you could see here
175
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What I've done is that I've cut in certain parts out of it so the orange dictates your amplitude level of that Loop
176
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So only the orange
177
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Bits are playing so I've skip the whole
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Lot of it
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So if I actually
180
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Play the whole Loop
181
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The original sample was actually
182
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He said I shouldn't be showing this
183
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Totally get sued for that what is that
184
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Birds and donuts I don't know but I know that Luke and it's it's not mine I didn't make
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But
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My-oh-my One-Shot drums which are just basically all just one shot adios
187
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Where this
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Secure act like that
189
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Ride cymbal there at the end of every 4 so that would be like in the bells and whistles
190
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Like I could break all this stuff down
191
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Barebones stop and then all this stuff is kind of a
192
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Dirt stuff in air
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Kind of sounds that adds the compression
194
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Irr get compressed and then just kind of adds to the Lube so as I start sit
195
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That kind of stuff and then we throwing a shaker
196
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And then the loop which is just a kick in the snare but you would never know
197
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Unless
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But
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Itsfunneh
200
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You know part of the creator
201
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Creative sampling as far as I'm concerned if you noticed or not
202
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Not ripping off someone else's
203
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I don't know still gray area because it's like
204
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Interview Pharrell right
205
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I mean
206
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To get a sound and inbred and in manipulated such a way I mean
207
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Where do you draw the line legally on
208
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But all that stuff is just all
209
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All being you know kind of mixed and matched together in such a way that you know
210
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Sounds
211
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Different on
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Same with that is you got to hear the ducting effect on that kick
213
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So at the end so let's see here it's 12345
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6
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789
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10
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1010 elements to compose those drums and then it's the
218
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If you could see here is like I only have the kick and then I bring in that symbol that I bring in the Shaker it's all
219
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Additive
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And subtractive kind of thing
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Is so
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Essentially the whole drum track is is right here
223
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And then what I've done this when I've started to arrange the track is just basically take
224
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Very minimal parts of it
225
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And then halfway through the track you know more elements are being introduced
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And enforce the end
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Then comes out
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Diamond that that's the drums for snow cone in a nutshell really
16598
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