As my original intention was to record improvised sounds and melodies on various instruments and rearrange them in ProTools. I found that with my limited amount of sounds to work with, using the sampler would give me more sounds to work with. This use of audio sampling is one thing that marked Trent Reznor above other contemporaneous producers. In an interview he said

“When sequencers started to be able to record audio, was a big turning point in how I wrote music,”

When producing his album The Fragile he moved over to ProTools from the previous program he’d worked with due to it shutting down midway through producing his album. His use of sampling audio and using them as sources for midi instruments is what I am doing in my second task due to lack of source materials. I am quite enjoying the sounds you get from the sampler as it transposes the timbre of the sounds you use as well which creates rich sounds when sampling vocals.

I recorded some takes of myself singing some ooh’s and ahh sounds to create a chords which sounded more human against my cut up hi-hat and snare samples which were very dry.

Here’s a recording of some of my drum sample takes.

I didn’t realise how easy it would be to use the sampler in ProTools. Although it took me a while to work out how to input the midi values into the grid and change velocities etc, I think I will definitely use the sampler again. First of all you need to find the section of audio that you wish to put into your sampler.

selecting audio sample

Then you need to add a new instrument track to your project. In the inserts bar of your new instrument track scroll down to instruments and select Structure Free. This is your sampler and it should look like this.

The structure free instrument

All you need to do then is select the grabber tool and drag your highlighted section of audio onto the box on the right. It should automatically have a sine wave set to MIDI channel A1. Remove this by right clicking on the bar on the right and change the MIDI channel to A1 for your sample. You can test if it’s working on the keyboard below. You can also change the attack, decay, sustain and release of your sample in the edit section on the right. This is exactly what I did with my singing samples and I quite like the effect.

For drums I used a hi-hat sample and instead of placing all hits on the same note in the MIDI arrange window, I used the pitch effects to emphasize gestures as I thought it would be more interesting than trying to replicate mechanic hits with the sampler. I also did the same thing with the snare drum but more with the intent of making complimentary tones.

One limitation of ProTools I discovered however is that it only allows you to use 4 Structure Free instruments at a time which forced me to place samples in the arrange window manually with cutting and pasting etc. For this however I used samples with rhythmic content that I had recorded on the hi-hat. They were not recorded to a metronome however which meant that they wouldn’t sync up perfectly to the beat. I decided to use them anyway as they had the off kilter drum rhythms that I like from hearing producer Flying Lotus.

Here’s an example of his hard at first to follow drums from his last LP Cosmogramma

Although Flying Lotus is extremely tight lipped about what programmes and software he uses to make his music in fear of people copying his style, he has often mentioned J Dilla as a source of inspiration. Although J Dilla innovated the out-of-time beats, I am mainly drawing from Flying Lotus’s Use of texture in his music.

I was not particularly pleased with my hi-hat sample recordings so I used a fuzz-wah plugin in ProTools to change the loudest frequencies of the sound. Here is a before and after.

Before (named incorrectly)

And After

And here are the settings in the fuzz wah insert.

As you can see on the right the sound is also put through a band pass filter which cuts off low frequencies and high frequencies depending on where you choose to filter the sound. I also used heavy compression to give it a slightly aged sound. As the hi-hats were recorded in the vocal booth of the studio it was a very dry sound, so to give the sound ambience I used a TL reverb plug in set to the medium church preset and boosted the recognition of higher frequencies as it is a hi-hat.

Another technique I employed in my piece is time-stretching which was famously first heard on English DJ Goldie’s record terminator. With this effect you can change the playback speed of a sound without changing its pitch. This technology was first made available with the release of the Akai S-3000, a hardware device created for DJs to slow or speed up songs to synchronise with each other for live sets.The TCE tool (time compression editor) in ProTools is mainly used to synchronise out of time vocal lines and tidy things up for your mix, but I used it to extend a short sample of the phrase ‘are you ready’ that I’d taken from a guitar recording when I asked Adam if he was ready to record. It had quite a faint audio signal and no rhythmic coherence with my piece so I chopped up each word and placed them in time with the beat. I kept the words “are” and “you” the same speed and used the TCE tool to stretch the word “ready” playing it 4 bars later in the mix.

purple wav regions are "are" and "you"

I also used the RTAS Multi Delay Effect insert(factory default setting) on this channel for the  samples as the rhythmic effect worked well in the mix.

The TCE tool can be selected from the menu bar at the top as one of the options in the drag down menu of the trimmer tool. Seen below sporting a blue square. To use the tool, select the section of audio you would like to change and simply drag from either side to the length you require.

I remember this effect most distinctly from the song Break 4 Da Reload by the UK Garage duo called Oxide and Neutrino where the DJ Neutrino sampled the quote “Can everyone stop getting shot?” from Lock Stock and Two Smoking Barrels and used time-stretching to repeat the quote before MC Oxide started his rappety rap.

Reverb effects

On my vocal sampled midi instrument I set up an aux bus channel with a long spring reverb insert so I could automate it to abruptly stop with the attack of the snare drum to play with the idea of sounds in space and increase attention to the snare. I used the reverb initially to warm the texture of the vox instrument but I noticed I could do more with it simply by cutting the volume at certain points. Here’s a picture of what it looks like in the project. I believe it works quite effectively at some points.

Reverb volume following snare drum hits

One effect I used on the snare drum was reverse reverb which is an effect a lot of people commonly associate with being heard on Kevin Shields unique guitar sounds from My Bloody Valentine.  He actually only used this process in treating his guitar on a few occasions. Due to the mystery surrounding the highly innovative noise-pop album Loveless however many music critics cited his use of effects as mainly chorus and reverse reverb. Another technique he did with his guitar playing was his unique use of whammy bar which he held while strumming so he could emulate the effects of a warped vinyl, a complaint many people made when mistakenly returning vinyl records of the album. In an interview he says how he created this technique.

“I was trying to imitate string bending and slide-playing, which I couldn’t really do. I thought maybe if I tuned two strings to nearly the same pitch and then bent them with the wang bar, maybe it would sound like I was doing that. I borrowed a nice Jazzmaster from a friend, but it had a re-made tremolo that was really big. So I put tape on it to keep it from going all the way into the socket.”

He did however use reverse reverb on acoustic guitar on MBV’s debut album Isn’t Anything released in 1988 on the track Soft As Snow But Warm Inside. Combined with his use of the whammy bar it creates quite a unique effect as you can hear here

From the same interview with guitargeek I’ve quoted from above that can be found at the url http://guitargeek.com/chat/showthread.php?threadid=95434 ,  he talks intriguingly about his reasons in rejecting previous guitar effects and quite deeply about the use of new effects in the studio.

“It gets back to primitive survival instincts,” he says, “the ability to localize sounds in space–that feeling when you’re in the woods and a twig snaps or something rustles in the underbrush and your heart starts pounding. I’d like to achieve something like that with a guitar effect.”

Kevin Shields effects the entire acoustic guitar track with this effect whereas in mine I kept the original snare sound and mixed in the reverse effect at around 20% so it was more of a background addition to the song. I also found that it works well with the call and response between the hi-hat and snare drum heard around 0:54 where the hi hats play triplets, followed by the snare. Combined with the automated volume on the reverb aux channel for my vocal sample pad, I feel I’ve used techniques in my production akin to the way Kevin Shields describes by playing with the idea of space.

———————————————————————————————————————————-

At 1:44 in my track the sound panned widely in the stereo field that sounds like thousands of snooker balls being hit was created by using the ring mod effect on my Boss ME-50 pedal and plucking muted strings near the pick ups. On its own it sounds like this.

Side Chaining

As I’ve already spoken about how to use side chaining in ProTools I will only mention that I side chained the hi-hat samples to the bass kick as well as the vocal sample pad to make the piece sound more redolent of house music.

Though sophisticated and innovative in terms of content and presentation, the first three M.O.I. albums are somewhat dated in terms of their “sound,” a shortcoming that Zappa later addressed by overdubbing new bass and drum parts on the We’re Only In It For the Money tapes in the mid-’80s. However, along with Lumpy Gravy, the first three albums (now available in a threefer package from Rykodisc) introduced several production techniques – and musical and lyrical themes – that would feature prominently in later releases. Both Absolutely Free and We’re Only In It For the Money featured non-stop, segued album sides arranged as suites of songs, interspersed with field recordings of bandmembers’ dialog and sections of musique concrete (“natural” sounds modified by tape manipulation). These audio jump cuts and sudden changes in ambience were also reflected in the music, as doo-wop, pop songs, political commentary, fuzz guitar rock and cocktail jazz all piled up on each other. As the years went by, Zappa’s edits became smoother, to the point of undetectability, but he consistently used editing as a compositional tool and created many coherent (if idiosyncratic) compositions from apparently random audio scraps.

This idea of working with pre-existing sounds and composing with them with the means to create something entirely new isn’t a totally alien idea to me as sampling took off massively with the emergence of hip hop before I was born. A genre of music which in its origins hoped to carry strong political messages and biting social commentary. These two things of course are what Frank Zappa was never afraid to talk about with cogency and a liberal bent. Frank Zappa liked to face these taboos head on with his music and assembling diverse but contextually relevant sounds in the studio is something he had mastered.

My intentions for this task however are to reassemble sounds in a way which isn’t politically motivated but to use samples of recorded instruments to create a collage of pitch and texture. For my task I have recorded a variety of instruments with no forethought of rhythm or timing to be formed into something which does.

Instruments I have recorded are

Pump Organ

Andy Riffing on the Pump Organ

Side view of Pump Organ

Grand Piano

Mic Placement for Piano

Vox

Andy, Centre of Recital hall singing

Experimenting with mic placement to capture room ambience

Acoustic Guitar

No image available, sorry

Snare drum

recording isolated snare hits to sequence later

Hi Hats

Hi Tom

and finally Floor toms

Would have taken pictures had not the camera ran out of battery.

What I realised after I’d recorded all of my sounds was that my production technique bears more in common with Canadian producer Secret Mommy(Andy Dixon). Previously a member of punk rock band d.b.s he started his own record company called Ache to release his own solo material. He started his cut and paste production style similar to John Oswald‘s method called plunderphonics, borrowing sounds from pop song recordings and editing them beyond recognition and composing with the resulting sounds. He then started composing using sounds from field recordings. For his third album released in 2004 entitled Hawaii 5.0, referencing where he recorded his sounds, he made music entirely from sounds he’d captured from a holiday in Hawaii. The 5.0 part of the album title is a reference to the electronic manipulation of sounds he used in composing. For his next album named Very Rec released a year later including standard instruments too this time, he used a hidden condensor microphone to record sounds at places of recreation, including a basketball court, yoga studio, swimming pool, football field, ice rink, dance studio etc.

The sounds in this song are composed entirely from recordings from a late night session in a basketball court apart from the cello.

In 2007 he released Plays which following a similar method of recording ‘organic’ sounds is made only from acoustic instruments. The method he outlines in this interview from earshot.com.

“I just booked some studio time where I just had all my friends come in. It was a free for all; it was like an open house where we just recorded a bunch of music, and it was just completely improvised. I took all those recordings and then I made that Secret Mommy record out of it. So Plays is processed recordings of all my friends.”

This is what I wanted to do for my second task and I did, but with the unfortunate handicap of almost all my musician friends being busy on the day I’d booked for the studio, me and Andy Buclaw are the sole performers on the track.

here’s a song from the album Plays, a peculiar marriage of free improvisation and anally precise post production glitchery. He also made the video. crafty *ucker.

My approach is hoping to emulate the technique of Andy Dixon without emulating hyper-edited results as I’m not conversant with ProTools to do so yet.

Mic placement for bass amp

another shot of mic placement

Here are the results of that recording

Marshall Haz40 with SM57 microphone 5cm above speaker cone.

Boss ME-50 multi-effects unit

We found straight away that the SM57 choice was a good one as it sounded very similar in playback to what I heard live whilst playing. The DPA microphone placement was trickier however so we experimented with 3 different placements.

The first place we tried was on the reverse of the amp directed towards the middle. See below

first attempt using DPA and SM57

The SM57 sounded great but the DPA was mostly receiving room ambience and hiss due to its poor placement. So after a take we tried again. We then lowered the microphone pointing it more towards the floor expecting a clean sound from the sound absorption in the carpet, thus…

Second attempt, SM57 in same place

Third time lucky we tried pointing the DPA at the skirting board opposite the speakers of the amp, feeling the DPA could be used to capture sound reflection better.

Finally decided mic placement

To get the sound to come through to the ISA and then into ProTools, I patched 2 xlr cables from inputs 1 and 2 from Chill Room 1 to 1 and 2 into the ISA282-1 board. I then set up 2 new mono audio tracks and made sure the inputs in the mixer window were A1 and A2. To get headphone signal I patched from HeadLite output ch1 to Chill Room ch3 and set up an aux channel. The default input for the headphones in the ISA282 units is B8 so I then changed the input in the aux track in ProTools to it.

I recorded various takes with different amp and pedal settings so I could choose which takes to use afterward in the studio room. I ended up improvising a lot of parts which worked well separately so in the mix I lowered the volume using automation to drop out parts which didn’t.

Here’s a selection of the takes I ended up using.

and here’s the second take using the same mic placement.

and finally the third recording, replete with fuzz.

and there you have it.

Arial view of 8 mic set up. Bass mic inside bass drum

We patched through 8 channels from Loud Room 1 to the ISA 282-1 and added 8 mono audio tracks on ProTools, routing them through with the inputs going from A1-A8. After placing the microphones in effective positions and tying all cables out of the way we started to take readings from all of the microphones 1 at a time. Straight off the bat we experienced peaking on almost all 8 tracks so we turned off the +30dbs button on 8 channels of the ISA 282-1.

Soloing tracks to take peak levels/nice sounds

ISA 282-1 levels for recording drums.

As we were using considerably more microphones this time round  we spent a lot longer placing microphones and taking readings from each channel by soloing them in the mixer window and playing repeated hits of each respective part of the drum kit. Due to the small dimensions of the room combined with large amounts of cables, stands and microphones we found it difficult to capture any usable pictures of the microphone set up, so instead I recorded all of the microphone placements and models used in this video here.

With the limitation on post-production editing this task required I wanted to capture sounds similar to what I have heard on In Rainbows by Radiohead which were produced by long-time collaborator Nigel Godrich. He is referred to by fans as the ‘sixth member of Radiohead’ in a similar way to how George Martin was often called the fifth member of The Beatles. From reading this interview with Nigel Godrich I had to seriously reconsider what role he plays in Radiohead. Here’s a short interview excerpt circa the release of OK Computer.

Nigel Godrich, picture cropped to eliminate fivehead

One concession to digital technology was made in the form of a Pro Tools system, which was used for tidying up little mistakes. “It’s been really handy”, he admitted. “But again it’s something that you have to learn not to use. Because when we first got it, I was trying to do this and that with it, and ended up sitting in front of the thing for two days. And everybody gets pissed off, and you lose the feeling that you’re excited about something. The trick is to do something fast enough and then keep going so you can’t get bored with the thing you’ve just done. “You just go and go and you don’t stop, and when you go back later and look at what you’ve done, you can say this one doesn’t work but that one is great.

Earlier in the interview he talks about the importance of capturing the energy of a performance and says on recording guitars he simply uses a Shure SM57 mic pointed towards the amp, and how making your performers labour too long over a song can cause the song to become stale as the feeling it has on its inception is lost when you try to retrospect on what elements you want to amplify. On recording OK Computer he also said he’d try to record the band playing new songs asap while they were unfinished so they could listen back to their songs with all parts included, rather than allow them to grow bored of certain elements played to death in rehearsal.

My problems with playing drums to a click track have always been trying to play with feeling while staying in time. In the same interview Nigel Godrich spoke about this.

As for click tracks, they were used for establishing tempos on some songs, and then switched off. “Obviously clicks will hold you back, expression wise. They’re useful as a tool, but they can take the performance out of it.”

It has been refreshing reading that the producer of my favourite band is more openly concerned with techniques in capturing performance and the feeling of a song in favour of pristine production.

When I started taking music technology in 2007 I was very excited to get into the studio. I had been creating my own music using Adobe’s now re-branded programme Cool Edit Pro 2.0 and having lots of fun doing so, getting used to the idea of unlimited possibilities in sound manipulation. The problem I noticed was that other people on my course had become seduced by the facility of post-production and shoddily recorded their instruments with intent to iron over the bumps in post. Although I had it clearly set in my head that I wouldn’t fall into this trap this year I believe I’ve been stymied by time constraints in the studio and struggles with the new technology. I bring this up only to retrospect on the drum recording of my second task.

I had tried recording drums with myself with Adam as I considered myself competent on drums at least as a rookie but I couldn’t keep in time with the metronome very closely. Cue Justin. Me and Adam had decided on getting someone else in to drum for fresh ears on the track and more punctual percussion to mix with. First of all however we tried recording acoustic guitar with some suck-it-and-see techniques and then looked some techniques up online as I was rusty.

Justin preparing for take 3. Sitting.

My intention for the first task (as I was finding structuring the song problematic)was to record each section separately and rearrange the parts in the arrange on ProTools.This technique come to think of it is aped from Miles Davis’ album Bitches Brew. I remember from reading the sleeve notes that although Miles had mythologised the album somewhat claiming the whole album to have been improvised in the studio, a lot was pre-rehearsed and new cut and paste studio techniques from Teo Macero were cunningly umentioned. The sleeve notes however had said that although the music was predominantly improvised round themes, timings and chord structures Mile’s would suggest to the other musicians, significant post production editing from Teo Macero innovated new musical structures from cutting and pasting various recorded parts together.

Teo Macero is responsible for recording three of the best known and influential jazz albums of all time in Miles Davis’s Kind of Blue, Bitches Brew and Dave Brubeck’s Time Out. Taking his cue from Pierre Schaeffers’ innovations in the studio, Macero used sampling techniques, looping, reverb chamber and echo effects on Bitches Brew which were highly innovative at the time. Here’s an interview with Teo Macero about making that album.

I would sync them  up to the metronome and then record the drums to the arranged track. What turned out was that many of the parts sounded better with different microphones and placements so it is a bit of a hodgepodge so far. At this stage I still might re-record everything as I think the drums sound too flat and an electric guitar part might carry the riffs a little better. The unedited recording is at the bottom of this blog.

Recording the acoustic guitar, we first tried pointing a DPA condensor microphone at the bridge 10cms away and an AKG 414B facing towards the 5th fret on the guitar 10cms away. From researching acoustic guitar close-micing there seemed to be a rule of thumb called the 3-1 ratio. This dictates that the distance between the microphones themselves should be triple the distance apart that they are from the sound source, so they were 30cm apart.

10cms away from guitar, 30 cms away from eachother

Here is the guitars and drums recording we made on 04/11/10

We then started setting up the microphones in the loud room with Glynn Johns’ technique we’d adopted in the class. This involved setting up two over head microphones which were the AKG 414s. One placed between the floor tom and the ride cymbal and the other roughly between the crash cymbal and tom-toms but above the crash. To get a well measured reading Glynn Johns placed the microphones equidistant from the snare drum. We didn’t have a tape measure at the time so we just made rough estimates until we took readings from the studio. To mic the bass drum we used the SennheiserE602 and positioned it inside the cut bass hole pointed 45 degree upwards. Having done this in the lesson we learned that it picked up more high end frequencies and reduced muddy sound recordings.

To mic the snare drum we pointed a ShureSM57 almost directly down 4cms in from the snare rim instead of using the DPA omnidirectional mics like we had in the lectures. For the hi hats we we used a Neumann pointed towards the centre about 10cm above them. Now everything was hooked up. Theoretically it should all have worked. We had headphones patched from loudroom1 into the ISA 282 output – left from the last people using the studio – and we were not hearing anything. The problem was we’d assumed things were left patched correctly. After much fiddling we realised the problem was that the headphones needed to be patched into the headlite output. Now I could hear Adam from the studio in the loudroom.

Having everything set up in ProTools we went ahead with a preliminary recording to hear what needed changing with the levels and placement all together. Were getting a lot of humming resonance from the tom toms when I was playing the drums which quickly irked so we used our jumpers and hoodies to mute the toms. We tried recording again and still noticed some humming. Afterward we just removed the toms from the kit and went for recording a crisp and punchy drum recording. Removing the toms had fixed the problem.

The AKG mic over between the tom and crash cymbal was picking up a lot of hiss and realising we were pressed for time, decided just to cut it from the recording. We were left with the desired sound we wanted thinking we could just play poly-rhythms with the three piece kit and fill out the missing frequencies with synthesizer textures and equalizing the guitar.

Catch you guys later.

It irritated me for a while from hearing it too much in house music a few years ago but then I’d never been to a club before so I guess that all that was beyond me. Anyway, moving on. Side chaining is a compression effect in which you choose two tracks in your arrange, the first of which you want to emphasise(vocals mainly for radio edits)and the second track which you ‘chain’ to the first. Side chaining makes the mix follow the waveform of a particular track. Say if you were making a radio edit of a particular song and you wanted the vocals to be prominent, you could side-chain the vocals to the remaining tracks so that when the vocal line came in, all other tracks would drop in volume to compensate.

You can alter this effect using attack and release to change the severity of the compression. Say for example if you had the attack and release at 0 secs the side chaining would be highly noticeable, which is is precisely what radio DJs use when they talk over tracks and the track suddenly drops in volume. Sort of like an auto-fader I guess. If you want the side-chaining however to be quite light you could increase the attack and release to avoid the fluttering sound of the previous technique mentioned.

Anyway, heres how to do it in Pro Tools using vocals and guitar as an example

On the track you want to use as source i.e. vocal, select a mono bus send(if vox is mono). Right click on that send to change the name
(i.e. vox SC).
The guitar needs to have a compressor inserted on the track, in the window (Focusrite D3)it has on the top left in the window a big key symbol. Click on it, go down to bus list until you find your bus (ox SC).

Any signal arriving on the send in the vocal will make the guitar go down in level according to the compressor setting of the guitar. Release is how quickly the guitar regains its volume after the side chaining.

Pictures up soon.

Here's the Patch Bay

The first obstacle we encountered was getting the foldout mic to work, we could see there was a signal coming through the ISA 828-2 on the 8th channel but had forgotten how to get the sound to come through Pro Tools. After adding a mono audio, and a mono aux track onto the arrange we phoned Matt Hollis who’d booked and used the studio before for some advice. He told us to select B8 from the inputs section in the arrange and then voila, sound.

Turning on the phantom power

The next task was patching the headphones and microphones through to the chill room. We were going to close mic a clean guitar track with the Marshall so we used the AKG C4142 condensor microphone and turned on phantom power for channel 1 which we were to then patch the cables through. We sent out the headphones channel from the ISA input 13 and output into the chill room channel 3 I could hear Adam’s voice and instructions coming from the studio as I set up the mics in the chill room, wearing the headphones. We could now hear the condenser mic in the studio and the foldout mic in the chill room, success.

Adam testing out the gain levels from the studio

We’d learnt some interesting mic techniques in our lessons like NOS and MidSide Technique but decided just to close mic the amp and play the guitar through the clean channel. I played guitar while Adam manned the studio and we recorded some noodlings to take readings of various styles and how the sound was picking up with an eye on the peaking. We noticed from playbacks on the recording that the acoustics of the room were not complimentary to the dry clean guitar sound we wanted.

Microphone placement in vocal

We decided to relocate the amp and mic to the vocal recording room to make the guitar sound closer and narrower in the stereo field, given the smaller size and isolation from subsonic rumbling we’d picked up in the chill room. We patched the headphones into the vocal room as well as the microphone and had another go at recording. With a reduction in bass on the amp itself and the attenuated rumble in the room, the guitar sounded much crisper and cleaner. You could still detect the studio feeling in the recording however which makes me feel more likely to re-record using DI next time.

Here are some pictures of the techniques we tried

Recording guitar in the chill room

Me playing guitar in vocal booth

Here is the result of our second attempt at recording guitar in the vocal room in the studio.

With all technical hurdles ironed out of the picture I feel we’re ready to record for our planned songs next time.

I’m forbidden to use any of my favoured Logic effects on the first task, left only to use high pass filters, sample delay, compression and side chaining. It feels galling at first I suppose to use only the sounds you have recorded dry, but of course I may choose to place the microphones wherever I like to achieve the sounds in spaces I want. I’m looking forward to it however. Whenever I think of mic placement I always remember watching a music documentary years and years back where various wrinklymen were talking about a record named Bad Penny Blues written by Humphrey Lyttleton released in the early 50s. I think of this because they all talk about the way the unusually the piano was recorded, how it sounds all bongy and bouncy, thanks to the innovative work of Joe Meek. Its interesting to me because it seems like the first conscious effort in a studio to record sounds in a way as to not emulate a live performance. Anyway here’s the clip in gloriously low youtube quality.

This smoothly brings me onto task 2 and emulation of other producers. There are so many producers I admire however so its difficult to choose who I find most interesting in regards to the method in which I have to emulate. My favourite producer right now is Flying Lotus but the richness of his music would be hard to achieve through the methods of sampling I must use, recording my own that is. The intoxicating wall of sound Phil Spector created could be managed I suppose. But oh the use of enables so much more interesting things to be done. Unfortunately not a VST.

Anyway I’m looking forward to learning advanced mic techniques this course.

goodbye