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Documente Profesional
Documente Cultură
Harry
was
used
on
my
track
to
play
the
guitar
and
bass,
as
he
was
able
and
comfortable
in
playing
what
I
wanted
on
my
track.
This
was
also
an
easy
way
to
get
a
live
guitar
and
bass
recording
on
my
track
and
he
was
in
my
group
and
therefore
had
easy
access
to
him
instead
of
wasting
time
asking
other
people,
I
was
able
to
DI
(direct
input)
the
guitar
and
bass
and
record
when
in
the
imac
room
and
in
studio
B.
I
also
felt
that
using
a
DI
would
have
also
been
easier
than
waiting
for
our
live
room
session
and
setting
up
a
microphone
in
front
of
a
guitar
and
playing
it
with
it
being
picked
up
by
a
microphone,
though
the
sound
card.
We
had
to
book
in
another
live
room
session
as
with
our
first
session
it
was
too
early
to
try
and
ask
someone
to
play
the
drums
for
us
and
the
live
room
was
also
being
used.
We
made
sure
we
had
access
to
the
appropriate
microphones
for
miking
up
the
drum
kit
and
we
made
a
time
lapsed
video
of
all
three
of
us
setting
the
microphones
for
a
drum
recording.
We
all
decided
that
we
would
place
the
kick
drum
microphone
in
a
position
where
it
would
pick
up
as
much
attack
as
possible
and
so
Ross
placed
it
as
far
into
the
kick
drum
as
he
could.
We
positioned
the
rack
and
floor
tom
microphones
as
close
to
the
skin
as
possible,
again
to
catch
as
much
attack
as
possible.
And
we
did
this
also
with
the
top
snare.
We
could
not
position
the
bottom
snare
as
close
because
the
microphone
stand
used
would
not
support
the
microphone
and
would
slowly
fall
down
but
was
still
in
a
reasonable
position.
The
overhead
microphones
were
placed
in
a
spaced
pair
set
up
meaning
that
the
overheads
were
both
equal
distances
from
the
centre
of
the
snare
drum
on
either
side
of
the
drum
kit.
We
did
this
to
catch
as
much
reverb
from
the
room
and
to
sound
as
natural
as
possible.
Planning
Each
time
we
had
a
session
we
would
each
talk
about
what
we
needed
to
get
done
in
the
session
afterwards
so
that
we
stayed
on
target
and
did
not
fall
behind.
Once
we
all
had
what
we
needed,
live
drums,
guitars
and
bass,
I
made
a
copy
of
my
own
track
and
the
track
given
to
us
to
edit
so
that
once
I
was
finished
I
could
compare
the
difference
between
the
two.
Once
our
individual
tracks
were
done,
we
all
decided
to
split
off
and
focus
on
our
own
tracks
and
also
work
on
our
own
version
of
the
track
given
to
us.
I
also
took
screen
recording
of
my
editing
process
so
that
I
could
always
look
back
to
see
what
I
had
done
and
had
left
to
do.
Once
I
had
finished
with
my
screen
recording,
they
were
time
lapsed.
With
my
track
I
wanted
a
fast
BPM
with
a
fast
drum
beat
and
a
simple
guitar
and
bass
melody
to
it
but
I
did
not
want
it
so
fast
that
drum
beat
I
wanted
was
near
impossible
to
play,
although
if
the
BPM
was
not
as
fast
it
would
not
be
as
complex.
Getting
the
floor
tom
volume
just
right
was
essential
as
the
floor
tom
was
the
loudest
out
of
all
the
drums,
rack
tom
second.
The
floor
tom
is
the
most
dominant
drum
in
my
track
and
so
I
needed
to
reduce
the
volume
enough
so
that
it
did
not
stick
out
and
bury
the
other
drums.
Once
I
was
happy
with
the
floor
toms
level
I
repeated
the
same
procedure,
lowering
the
volume
until
it
was
at
a
reasonable
level.
I
soloed
the
rack
and
floor
tom
together
so
that
I
could
get
a
similar
level.
With
the
kick
drum
also
soloed,
I
used
the
toms
as
a
template
to
adjust
the
volume
so
that
the
kick
drum
did
not
over
power
the
mix.
Once
this
was
done,
I
proceeded
to
alter
the
volume
of
the
top
and
bottom
snare
and
guitar
and
bass.
I
knew
that
through
adding
compression
and
altering
the
EQ,
I
would
have
to
slightly
alter
the
volume.
Panning
EQ (Equalisation)
The
EQ
on
the
kick
drum
was
firstly
boosted
at
the
lower
end
to
give
more
bass,
as
I
wanted
to
give
the
track
a
darker
and
deep
feel.
I
cut
the
higher
frequencies
to
allow
higher
frequencies
in
other
instruments
come
though.
Due
to
this
edit,
the
fader
was
turned
down
slightly.
The
rack
and
floor
toms
were
next
and
like
the
kick
drum,
the
lower
end
was
boosted
and
higher
frequencies
cut
to
add
to
the
deep
sound.
The
rack
and
floor
toms
fader
was
subsequently
turned
down
slightly
to
avoid
clipping.
The
EQ
for
the
top
snare
was
cut
in
both
the
top
and
bottom
frequencies
and
the
lower
frequencies
on
the
bottom
snare
were
cut
while
the
frequencies
between
100
and
1kH
were
boosted
slightly
for
more
emphasis
on
the
beads.
After
these
edits,
the
rack
tom
fader
was
turned
down
further.
The
left
overhead
higher
frequencies
were
cut
to
add
more
to
the
bass
of
the
track
but
the
right
overhead
was
slightly
increased
in
the
higher
frequencies
as
most
editing
had
been
to
add
to
the
bass
and
nothing
was
done
to
the
higher
frequencies,
but
the
lower
frequencies,
200
to
500
Hz,
were
cut
to
compensate
for
the
alteration
in
the
higher
frequencies.
The
higher
frequencies
in
the
bass
were
cut,
as
the
bass
cannot
play
that
high
and
so
it
can
make
space
for
the
higher
frequencies
in
other
instruments.
The
lower
frequencies
in
the
bass
were
boosted
to
emphasise
the
deep
sound
I
wanted
for
my
track.
There
are
times
when
I
would
loop
a
certain
part
of
the
track
and
just
listen
to
see
if
anything
needed
adjusting
before
I
moved
on
and
the
floor
tom
needed
to
be
tuned
down.
Lastly,
the
guitars
frequencies
were
cut
on
both
the
low
and
the
very
high
end
with
a
boost
between
100
and
1kHz.
Cutting
the
higher
end
smoothed
out
the
plucking
sound
of
the
strings
which
is
not
what
I
wanted
and
boosting
between
100
and
1kHz
added
to
the
bass
and
emphasised
the
frequency
range.
At
this
point
I
double-checked
the
fader
volume
and
I
turned
the
guitar
up
slightly
and
decided
to
boost
the
lower
frequencies
of
the
kick
drum.
Reverberation (reverb)
Reverb
was
not
used
in
my
mix
as
I
felt
adding
the
amp
to
the
guitar
and
controlling
the
amount
of
fuzz
used
gave
the
impression
of
reverb
and
I
did
not
want
and
reverb
added
to
my
drums.
Compression
The
kick
drum
was
compressed,
as
there
were
times
when
the
attack
was
too
overpowering
and
so
needed
to
be
compressed
as
to
cut
away
the
louder
hits
of
the
drum.
This
was
the
same
issue
with
the
floor
tom.
As
the
floor
tom
is
probably
more
dominant
than
the
kick
drum
in
my
piece,
there
were
times
when
the
skin
was
hit
slightly
too
hard
and
therefore
took
control
and
so
needed
to
be
compressed
as
to
even
out
the
sound.
The
top
snare
was
compressed
and
comparing
the
sound
to
before
and
after
compression,
you
can
hear
that
before,
the
sound
is
weaker
and
there
is
very
little
attack
and
after,
the
volume
in
increased
and
you
softly
here
more
attack,
but
not
too
much.
Again
with
the
bottom
snare,
comparing
before
an
after
compression,
you
could
hear
a
deeper
sound
when
not
on
bypass
and
more
vibration
of
the
beads.
The
guitar
was
compressed
because
before
compression,
the
guitar
had
a
softer,
lighter
sound
and
after,
it
made
it
sound
brighter
and
gave
it
some
life.
Compression
was
added
to
the
left
and
right
overhead
microphones
to
give
the
sound
more
energy
and
sound
stronger
as
on
bypass
the
signal
was
fainter
.
Piano
There
is
a
MIDI
piano
in
my
mix
and
I
left
this
completely
unedited,
so
no
compression
or
reverb
for
example
as
when
I
was
experimenting
with
the
piano,
anything
I
applied
to
it
altered
the
sound
too
much
as
I
wanted
it
to
sound
as
natural
as
possible
and
I
decided
leaving
it
as
it
stands
was
the
best
thing
to
do.
Amp
I
added
an
amp
to
the
bass
and
turned
the
gain
up
slightly
and
turned
up
the
bass
feature
and
made
sure
it
was
not
clipping.
I
then
compared
this
sound
to
the
bypassed
version
and
the
amp
version
had
a
much
deeper
sound
and
due
to
the
slight
increase
in
the
gain,
was
also
louder.
Before,
my
bass
line
was
buried
in
my
mix
and
adding
the
amp
was
enough
for
it
to
be
heard.
For
the
guitar
I
wanted
to
add
some
sort
of
amp
and
started
with
happy
face
fuzz
but
this
was
too
heavy
and
so
I
tried
Rawk
distortion
and
turned
the
crunch
feature
down
until
I
felt
there
was
enough
effect
on
the
guitar
and
was
not
overpowering.
Comparing
the
guitar
before
and
after
adding
the
amp,
the
amp
gives
the
guitar
character
and
more
power.
Afterwards,
the
guitar
fader
was
turned
up.
Auxiliaries
and
busses
were
not
used,
as
I
did
not
have
a
vast
amount
of
instruments,
ignoring
individual
drum
tracks,
I
wanted
to
edit
each
one
individually
using
the
mute
and
solo
buttons
to
help
me
compare
and
contrast
sound
and
edit
to
appropriate
levels.
If I was to do it again
If
I
was
to
do
this
task
again,
I
would
make
sure
that
the
guitar
and
bass
were
in
time
and
there
were
very
few
if
not,
no
mistakes
played
in.
I
found
it
very
hard
to
be
happy
with
my
mix
as
I
kept
leaning
toward
the
imperfections
with
timing
and
bending
of
strings.
I
had
to
listen
to
instruments
individually
or
all
drums
together,
then
all
strings
together
and
get
the
sound
I
wanted
and
then
play
everything
together
and
concentrate
and
imagine
that
it
was
all
in
time.
I
also
would
have
positioned
the
microphones
differently
when
setting
up
the
drums
for
my
track.
I
would
have
positioned
the
kick
drum
microphone,
Audix
f6,
further
out
of
the
kick
drum.
Although
I
did
want
a
lot
of
bass
and
depth
to
my
track,
I
felt
there
was
too
much
attack
and
through
editing,
I
could
not
effectively
reduce
this.
It
potentially
would
have
been
better
if
the
microphone
were
further
out
to
pick
up
more
resonance
instead.
I
also
thought
that
the
rack
tom
and
especially
the
floor
tom
microphones
were
too
close
to
the
skin
and
therefore,
like
the
kick
drum,
there
was
too
much
attack
and
not
enough
resonance.
Lastly,
if
I
had
time
to
do
so,
I
would
have
also
recorded
the
drum
kit
again
but
using
the
XY
set
up
of
the
overheads
to
compare
the
differences
in
sound
and
to
see
which
set
up
would
be
best
for
my
track
as
potentially,
using
the
XY
set
up
might
have
been
a
better
set
up
for
my
track.
Just
like
my
own
track,
I
started
by
turning
down
the
faders
on
logic
to
avoid
clipping
as
with
some
instruments,
like
the
room
cymbal,
they
were
so
overpowering,
it
buried
other
instruments
as
they
were
just
so
loud.
I
panned
the
left
and
right
overhead
microphone,
rack
and
floor
toms,
I
initially
panned
the
hi-hats
and
room
cymbals
but
found
that
there
was
not
the
right
balance
and
it
was
all
one
sided
so
I
returned
them
back
to
the
centre.
The
drums
were
panned
from
an
audience
members
perspective,
just
like
with
my
own
track.
I
kept
the
main
vocals
in
the
centre
but
panned
the
backing
vocals
either
side.
As
the
harmonies
were
doubled,
I
panned
the
lower
harmonies,
one
left
and
the
right,
and
with
the
higher
harmony
I
did
the
same
thing
to
give
a
surround
sound
and
allow
the
main
vocals
to
be
in
the
centre.
EQ
The
kick
drums
EQ
was
cut
in
the
higher
frequencies
and
boosted
in
the
lower
to
give
lightly
more
bass
and
attack
but
not
too
harsh.
The
bottom
snare
drums
lower
frequencies
were
cut
to
make
some
room
for
the
kick
drum.
The
top
snares
lower
frequencies
were
cut
at
the
lower
end
to
minimise
the
pick
up
of
the
kick
drum
and
the
top
snare
frequency
range
between
200
and
1kHz
was
boosted
to
help
emphasise
the
snare
hit.
The
rack
tom
drums
higher
frequencies
were
cut
to
reduce
the
hi-hats
and
room
cymbal
sound
picked
up
and
the
lower
frequencies
were
slightly
boosted
to
aid
the
kick
drum.
Like
the
rack
tom,
the
floor
toms
higher
frequencies
were
cut
to
avoid
the
bleeding
of
room
cymbals
and
hi-hats,
the
very
low
end
of
the
frequency
range
was
cut
but
between
50
and
500Hz
it
was
boosted.
The
hi-hats
lower
EQ
was
cut
as
it
was
picking
up
too
much
of
other
drums
and
the
higher
frequencies
were
slightly
cut
to
take
away
the
sharpness
of
the
hi-hats
sound.
The
room
cymbals
lower
frequencies
were
cut
and
the
left
overhead
higher
frequencies
were
cut
as
they
were
picking
up
too
much
of
the
cymbals
and
hi-hats
and
they
were
still
too
powerful.
Same
as
the
left,
the
right
overheads
higher
frequencies
were
cut
as
it
was
picking
too
much
of
the
cymbals
but
the
lower
frequencies
were
boosted
in
the
right
overhead.
The
basss
higher
frequencies
were
cut
from
1kHz
to
20kHz
to
leave
some
room
for
the
cymbals
and
hi-hats
and
boosted
lower
frequencies.
Although
there
has
been
a
lot
of
cutting
around
the
higher
frequencies
to
try
and
reduce
their
levels,
I
did
not
want
to
completely
cut
them
out
or
make
them
so
quiet
they
were
non-existent
and
cutting
from
1kHz
plus
also
made
room
for
the
vocals.
The
guitars
frequencies
were
boosted
between
200
and
2kHz
and
the
higher
and
lower
frequencies
were
cut
to
help
bring
out
the
frequency
range
that
was
being
played
and
the
amps
higher
and
lower
frequencies
were
cut.
The
main
vocals
Andy1
were
boosted
between
500
and
8kHz
as
there
was
room
to
bring
out
the
slightly
higher
frequencies.
The
lower
and
higher
end
10kHz
to
20kHz
were
cut.
The
second
main
vocal
Andy
2
had
the
same
areas
cut
but
it
was
not
boosted
as
it
was
to
loud
and
so
needed
to
be
turned
down
via
the
faders.
With
the
backing
vocals,
track
labelled
Rich
1
the
higher
and
lower
ends
were
cut
and
the
middle
range
was
boosted,
as
the
vocals
were
lost
under
everything
else
and
using
the
fader
as
not
improving
the
level.
The
second
backing
track
Rich
2
had
the
ends
cut
but
was
not
boosted,
as
this
was
not
needed.
The
third
track
Rick
3
had
the
middle
range
boosted
but
the
ends
cut
like
Rich
1
and
the
last
backing
vocal
Rich
4
had
the
higher
and
lower
frequencies
cut
but
he
middle
range
boosted
to
make
all
four
backing
vocals
even.
After
adding
EQ
and
looping
a
section
to
see
how
it
all
sounded
together,
the
guitar
fader
needed
to
be
turned
down
as
this
became
dominant
in
my
mix
and
the
boost
in
the
guitars
frequencies
was
then
taken
out.
Also
the
kick
drums
higher
frequencies
were
cut
and
the
boost
was
removed,
as
after
editing
the
guitar,
the
drum
was
too
powerful.
Compression
I
did
not
use
compression
on
the
kick
drum,
rack
tom,
floor
tom,
top
or
bottom
snare,
over
head
microphones,
solo
guitar
or
the
amp
because
using
compression
on
the
kick
drum
too
away
too
much
attack
I
used
compression
on
the
vocals,
main
and
backing,
as
there
were
certain
parts
where
note
were
sung
too
high
and
this
interfered
with
the
overall
volume
and
so
compressing
the
vocals
gave
an
overall
clearer,
more
even
volume
sound.
This
was
the
same
with
the
bass
and
guitar,
the
bass
needed
to
be
slightly
louder
and
the
guitar
needed
to
be
a
little
softer
and
just
turning
down
the
volume
would
not
have
been
enough
as
there
were
certain
times
when
the
bass
was
not
heard
or
the
guitar
dominated,
so
compression
seemed
to
be
the
best
solution.
Adding
compression
to
the
bass
also
added
to
the
deeper
sound.
I
also
compressed
the
hi-hats
and
room
cymbals
as
relying
on
just
the
faders
to
control
the
volume
was
not
enough
and
they
still
stood
out
from
the
mix
and
they
needed
to
be
blended
in
and
so
compressing
them
helped
to
smooth
out
the
higher
frequencies.
I
also
did
not
want
to
out
any
compression
on
the
overhead
microphones
as
I
wanted
them
to
catch
everything
as
it
happened
and
so
to
be
as
natural
as
possible.
Reverberations (reverb)
Reverb
was
only
added
to
only
one
of
the
main
vocal
tracks
(Andy
1)
and
two
of
the
backing
vocals
(Rick
2
and
3).
I
initially
added
reverb
to
both
main
vocal
tracks
but
even
having
reverb
on
a
low
level,
there
seemed
to
be
too
much.
So
by
only
having
reverb
on
one
track
and
the
other
natural,
reduced
the
about
of
reverb
and
gave
it
a
more
natural
sound.
I
did
a
similar
thing
to
the
backing
vocals,
only
adding
reverb
to
one
of
the
lower
and
higher
harmonies
so
that
there
is
some
reverb,
but
it
is
not
overwhelming
and
does
not
have
too
much
of
an
echo.
I
used
bus
1
and
auxiliary
one
to
add
an
amp
to
both
the
guitar
and
solo
guitar.
I
thought
it
would
be
easier
using
a
bus
so
that
I
could
just
apply
the
same
thing
to
both
in
one
go
instead
of
having
to
waste
time
adding
and
editing
the
amp
of
one
an
then
doing
the
exact
same
thing
again.
Adding
the
amp
I
used
a
pre
set
and
changed
some
of
the
setting
which
gave
a
more
gritty
sound
and
also
added
a
slight
reverb
to
the
guitar.
If
I
was
to
do
it
again
If
I
was
to
do
this
again,
I
would
have
experimented
more
with
the
reverb
on
the
voices
and
used
different
reverb
options
and
compare
how
two
differ
and
which
one
was
more
effective
rather
than
choosing
one
at
random
and
playing
around
until
I
was
confortable
with
the
sound.
Looking
back
and
after
listening
to
it
a
few
times,
I
would
not
have
as
much
reverb
on
the
main
vocals
as
I
think
it
still
sounds
a
bit
too
unnatural
and
less
would
have
been
more.