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Basically
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2 things you need
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To have a professional sounding track is
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1 is
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The music has to be right now you know your Melody structure has to be on point in that
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On top of that you know the engineering side pasta
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We done right
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That's kind of something that's like
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Really rare in this industry is to have you know a guy who can
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Do off
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I I do it because you know I've I've spent 50% of my time learning how to mix
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Send how to how to
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Do this tonight you know to treat audio in such a way to get it you don't print ready
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And there are other guys who just didn't bother learning any of that stuff
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And that's there's nothing wrong with that if you're a musician Tina was like I'm audio engineer
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I'm debating the Indian case of electronic music
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You tend to have to have
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To be both
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A big
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Full track lots of variation I think would probably consist of maybe 62
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70
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Individual components possibly more in pain sometimes last
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But the way that they get
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Route it is like ass before so here I have a drum group rights this ultimately the only becomes one
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Track but I-81 track that's composed of all these different
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Components
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Like no your character snare your ride and
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Other ride
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It all feeds into this one channel so that could ultimately be one track
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Confession consisted all these other stuff
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I generally have like you don't drums bass and synths and some other
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Miscellaneous channels are kind of like my groups
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And then those subgroups get all mashed together and then summed
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And sent to the master Channel
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Which is
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Young this guy down here but on another dog might be a channel strip over here but it's all
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The same workflow
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Will mixing is kind of you know roughly done
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You know as you start your your your your mixing you know because if you just start making a melanin you put in a drum
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You can immediately know if the kick is too louder to f****** quiet so you just pull it down a bit so I should start to add Elementary
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Mixing right then and there because you're like oh I put in the Shaker and it's like
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In like a f*** you mean you're pulling it down
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That's missing
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Mixing it in at a
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Comfortable ear balling it as I say inside the level it should be at and then
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Keeping an eye on your master before you put any mastering stuff on it to make sure you have enough Headroom
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Or that maximization and limiting and cooing and all that stuff in and the general
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Rule of thumb ms-60b so
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So don't
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Don't put a Kick Drum in and then and then turn the kick drum up just so it's like just barely hitting zero you don't want that you wanted
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-6
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Stevie and then
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Everything else because that's how most of these plugins work is they'll take a maximum audio signal
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Generally around like you do -6 and then
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Do what he needs to do and it'll
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It'll plus it a bit you know what I mean but because you had negative 6 on your master you have that Headroom to work within
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You're not clipping right off the bat
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It's just listening to make sure you're not distorting the crap out of some of these
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Plugins
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Overloading stopping in and I'm passing that off as all the bull that's a cool sound it's not
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You not knowing how to use s*** is not act
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Really cool it's just
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You don't have to put a channel stripper and EQ on every track I mean it's it's cool to do it just
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Yeah in case you want to go in
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Goodbye
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Sometimes you don't have to like some sense like really just
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Producer really bright sound that
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Imany
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Sometimes too bright that you want to knock
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It down a bit or or if it's just bright enough like in terms of like no the top-end frequency like the
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The Shimmer of it is
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Is just there and it was recorded that way you might not have to touch it you know
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Okay sweetie here's one I whipped up the other night
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And
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What
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Kind of the parts that are
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In here are like I wanted this really big
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Sandflair Batman
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You don't having a lot of sense going on and you can't all have
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Bees no
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It sounds that are like really
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Broad
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In the in the Spectrum meaning you baby all have a lot of low and they all have a lot of Diana mid
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Otherwise you just stacking on crapping
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Creating a lot of volume
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Not really making anything and makes it
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Sansa
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So I have no it sounds like $0.01 but it's actually a whole lot
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You get rid of this
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So here on one of these
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I have this one because it was really bright I didn't really have to do too much to the top and I mean I could
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Ugly and annoying and I thought it was fun so
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But what I did do is I cut the low out
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To make room for other loso
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If I
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Soledad and then take the EQ off your hearing some midlow mid frequencies in there
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And that I didn't want because
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This is also producing some of that mid
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And that's producing some more meds
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I'm in
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This is handling the sub
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So if I had
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That playing with that with the
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EQ off if you're kind of losing a bit of the care
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Character of Abyss Moog sound here
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Because
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You know that
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Low mid to Vicente sky
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Conflicting with that so
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That be one case where I
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Yum
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Kind of pipe acid
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Tibet in
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I cut some of the low out
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And then and then it's just stacking but stacking in a way that it's
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You know you put the thing in and it made might be intrusive at first but then it's going in any queuing and shaping I think
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Compressing until you know it either doesn't mean if it's just the wrong sound
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Get rid of it
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Yeah so it creates of a full-bodied sound like multiple different sense but without any of them really like
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Fighting over each other
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The leaves like lead since they usually are
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Monophonic voices and meaning that you're only going to have one voice playing at a time that's kind of
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Carrying something through the track but you don't
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Want it sounding like a
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Sitting on top of everything but you do and innocence of the
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That's what it is and that's what it does but you do want it to be ducked a bit so that's sitting more in the mix
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Supposed to just
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Something you laid on top of it
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So here we have a
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So there is no
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The thing I did here with this scent is that I
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I kind of cut out some of the low-end and then and then just a tiny bit of the
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Poppin cuz was a little too harsh
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But
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Cutting out the low end
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Gets rid of a lot of
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You know a lot of this junk that's like
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Saab
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They don't need
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But now to get it to sound in the mix which is like coming in here
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Is this compressor right here
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Now if I bypass this compressor
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You know there's still a little bit of limiting going on in my master but if I disable it
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And then turn the whole thing up
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Sitting on top of everything but with a compressor
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It's going to duck it out on the kick
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She can actually see that the volume gain reduction on the kicks
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So I'm taking a key from a key input off
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Tech
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Squashing it down so that way they still punch through on like with this since that it's not like
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Too intrusive
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Free VMware the type of music I make or I I find myself making
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Almost every channel wood
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Would ultimately have a compressor at the end of it
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Whether it's compressing itself
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The or it's it's being side chained by the Kik
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Being compressed by the Kik
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Kicking this
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Amer
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Actually I'm because you don't
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You mean you want your snare to punch through to that just means
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Cake ears
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Duck everything else down
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As long as there's a compressor
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The end of every channel or at the
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Top root of a group level like this
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Then you should
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Be okay with that
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Okay here I would have done it because there is
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Whole bunch of Base stuff going on that
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Actually different sins
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Not one cent coin
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Baseline
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Joshua
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A couple of them
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EBay scrapright Napoli names
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Okay
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So I think I have
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2
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The three or four since basically playing the bass stuff and then what
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The Happening
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Is all these basenotes
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And since
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Are going into this channel
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What I'm doing this is because I had these
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Two different sounds
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They're both producing an enemy sound
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Limited right there
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Well there's actually two things going on when is limiter then some bass enhancement and then and now iPhone
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What a compressor does
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Delimiter if I take the
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Lalla photo alarm
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You can hear the limiter going but if I take the limiter on
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You know it's a little
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Imbalance between the two sensor that that that person noticed way louder in the other one's a little more quieter
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So what's happening is it's knocking down the louder one and it's bringing up
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Allowing more breathing room for the quieter one so it's making a very
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Unified signal so if you
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Actually see it on a Vu meter
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I'll give it another limiter that displays it but I won't put any limiting
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Actually see the
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So there's no this
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This plugin isn't doing anything you see how uniform that signal is
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Now if I take that limiter off
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It's all over the f****** place
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So
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You know you can't really have that when you're trying to mix it all but
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So what limiter does is it limits the signal to that DB
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Which is -11 wishes
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Exactly where it needs to be and it didn't pins everything at that frequency which is a very consistent basis
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Sandwiches what I want
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Now
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What the elephone tool is going to do so now if I
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This is adding
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This
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Now this is bypassing or enabling the the max space which actually should have went before the limiter
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I f*** that up
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I should have done that actually
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Now I have to remaster and re-releases track whoops
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Yeah anyway okay
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Cinemax Spacemen the limiter to the limiter those last thing you want to do but then I go into this thing to salifu Tool
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Now you're going to hear this
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The signal pump a bit so if I go and put my monitoring tool right after
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You'll see it ramp up and down
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And and what that's doing
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Is every time that that that is lowest you should probably be hearing a Kik right there
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And the LFO tool is is doing that
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Simply just buy
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She's batshit translate perfectly to the amount of docking what do you know
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So what's happening here is this a changing the amplitude of the signal coming in
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And in creating a bow compression
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Which is one way that you can do with a normal compressor to
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I'm so now when I throw my chicken
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It's almost like the wrist sound completely different even though it's not it's nothing has
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I just inserted a kid
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So you can have different and interesting Dynamic to but if I take that LFO tool out now
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There's a lot of conflicting b******* going on in there so if you know just as space things out that's
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One example of where you'd want it you know
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Have multiple sources going into one limiter and then putting a Max Base processor
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Or
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The f****** limiter
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And then going into like
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Compressors
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Or
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Handy dandy
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For things like that
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LFO tool it's just a
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A cheeky way to
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Get away with
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Sidechaining without a key input because it's just using
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I know I saw a low-frequency oscillation which just means it's going to cycle every be
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And it's going to duck at those points
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So as I adjust that Gap that's the Gap where we don't want to hear the audio as much
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And then this would be the attack time
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So this is just a
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If this does exactly what a compressor does except with no key employed and it doesn't use any fft or
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It's not looking at any audio signal
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Just
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Saying I want the volume to pump in and out
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Which for dance music and
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You should like that is absolutely
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Totally better than using a
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Compressor because
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Compressors traditionally
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Work off of like okay so you want you want to compress a bass guitar against
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The guy like an actual Kick Drum
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Well every time he hits that
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Drum that kick drum sound
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Is going to be
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Even if
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Thank f****** drama every time he hits at the acoustic properties of a drum will not produce
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The same kick that
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A sampler in a computer will
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A sampler will do a one-to-one copy of exactly
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Down to the
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To the Millicent
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Like that the the little samples like everything will be up
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141
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Perfect
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Digital copy whereas a kick drum isn't so
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If you're using an acoustic
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Type
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You know pig or like from a kick drummer
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Starting on a desk
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Asker or anything like that
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That's when you'd want to use a compressor like you know a hardware compressor or arms
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Peak compressor because those kicks changes so so the values sometimes change on the employed and then
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And the trigger gets triggered differently at higher levels or lower levels of velocity of the hit
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Even came to be and that's what they were designed to do because
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I'm sure whoever invented the compressor for the use of audio did not foresee
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Drummer being able to hit the drum in such a way that it sounded like I did Daniel every time
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Did it so they had to account
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For you know
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Look at hand
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And Pete detection in RMS and all and all that stuff so that's what these are all modeled after and that's what they're for
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So I don't
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Stand
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Debbie's dance guys are using them and say yeah you know this compressor it's like you know it's way better than the other one
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Look dude it's doing the exact same thing every time that drum heads because of the signal going into it so
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Using a niche
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Compressor or using a real
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SSL g-series compressor on a dance music kick
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Makes no fucken sense whatsoever you can do it
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But why
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I just
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00:17:28,063 --> 00:17:32,159
Use a an elephant shaper or something like that for that and because
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This will actually be more precise
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Because this does
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Sample accurately
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Everything
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The exact same way every time it hits is opposed to
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You know looking for pizza texting on stuff when only needs one drum
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So
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On on breakbeats or sampled things that have more than one catch on more if you have more than one
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I'm not saying never used
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On RMS or
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Repeat detection
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Compressor ever
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By all means use them because on
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On bass guitars and in some sense don't always
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Play the same note the same way
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I'm so that's when those things come into effect but when you're talking about you know using a side chain for a come
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Compressor that's when it gets a little
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Awkward for dance music
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It's 99.9 per cent know how
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And
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And then the rest is just
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Tools
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And and those tools like I like I said like these
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This pro-al
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Is the different flavor of
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00:18:38,975 --> 00:18:41,279
Basically what comes free with Ableton Live
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Which is this
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00:18:42,559 --> 00:18:47,935
Of course it's better quality it has inter sample peeking and all these little extra do. So you know what I mean it's like
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00:18:48,447 --> 00:18:51,775
The F20 versus the 488 you know what I mean
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It's they're both f****** Ferraris dude you know you going to
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Piss and moan because once 20 years older and 1/2 maybe turbos like you know
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It's um
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00:19:01,247 --> 00:19:03,807
This can all be done correctly you know with
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F****** minimal amount of software and even last Hardware
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00:19:08,415 --> 00:19:14,303
You just used once you start learning like that and that's exactly how I did is I started running with this basic
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Software then you know
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00:19:16,351 --> 00:19:22,495
What to look for when you want to get the hardware version of it then it's all about you no nuances and very minor detail
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Tell that your average listeners not going to listen to which is why you can have a f******
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Kid make a dance hit on a laptop
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And then
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You know
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00:19:31,967 --> 00:19:34,783
On the same level have a guy who's been doing it
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00:19:35,039 --> 00:19:37,599
15 years do it in a 2 million-dollar Studio
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And have it sound more or less the same
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The average listeners not going to notice the difference
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00:19:43,743 --> 00:19:45,535
This is now become my work
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00:19:46,303 --> 00:19:52,191
Thing a passion is opposed to a thing of you know like oh I need to get it done because if that was the f****** case dude
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00:19:52,703 --> 00:19:57,567
I'll be living on a private island using stock plugins and doing the exact same thing but
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00:19:57,823 --> 00:20:02,431
Because I like to do it I like to get my hands dirty and I like to experiment with new and different types
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Some things even though they all do the same
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Fundamentally
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Same s***
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00:20:07,039 --> 00:20:07,807
You know like so
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That's what that's all about
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