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I meant before I come
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I kind of right tracks like coheres
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Here's the full
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Here's the full track right here in the rest is all just
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Break down to that song know that
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If I master just this little section of audio is she pretty much translate well across the rest and sometimes I do that
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Not that way I can work on it
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And haven't sounded close to kind of what I want
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Do the arrangement and then Wednesday Arrangements done in all my audio
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Sources are in there in the facts and everything and I've got it the way I want then I'll go back to this master chain in
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And I'll start playing around with that and that'll be the last thing I do before
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I rendered the track out to stereo
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So what you're hearing is with my master on
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And now we're hearing is with it off now don't do first difference you can obviously notices that the volume has
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Significantly
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Because there's a lot of game stage and going on in here but
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I can walk through these one by one
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You just disable all these
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Back on
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Okay soda
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The first stop
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Thing that you're hearing here is that
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You know the stairs
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Taking out a lot more than it should have been that was because I adjust it after the mastering process
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The first thing here is just strip
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Modulo and then as I bypass that you're not really in here much of a difference because there's not really a whole lot going on down there
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Stripping out completely
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Perchance there was
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This is
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Just a stereo expander thing that I think I used on this track
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Which is this kind of like a
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Slight delay with a low pass and I-Pass on either side and then you know
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Expanding out the signal for a better stereo image of the overall
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But again it's
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It's super subtle
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Now the Ott does a little bit of lifting
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And what Ott stands for over the top
38
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I am this is a compressor written by Steve dude I which is basically a
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Freebandz compressor so you have your your low your maybe you're high
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I'm not exactly sure where he put those
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Crossovers at butt
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I would imagine you know MIT is around Young
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801k and then high is like on Cape blasin and everything
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Flowers like everything below 800
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Hertz
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Anyway
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Summit is it is operating downward compression on this and then here these are like kind of the threshold of this so
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If I took the mids in the
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The highs
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That's like a
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Call multiband Works basically the only
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Compressing the low right here by certain amount
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Are controlling the mid by a certain amount in controlling the high bias
54
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So here isn't just a good
55
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In the dep being threshold is only like 20% so it's like subtly affecting it if I crank that up
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Going to slam the hell out of it which is which could be cool for like a channel strip if you want some really snow
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Snappy
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Crunchy drums but
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It's not necessarily what I wanted in this project
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I just wanted a little bit of left
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Bellows
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Cuz they had a tighter threshold there in
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Admits in the highs and I think I took the highs up a little bit because
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Sparkling enough for me
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Then what I have here is
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Another multiband compressor which is kind of weird
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And then what I did here is just compressed one band because I felt like you know the sub was pumping up a bit
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Mineshafter tott
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Took it so I just tone it down there is opposed to turning it down there because it's just applying
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Further compression to it
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Men here I used a limiter now the limiters
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What's going to make all the difference in the world in terms of volume
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So the limiters going to take display like you know where all my peeps are getting slammed and how much lift is happening
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This is a pretty extreme
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Limiting going on right here but
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So it is
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That snare
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If you notice the snare hit you'll see it
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The difference that it pulls it down when that's their hit so if I had that limiter
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Coffee would be actually be the opposite of YouTube
81
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Too loud
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So actually basically use this
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Compressor to pull that down as opposed to pulling down the volume of that snare because I didn't want to interfere with anything the way
84
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But that bus require.
85
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That makes any sense
86
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Mmel to hear I don't even really use I put a threshold of light
87
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-2 DB what's coming out of the limiter before that is is probably
88
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Define
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But I just kind of use this as a safety and a 2 decibel gain reduction so I can see that the attenuation isn't is
90
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Gnarly on the output of this as it would be on on the filter here
91
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Basically what you're seeing is is
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This slider or this Biscayne reduction is is doing the same thing this thing is doing except this is doing it a lot
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Aggressively
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Pinnatus doing so that's like
95
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You know sometimes you peeking at like -10 DB this is this is
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Barely going to to
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And that's for the Hawaii
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Like do my master for this track
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I strike my master Chan all together and I just use
100
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Like a C4 something
101
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Probably get away with that
102
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Sc4 is part of a waves final kind of thing
103
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Now you can
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You know if you really wanted to sit here and tweak around with it you could probably get pretty close to the exact same result that I had
105
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With one plug in there
106
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So here I have all these I also need a limiter
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No one
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CarMax
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So now what am I going to do here it's just me and max out the level
110
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That in no way just because I am the volume I'm not going to get that same sound so actually if I take this
111
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Copy that and then or I shall group
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Aniline do it and I'll get my old master.
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Got there okay
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Group these racks and shut that off
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The difference is it's like
116
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I'm getting the same volume out of it I'm just turning everything up and that's nearest
117
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Doing the same thing here is it's being limited a bit
118
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But it's missing a lot of other things like stereo expansion the Ott that's handling listing some of the brightness of the track
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The difference between this
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And that is like Worlds Apart
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And that's because you know that the
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The processes that are all kind of doing one thing as opposed to trying to have this
123
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One thing that's going to do everything for you because there's not
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It's right it's going to be a combination of things
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So if I wanted it
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Bring my eyes out on that I'd try probably lift that up and then
127
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That snare is super mid-range he's so I'll take this
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Mid-range fan
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Probably the highwomen compress it even more
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And then
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Bring the threshold down
132
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I still have to cut the low out at some point
133
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Yeah and they're just
134
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All tools to do different things and now
135
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You know like things like this E4 in the L Winer
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Exclusively for you know your master output
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But you could easily take
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You know this whole audio effect rack
139
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In and throw it on your drum track
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If you were feeling
141
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I go to my drums and I want to maximize
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Yeah you can
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Do whatever you want really but
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Proper mixing is isn't knowing how these
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Processors work and what they're designed to do
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Sometimes I'll put you know
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Big
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Arrays about parametric EQ Stooges Notch out certain
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Offending frequencies and stuff like that that you see in a track like for instance if I can go
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Hiiraan
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Sophie look at the track
152
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Tell you right there that's like
153
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All all this is going on right right here in this is like
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30 herds this is beyond sub this is so low that you never hear it
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If I
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Actually Notch that out
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As in like subtract a frequency
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You even hear difference
159
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Where I can see that snare drum hitting right about here this is very mid-range this is wild low-mid
160
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Is a big low-mid spike there between that I can kind of knocked out
161
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Synopsis changed the shape of the snare and I didn't even have to go into the snare Channel
162
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But the sacrifice made there is that affecting this to everything
163
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So you have to be really kind of
164
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Fine tuning
165
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With the kind of frequencies that you should knock down back on in and see really you know offending Creek
166
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And stuff like that and then just lower the notch on it supposed to
167
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You know like
168
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Doing it right out like that was a full cut but
169
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Bringing down a tie-dye gentle slow
170
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With a high Q
171
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On that isn't isn't a bad idea
172
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In some cases just to get rid of
173
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Gnarly
174
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Like snare frequency or something like that
175
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You just have to know that
176
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Your order of operations is like
177
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Your signalpath so if you have no you're generally mastering bus whatever it's like
178
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All this stuff is going somewhere and then that's all going somewhere when it comes to the master
179
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You'd have to workin order okay first the audio is going to go through the EQ then it's going to go to Atlanta
180
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You don't want to go into eliminar Denny EQ cuz he was just going to counteract everything that
181
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You have to know that
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Signalpath
183
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It's just like audio signal inflows and very specific Direction you can't
184
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Roche it on
185
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So do all that kind of stuff matters
186
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And
187
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So I know that before I want to start mastering it I want a low pass
188
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Surrounded
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I want to cut out frequencies blo3 hurts then I know for a fact first thing and needs to happen is this and then I can start process
190
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That's like just
191
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My workflow
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Mastering
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