0:28

You are listening

0:28

to the Inside The Mix podcast

0:30

with your host, Mark Matthews. Hello and welcome to the

0:33

Inside the Mix podcast.

0:36

I'm Mark Matthews, your

0:36

host, musician, producer, and

0:39

mix and mastering engineer. You've come to the right place

0:41

if you want to know more about

0:43

your favorite synth music

0:43

artist, music, engineering

0:46

and production, songwriting

0:46

and the music industry.

0:49

I've been writing, producing, mixing, and mastering music for over 15 years,

0:51

and I wanna share what I.

0:54

With you. Hey folks.

0:56

Welcome back to the

0:56

Inside The Mix podcast.

0:59

If you are a new listener,

0:59

thanks for joining me, and

1:02

don't forget to hit subscribe. If you are a returning

1:04

listener, welcome back.

1:07

So in episode 61, I started

1:07

to produce a song from scratch

1:10

and I also went through some

1:10

pre-production techniques.

1:13

So, I strongly recommend that

1:13

you go and listen or watch

1:17

Episode 61, um, because it does

1:17

feed into this episode and you

1:21

might be a bit lost without it. So in episode 61, as I

1:23

mentioned, I started creating a

1:26

song from scratch, and I'm gonna

1:26

build on that in this episode.

1:29

So let's dive in. Okay folks, so this is

1:31

what I came up with at

1:33

the end of episode 60. So we've got some snaps.

1:40

We've got a pad with some movement. We've got a baseline that

1:44

follows the root notes

1:47

of the chord progression,

1:47

and there's like a plucked

1:50

lead sample in there as

1:50

well, or rather mini notes.

1:56

So in this episode, we're now

1:56

gonna build on this foundation.

1:58

Okay folks. So now what I'm gonna do is I want to add some kick drum to this.

2:02

So we're gonna add some drums. So I've got my, uh, my kit

2:03

sample here that I created in

2:06

the template in episode 61. And I'm just gonna cycle

2:07

through the kick samples I have until I find one that I like.

2:10

So I'm gonna just gonna play. So I'm gonna set a loop region

2:12

of uh, uh, Four bars actually.

2:18

Yeah, four Bar Loop region. So Commander You and Logic,

2:20

once you've selected a region

2:22

or a, or a selection of

2:22

mini notes and let's just

2:26

play that and then I'm gonna

2:26

cycle through the kicks

2:29

until I get the one I want. Actually, I'm gonna turn on

2:30

the, the veterans already on. I always double check that.

2:43

Okay, so I quite like that kick drum, so I'm gonna record that in.

2:59

As you can see, my timing's not great. Um, I'm certainly a drummer, uh,

3:01

not a drummer, rather guitarist.

3:04

Um, even though a guitarist should have great timing as. My timing was

3:08

always a bit ropey. So, uh, that's why we have

3:10

the beauty of quantization.

3:12

So I'm gonna select all

3:12

those notes in the editor.

3:15

Um, in logic, it is e to

3:15

bring up the editor window

3:18

and let's play that. And what I'm also gonna do is

3:22

I'm just gonna go mid transform

3:25

and fixed velocity and I'm just

3:25

gonna set it to, I'm just gonna

3:31

set it to 90 for the time being. Just while I'm songwriting

3:37

and probably what I'll

3:39

do is eventually I'll go

3:39

through and what I like to

3:41

do is put an accent on the

3:41

first kick of every bar.

3:44

Uh, but I'll do that further down the line. So commander not, and

3:46

let's replicate those and

3:49

extend that loop region. Let's give it a plate.

3:52

See what it sounds like. Okay, folks, so now what

4:01

I'm gonna do is I've got my kick drum and the

4:03

rest of the arrangement. I want to add some

4:04

high hats to this. I'm just gonna cycle

4:06

through these four bars and just go through.

4:10

The, um, high hats that

4:10

I've got in this symbol's

4:14

instrument channel here. So let's give that a go.

4:28

Okay. I quite like that one there. So let's punch that in.

4:43

Now while I'm doing that, you can probably hear me tapping on the keyboard

4:45

in the background there. At the moment, I don't

4:48

have my triggers. So I'm just gonna highlight all

4:52

those and turn off the swing.

4:55

I'm gonna quantize them. I'm gonna leave the velocity as

4:56

it is cuz it's got a human feel.

5:00

But I can further down the

5:00

line, change that if I want.

5:03

I'm gonna add a bit of swing to it. So what I'm gonna do is in the

5:05

editor window, I'm gonna bring

5:08

up the swing so you can hear it. You can hear it

5:12

start to go too far.

5:15

So we go dial it back. I think that's right and I've

5:20

already got my bus set up here

5:23

with some, with some reverb. There we go.

5:32

In fact, what I might do is I might see, I'm gonna bust it onto the delay

5:34

some what that sounds like.

5:42

That sounds quite cool

5:42

because you've got that ping

5:45

pong effect from the delay

5:45

going from left to right.

5:47

You've got that nice stereo spread. That's pretty cool.

5:53

Uh, that's all I'm gonna

5:53

do is now I'm going to, uh,

5:56

just option drag that mid

5:56

region and the time line.

6:01

And let's extend my loop region.

6:06

See, I think I've just noticed. That is right.

6:19

There we go. We've got our kick and our high hats. Okay.

6:22

Now what I'm gonna do is I want

6:22

to add some symbols to this.

6:24

So once again, I'm gonna play

6:24

along and then I'm just gonna

6:27

scroll through the symbols

6:27

that I have all my symbols.

6:30

Um, Funnily enough, the

6:30

symbol instrument channel.

6:33

So it's the same one as the

6:33

high hats, but what I would do

6:36

is when it comes to the actual

6:36

mixdown, I would separate

6:38

these out, but it just makes it a lot easier for me to do it this way at the moment.

6:41

So let's give, give this a go. I think I like that one.

7:02

Okay, let's punch that. Timing was quite off there.

7:34

Okay, there we go. So I'm just gonna go in now cuz

7:35

it's in the same editor windows.

7:38

It's the same mini

7:38

region as my high hats.

7:40

I'm just gonna go in and, um, quantize those.

7:49

Just realize, let's drag that out. What we're gonna need

7:53

to do now is I've. It's recorded over my

7:57

high hats, but I've just duplicated those back in.

8:01

Um, I wanna make these

8:01

sort of similar lengths,

8:04

drag those mini regions out and quantize them.

8:12

I don't want to swing. And there we go.

8:34

We've got some crash in

8:34

there with our high hats.

8:38

Okay, so I've got snaps

8:38

and I've got crash.

8:42

I've got a high hat and I've got a kick. Now what I'm gonna do

8:44

is I want to add some claps to this as well.

8:46

So once again, I'm just gonna

8:46

play through and go through

8:49

the claps that I have available

8:49

on this collapse channel.

9:24

Okay, so quite like that one. Pretty standard.

9:29

Alright, let's record that in. Okay, and now these are quite

9:51

simple patterns, to be honest.

9:53

And probably what I would

9:53

do, I'd say probably what I

9:55

would do is when it actually

9:55

comes further down the line,

9:58

I'd go in and just make

9:58

these a bit more intricate.

10:01

But for the time being, I just wanna get the ideas down. I don't want anything

10:03

to sort of hold me back. I don't wanna get stuck in the

10:04

hole of adding too complicated

10:08

the pat pattern at the moment. So let's give that again.

10:15

In fact, what I'm gonna do is I'm gonna get a mid transform again and I'm just

10:17

gonna go fixed velocity.

10:20

Um, just for the time being. Actually no, I'm gonna go

10:22

functions mid transform,

10:28

and I'm gonna go random

10:28

velocity and I'm gonna set

10:31

it from 80 through to 90.

10:39

And there we go. Okay.

10:51

Uh, let's add some reverb. Uh, let's try medium

10:53

verb to begin with. So I'm just gonna gradually

10:55

bring the medium verb in. So that's with,

11:04

and that's without.

11:11

Okay. So there's also another plugin

11:11

I like to use and I've gotta check this in there now.

11:14

And it's Fresh Air by Slow Digital. This is a free plugin and

11:16

it's got a preset called

11:18

Clap Lifter, which is quite.

11:21

It lifts the claps quite a

11:21

lot, but I've gotta play it.

11:29

It certainly lifts the claps,

11:29

but what you need to do is,

11:31

I'm, I'm actually gonna just

11:31

dial it, da, dial it back a bit,

11:41

and I'm also, because

11:41

it's adding level, okay.

11:44

It's adding gain to the, to

11:44

the progre, to the progress.

11:48

To the mid to the performance,

11:48

I'm just gonna use the trim

11:52

plugin and I'm gonna bring it

11:52

down so it's the same as it was

11:54

before I actually in implemented

11:54

the fresh air plugin.

12:12

So I've had to use the trim dial then, and I've brought it down by 3D B.

12:15

So when you're going through and

12:15

you're creating your projects,

12:18

and this is really important

12:18

in mixing in particular,

12:21

is when you are adding, uh,

12:21

plugins, you are adding, uh,

12:25

manipulation, sound manipulation

12:25

to your performances, to your

12:27

recordings, to your audio

12:27

regions, whatever it may be.

12:30

It's gonna add level and it's

12:30

gonna alter the gain staging of.

12:34

Performance of your production. So always bear that in mind when

12:36

it comes to adding additional

12:40

plugins on your channel strip. You want it to match

12:43

what it was before. Otherwise, your game staging

12:45

will get way outta whack.

12:49

So I've had to actually

12:49

reduce this by three DB to

12:51

get it back to where it was. Okay.

13:01

So those are my. Okay, so now what I'm

13:03

gonna do is I've got my basic progression.

13:06

I've got some drums in there as well. I'm gonna find, or I'm gonna

13:08

see if I can find some vocal

13:12

samples to go with this

13:12

just to add a bit more.

13:14

Interesting. I always find when it comes

13:15

to songwriting, as soon as

13:17

I add vocals to it, sort of

13:17

brings it to life, or I really

13:19

just help my creativity. So I'm just gonna make a bit

13:21

more space on the screen here. So if I shift, click and

13:24

select all my tracks, and

13:27

then command drag should.

13:32

Is it option drag, maybe? Ah, it's option drag.

13:35

If you select them all with an

13:35

option drag, it will scale all

13:39

the tracks to the same size and

13:39

logic, which is very useful.

13:44

Let's do that and I am going

13:44

to create some new audio

13:52

tracks on one, two, and V one.

14:00

And I'm just gonna call the

14:00

other one V two, if I spell it

14:03

right, that might help V two.

14:06

And I'm gonna select them

14:06

both and option C to bring up

14:10

the color change into pink.

14:13

And I'm just gonna, I'm

14:13

very, very, um, strict on

14:18

housekeeping, so I'd like to have things colored and named appropriately rather

14:19

than leave it to the end.

14:22

So it's change all those. Press x bring up the mix window

14:23

to make sure that's all right.

14:26

Yep. So let's see what we have.

14:29

So I'm just gonna go over

14:29

to the file section and

14:33

logic, um, Omni V one shots.

14:38

And I want e I'm an E minor.

14:41

So let's see what we have in E minor. Not that that's very short,

14:44

bring that volume down a bit.

14:47

In fact, it'll probably help

14:47

if I play it at the same time.

14:50

Um, so I'm gonna set up a loop region, so I'm just gonna select.

14:54

Those four bars. It's just, yeah,

14:55

those four bars. And then in Logic Commander,

14:57

you to set the cycle

15:01

region, bring that in. Let's see what we have.

15:10

Massive amount. Let's try this one.

15:24

Okay. I quite like that. Uh, so I'm gonna drag

15:25

that in and I'm gonna put

15:28

that at the beginning. Uh, convert that to stereo.

15:32

Yep. And let's close that down.

15:39

I know some shortcuts,

15:39

but not all the shortcuts

15:41

yet, so I'm gonna just.

15:45

Option, drag that audio

15:45

region, and I'm gonna put it

15:49

at the beginning of every. That's quite cool and the

16:02

volume's quite low on that.

16:06

Let just bring that volume up, not too sure why that's all the way down.

16:09

I'm just gonna check my

16:09

automation, so make sure there's

16:11

no automation on that volume

16:11

to bring up the automation

16:14

line in Logic and just press a. Ah, drag that down.

16:18

So this is gonna be very loud, so I'm gonna use the game plug in on this just

16:20

to bring that down so it

16:26

doesn't destroy our ears. Cool.

16:37

And I'm gonna just send

16:37

that out to a medium verb.

16:41

Get rid of that game plugin. Just gonna cycle over.

16:47

That one has some delay as well.

17:10

That's quite cool. And I've got a second one there. Let's see what else I can find.

17:14

So I think I'm gonna get

17:14

back and I'm going to

17:17

look in the other on the

17:17

Vox vocal sample pack.

17:21

Now these are slight digital sample packs I'm using here, um, cuz they're

17:23

really cool and I like them.

17:27

Uh, phrases. Let's see what we've

17:29

got in here in E Minor. So let's set up our

17:31

loop region again.

17:34

Slate that command you. There we go.

17:49

Scrolling down folks. It's fine.

17:52

One as one.

18:02

That's quite cool. Strike. So I'm gonna have that

18:05

come in halfway through

18:10

an eight bar progression. Once again, I'm gonna go

18:12

in and I'm gonna stick the

18:15

game plug in on here, so

18:15

it's gonna be super loud and

18:18

see what that sounds like. I'm just gonna drag

18:21

that across so I can

18:23

get a feel for the hole. So option drag across so

18:24

I can get a feel for the

18:26

whole track with that in

18:26

rather this whole sort of

18:29

progression I've got here. Let's select that.

18:46

I think that needs to come in sooner. I reckon it should go.

18:49

So at the moment, there's

18:49

a bar in between, but

18:51

I'm gonna drag that back. Uh, let's try this.

19:10

I'm just gonna duplicate that over this. And that's all on that last one.

19:27

I'm gonna just stop it there.

19:31

I'm gonna add a large reverb,

19:31

a long reverb arrival on

19:35

that, that second vocal. I dunno.

19:56

That sounds quite cool. So I've added a bit

19:57

more interest to this. I think this is gonna help

19:58

in terms of my songwriting in the direction I take the song.

20:02

So I've added two vocal chops there. Okay. What I'm gonna do now is

20:04

I'm gonna add a couple transition effects to this.

20:07

Usually I'll probably leave transitions until the end, but, um, I'm

20:09

gonna add them in anyway.

20:11

So I'm gonna create

20:11

another, uh, another

20:14

track, uh, new audio track. Um, I'm just gonna call this.

20:18

I'll call it FX one, very,

20:18

very creatively named

20:21

right now, FX one, and

20:21

I wanna give that color.

20:24

Let's give it a dark

20:24

sort of pink or purple.

20:28

And I'm gonna give it an

20:28

icon of, I haven't got a

20:31

custom icon, so I dunno why I clicked on that. And I'm gonna give it that icon.

20:36

Which is kind of like just

20:36

a wavelength, and I'm just

20:40

gonna play an eight bar loop.

20:44

I kind of want like a transition, a reverse effect to come in before

20:46

the symbol on the, um, the

20:51

first bar after the, or

20:51

rather the third bar, not

20:55

the first bar, the third bar. So I'm just gonna go out,

20:56

come out of this and it's

20:58

this EDM sample pack and

20:58

it's got some pretty cool.

21:05

Reverse effects as you can hear. But I want a quick reverse,

21:10

something like that.

21:18

It's too long, uh, that

21:18

there, so what I'm gonna

21:21

do is I'm gonna drag that

21:21

in and I'm gonna put that.

21:26

Convert that again. Keep forgetting that and

21:27

let's close that down.

21:31

So this is gonna come in at

21:31

the, just before the third bar.

21:37

And once again, I'm gonna use

21:37

Gain cuz it'll be super loud.

21:41

So I wanna bring that gain down on that. Maybe it doesn't need to be a

21:56

longer, let's try a longer one

22:01

that's too long. That might do it.

22:10

I'm gonna try that at the end. Or rather the end

22:15

of the eighth bar.

22:18

Let's give that again. It's about time.

22:26

I am gonna leave them both

22:26

there purely because I'm

22:30

just getting ideas down of

22:30

what I'd like to do later on.

22:47

And then I'm just gonna put

22:47

another reverse in there as

22:50

well and just trial them out. I'm gonna put three

22:51

different ones in. That way they're there and I can

22:56

just select which one I prefer.

23:03

That might be better. Stick that one in. In. Just make this a bit bigger.

23:09

I wanna cut off that tail for

23:09

those watching on YouTube.

23:12

You can see there's a bit of a tail to it. Uh, let's good at that.

23:15

You can create your own

23:15

reverse samples, but I don't

23:18

want to get bogged down

23:18

in doing that right now.

23:21

I just wanna get the ideas done. That might be better.

23:24

Usually what I probably

23:24

do as well is sort

23:27

of use more than one. That's better.

23:31

Maybe we'll roll with that one. I am just gonna duplicate

23:44

that track and then I'm

23:48

gonna stack two transitions

23:48

on top of each other and

23:51

see what they sound like. So I've got reverse CD

23:52

and a reverse quick up,

23:55

so just rename that. So I'm using two transitions.

24:02

That's quite cool. We'll roll with that. So what I've done there is I've

24:04

stacked two transitions on top

24:06

of each other to get the desired

24:06

effect that I want for now.

24:10

And sorry folks, I'm

24:10

just zooming out.

24:13

Just delete that and

24:13

I'm gonna option drag to

24:18

where I want them to be. Okay.

24:24

Let's play that from the beginning. I've probably gone overboard

24:50

with the transitions, but I'm gonna leave them in

24:52

there and give it a listen and then take them out when

24:54

I think they don't fit. What I might do actually

24:56

at the beginning of this, I wonder if it needs high hats.

25:09

I'm thinking I might just go

25:09

into that kick drum for that

25:13

first, those first eight bars

25:13

of kick and just shorten.

25:17

I'm gonna remove every

25:17

other kick drum and just

25:22

see what that sounds like. Yeah, that'll do for now.

25:39

Cool. There we go. Quick transitions. This is gonna be the last

25:41

bit I do in this episode

25:43

for this production. And, um, what I wanna do

25:44

is I want to create some

25:46

different chords to go

25:46

after the initial 16 bar

25:50

progression that I've got here. So I'm in my, um, pads.

25:54

I've got what called drop pads

25:54

here, um, that I've created.

25:57

So it's basically just a

25:57

duplication of the verse parts

25:59

I've got at the top here. That I've created for the

26:22

16 bar progression before.

26:26

And, um, I've got an

26:26

instance of scaler two.

26:28

And what I've done here is

26:28

you can actually change from

26:31

trials to seventh to ninth

26:31

to 11th to 13th, and I've

26:34

changed it to seventh as I

26:34

want a slightly different

26:36

sound, um, progression here. So I'm just gonna cycle

26:38

through these, uh, 16 bars

26:42

and come up with just, uh,

26:42

a basic, core progression.

26:45

Basically. Let's just see what we can come up with. I always hit the wrong

26:51

note first, FA, let's

26:54

just turn on the Metron. Okay, so I quite like

27:23

that progression. You'll noticing scaler two.

27:26

If you're watching this, I've

27:26

got it on human eyes, so it

27:28

adds sort of like a human

27:28

element to the progression.

27:30

Specifically when I go in

27:30

and quantize these notes in

27:33

a bit, it just makes it a

27:33

bit more natural sounding.

27:36

So I'm just gonna record that progression in, I'm just gonna find out my first note again, my

27:38

first chord, so E minus seven.

27:42

So I'm gonna go E minus seven,

27:42

and then it's B minus seven, A

27:45

minus seven, and C major seven,

27:45

and back to B minus seven.

28:29

Cool. There we go. I'm just gonna close scaler

28:31

cause I don't need it anymore.

28:33

Let's go into these chords. I'm just gonna highlight

28:34

them all and quantize them. This is where the humanized

28:36

element of scaler comes in

28:39

really well, and you'll notice

28:39

as well if you're watching

28:41

this on YouTube, you'll see

28:41

that in the editor window.

28:43

I've actually got the notes

28:43

on the midi labels, which is a

28:46

really good thing to do, cuz I

28:46

know sometimes when I'm looking

28:48

for the root note of a chord

28:48

and I have to hover over the

28:51

piano in the key, in the piano

28:51

roll or hover over the actual

28:54

lane, and then you can see it if

28:54

you're watching this on YouTube

28:56

next to the snap controls. But I think.

28:59

I'm very visual. Haven it in front of me is a lot easier. So to turn that on view note

29:00

labels, dunno how I live

29:03

without that for so long. Um, so that is my

29:05

core progression.

29:11

Turn off the don't. What I'm gonna do is I'm

29:22

going to, I like Snap heap

29:24

now, whenever it comes to

29:24

wanting to change the sound

29:27

of something, I always go

29:27

to Killer Hertz Snap Heap to

29:29

begin with cuz they've got

29:29

some fantastic presets in it.

29:31

And there's one called

29:31

tape, I can't remember

29:35

the exact name of it. Is there a search

29:36

function in Snap Heap?

29:38

I'm looking for it. There is. Tape rock, uh, tape walk,

29:40

I believe it's called.

29:50

I'm just gonna, it

29:50

adds a lot of movement.

29:58

I only really want that to be quite subtle. Remember, I bring

30:01

down the speed. It's where the

30:09

might come in handy. Bring it back cause I

30:30

wanted to be quite subtle.

30:35

I think that'll do. And also what I'm gonna do

30:36

here is as well on the actual

30:39

summing stack that I've used. I know I've only got one

30:40

instrument playing at the moment, but I'll probably add

30:42

another further down the line

30:44

is I am going to add a channel

30:44

week queue and I want to hike.

30:50

I'll just put it around

30:50

500 to begin with

31:02

and what I'm gonna do is I'm

31:02

gonna automate that press A,

31:10

to get the automation line up. I'm gonna automate the high cut

31:11

frequency on that and I round.

31:16

I want it to start. Increasing after the first

31:20

four rather eight bars.

31:27

Sorry. We'll just do it all the way up.

31:30

Let's give that. I'm also gonna use the,

31:51

so I'm gonna try the delay

31:51

on the actual pat channel

31:53

rather than the send. Yeah, so what's happening

32:09

there is, although of high

32:12

cut, the EQ on the main summing

32:12

stack, the actual send from

32:17

the track is bypassing that.

32:20

So I'm still getting the

32:20

full frequency spectrum,

32:24

the full frequency. The delay in the left and

32:26

right, which is quite cool.

32:33

Yeah, so it is high cut the

32:33

actual pad down the center,

32:38

but the ping pong left and right from the delay. That's a really cool effect.

32:43

Never tried that, done that before like that. The beauty of music, it's

32:45

very cliched, very cheesy.

32:50

Sorry folks. Let's just close that down.

33:01

Right. So what I'm gonna do

33:01

now is I'm going to just play the progression.

33:04

I'm gonna turn off the

33:04

metronome, play the last eight,

33:07

sorry, the last four bars of

33:07

the 60 bar progression before

33:10

going into this new book. Now the filter starts

33:34

to automate the cutoff.

33:42

You'll see the frequency

33:42

response frequencies are

33:46

starting to match those of the left and right from the pink one delay.

33:53

Cool. There we are. So what I've done there,

33:54

I've just taken what was essentially a really basic pad.

33:57

I've added the kilohertz snap

33:57

heat plugin on it just to add

34:00

a bit more modulation there. And I've also high cut the

34:02

frequency and automated

34:05

that high cut as well. And um, I think a really cool

34:06

thing I found there is in that

34:10

summing stack is adding that

34:10

delay to the actual instrument

34:12

channel and not the stack. That way the delay is going

34:14

out with the full frequency.

34:17

Of that particular instrument. So you're hearing that

34:19

on the left and right. Give it a go. I think that's a

34:21

really cool effect. And there we are.

34:23

Pads. Okay folks, so we've come to the

34:24

end of this episode of this, uh,

34:27

producing a song from scratch. And what I've added today, or

34:29

rather in this episode, is I've

34:33

added some kick, I've added some

34:33

claps, I've added some high hat.

34:37

Symbols as well. So, so we've got some crashes.

34:40

I've added two vocal chops

34:40

to add a bit more creative

34:43

spice to it as well, just

34:43

to inspire me a bit more.

34:46

And I've added some transition effects. So this is a sketch board, so

34:47

I've thrown all this in there

34:50

and the likelihood is I'll

34:50

take bits out and I'll add

34:52

bits later and I'll mix and

34:52

match and move things around.

34:56

But I just want to get the ideas down. And as I mentioned throughout,

34:57

I didn't wanna get hung

34:59

up on particular sounds

34:59

and sound designs, cuz the

35:03

likelihood is I'll go and replace them further down the. And then what we have is I

35:05

created a core progression

35:08

after those 16 bars that

35:08

uses, uh, seventh in my core.

35:12

So I've moved from triads, which I use. In the verse it says verse,

35:14

it might not end up being the verse, and now in this

35:16

drop section might not be

35:18

a drop, but that's what it's named at the moment. I've used seventh.

35:22

And then I used a, uh, an EQ in

35:22

there and I automated the filter

35:26

cutoff to gradually bring. In some more richness with

35:28

that frequency content.

35:31

And then I used a delay

35:31

from the actual instrument

35:33

channel, not the summing stack. And then that delay is

35:35

then going out and it's

35:37

bypassing the summing stack. So you've got that rich

35:39

frequency from the delays in the

35:41

ping pong on the left and right. And then I use snap heat

35:43

as well, and a tape walk

35:45

effect just to add a bit more

35:45

variation to those paths.

35:48

So I'm gonna play it from the

35:48

beginning, and this is what we.

36:40

That really reminds me of a

36:40

song from the nineties this

36:43

bit, and I cannot think of what

36:43

it is off the top of my head.

36:47

If, you know, write it in the

36:47

comments or in the review or

36:50

DM me at, its at Inside The

36:50

Mix podcast on Instagram.

37:07

There we have it. So we've built on what I

37:08

created in episode 61, and,

37:12

uh, we'll build on this

37:12

more in the next episode.

37:14

So if you're watching on

37:14

U YouTube, don't forget to

37:17

subscribe, leave a comment, and

37:17

also hit that notify button.

37:20

And if you're listening on your

37:20

podcast player of choice, do

37:23

hit subscribe also and free.

37:26

Feel free to reach out to

37:26

me with any ideas, tips, and

37:28

tricks you think I should include in this progression or this production.