We recently sat down again with Page as he upheld by Boston for a Together Music Festival. He gave us an inside demeanour during how he churned and mastered his strike “Fight For You” off of his newly expelled manuscript Believe.
First of all, acquire behind to Boston.
It’s good to be back. It’s been 7 years given we graduated from Emerson.
So, it’s a large understanding to be during a Together Music Festival, a initial of a kind in Boston, where a lot of people worked unequivocally tough to put it together. Can we pronounce a bit about how your time in Boston influenced your prophesy as a writer and DJ? How did that time in your life figure who we are now in LA doing a big-time.
The initial bar we played was Phoenix Landing, that we consider is still doing their thing. It was a Wednesday night and we brought out an MPC2000 and this aged EMU sampler. You know, 75 lbs value of gear. There’s zero like that initial time we play, when we hear that flog drum you’ve been tuning all day that’s customarily super shrill in a club. The place had good sound, and we consider it still does. It [kick drum] sounded totally opposite from what we was used to during home. we had a studio in my dorm-room during Emerson. we was vital in a triple for 2 years – so we had racks and racks of apparatus right subsequent to 3 beds, and we would always have to do all on headphones, nonetheless we did have some decent Mackie monitors. That was a crazy process. we would work on mixes there and afterwards move them to a radio station, to WERS, and exam it. That was a ultimate test: bringing them to a radio hire and conference what it sounds like crunched by these promote compressors. That was always a shock, thinking, ‘I didn’t put that many reverb on there!’ My time in Boston was unequivocally critical and it was fun to be a partial of a strain theatre here and we worked unequivocally hard. we did DJ a ton here, it was customarily arrange of a beginnings of that and Emerson was a good opening for that – it was unequivocally fun to do college radio. That unequivocally started things up, removing concerned in college radio and handling a station.
Let’s speak a tiny bit about your albums and remixes. we had a explanation when we was listening to Believe and we was about half-way by “The Longest Road”. we remember meditative “Damnit, we consider Morgan customarily finished me listen to a nation song.” we was tender with a fact that you’re means to brew genres unequivocally good in your tracks. “The Longest Road” sounds like a brew of all from rock, country, to cocktail influences.
So, how does that all come about – is it your ambience in strain or is it a vocalist we select to work with?
I typically select vocalists that we wish to work with that don’t sound like your standard flattering dance vocalist so a low-pitched calm is different, a timbre of a voice is different. we try to approximate them with instruments that make sense. In “The Longest Road” we consider there were slip guitars that gave it that feel of a nation influence, yet customarily given it has a guitar doesn’t meant it’s indispensably nation – it could be a chord course or a arpeggios. All of that can offer as clues to what a genre is.
I like to steal a lot from opposite genres. we get sleepy of a same aged sound. It’s funny, we know, there’s always a prohibited sound of a moment. we also try to be unequivocally desirous by strain we don’t like in further to strain that we do. It creates we unequivocally encouraged to wish to tip that, like “I can do improved than this.”
What do we listen to when you’re not putting together DJ sets and meditative about residence music?
A lot of stuff. A lot of indie bands. Everything from your standard electronic things like Daft Punk to a indie rope Florence a Machine. we unequivocally like a powerful of electronica strain from Royksopp all a proceed down to a precisionist subterraneous things. But, that’s a hardest doubt to answer, really, given any week it’s something different. If we demeanour during a playlist on my iPhone, it’s customarily crazy – it’s everything. we consider as a writer we unequivocally have to listen to a far-reaching accumulation of stuff.
Another thing that unequivocally strikes me about your strain is that it’s, for a miss of a improved proceed to put it: not gimmicky. we consider of some of a trends of residence strain over a past integrate of years and you’ve got things like lots of distortion, severe edits, side chaining, and unequivocally crazy outspoken chains.
All of that things has a arrange of hiss that we consider is good for a while, yet how many times do we wish to hear that? we consider a good proceed to decider how good a strain or radio revise ism, is to ask yourself, “How many times do we wish to hear this again?” One listen should not be adequate to be totally confident – we should be customarily brief of totally confident after a listen or, during best, addicted. The hiss is great, yet if we wish to make annals that final a prolonged time, we consider a strain is a many critical thing.
So, entrance to a new album, your final manuscript was arrange of a collection of both remixes and strange new music. Tell us a bit about how your cultured or instruction has altered with this new album.
Believe is unequivocally about a artist album. 13 strange songs, 2 of them are covers, one of a Rufus Wainwright track. we try not to do too many covers as we unequivocally like putting out strange stuff. The indicate of this manuscript is a unequivocally automatic, dim sound – unequivocally melancholy. It’s not all about remixes and four-on-the-floor. It’s kind of your manuscript journey. You’ll hear sonically that there is a common thread. It’s a lot of analog keyboards churned with acoustic instruments. A lot of heavily tuned vocals, a lot of layering – contra a other manuscript “Elevate” that was all about remixes and a operation of sounds, like down-tempo remixes to electro-house.
Now removing some-more into a nuts and bolts of prolongation and how that routine works for you, what is a pivotal apparatus in your studio setup? What are your go-to tools?
Stuff comes and goes, yet a core of it is Pro Tools 8. we have an Avalon 727 channel frame that we use customarily as a pre amp and for a tiny compression. we have an M-Audio Sputnick mic that we use for all now. we used a Studio Projects C-1 that was great. we like these inexpensive Chinese mics given they sound good and you’re not spending $5,000-$6,000. I’ve compared them to costly mics and there’s unequivocally not that many of a difference. we consider we do compensate for peculiarity when it comes to equipment, yet it’s intolerable when we listen to them. I’ve had vocalists move over $7,000 mics and there’s unequivocally not that many of a difference. It’s some-more about your estimate and how we proceed and figure those ideas and sounds on your computer.
Does it have a lot to do with your environment? What kind of sourroundings are we recording vocals in?
It’s customarily a bedroom studio yet a outspoken booth, so we have singers mount behind my shoulder. It’s a carpeted bedroom and we have [sound treatment] unresolved from a wall. It works ideally – we customarily spin off a executive air, tighten a windows, and go during it.
I use a lot of Ozone. I’ve used it on any singular remix and original. Alloy has been on any lane on a new manuscript I’m operative on. There are certain go-to plug-ins that we get used to using, and it’s some-more about a workflow and how it works for you. An engaging partial of a routine is observant what rigging works for we personally. we have a lot of analog keyboards like a Prophet 08, that is amazing. For me, it’s good to have that regard and to not have to do a lot of processing. Analog keys customarily concede me to get a sounds we wish yet carrying to EQ or restrict it that much. I’ll customarily go in and side-chain it, and use some batch plug-ins for that. But, a large partial of my routine is regulating these energetic plug-ins. The Glue is a unequivocally good one that customarily came out. It’s like a $100 compressor that we can side-chain. I’ve been regulating that and Alloy as my genuine go-to tool.
Let’s take looks during a Pro Tools event we brought currently for “Fight For You”. Let’s speak about some of a collection in there that we would use on vocals.
“Fight For You” off of Page’s new manuscript Believe.
These days I’m putting a limiter on a categorical track. I’ll use a brick-wall limiter customarily to make certain that zero is peaking. Nothing extreme in terms of a threshold – it depends on a spin of a track, yet what we like about this plug-in is that we can kind of expostulate them tough and they don’t honk, we don’t have any large jumps. It customarily sounds natural. It sounds a tiny some-more analog than a lot of other plug-ins. I’ll have a unequivocally pointed limiter on there, and a integrate of compressors in-line. we use a limiter in Alloy that is killer. Just a limiter alone does so many extraordinary things. You could use customarily that creatively and do implausible things with it. If it’s customarily vocals, I’ll typically cut out things subsequent around 80 hz. we used to be unequivocally into doing critical filtering, yet there’s something we remove when we leave that low-end in a vocal. But, there’s also something about a participation that we need in those reduce frequencies. we used to be a tiny some-more over-zealous about that. It’s unequivocally critical to cut out a low finish in a lot of a vocals, and in a backgrounds to cut out a lot of a highs. In a digital universe it’s so easy to hear a highs that it’s unequivocally critical to hurl them off around 8k on other voices and instruments so a lead vocals can unequivocally shine. Those things can make an huge difference. The thing we like about this as against to other channel strips is that, in Pro Tools LE, for example, yet TDM, latency is a large issue, generally when it comes to estimate vocals. Auto Tune generally adds a ton of delay, so we have to poke all of my other marks over customarily a bit, that is unequivocally annoying.
One large thing I’ve been doing now to speed adult a workflow (and there’s never a regulation to what we do), is to have markers for “verse,” “chorus,” “verse,” “bridge,” that we can see during a tip in all my sessions. So, in my event template I’ll put plug-ins like Alloy on there so that we don’t have to keep dialing them adult any time and change a whole structure of how it’s going to be mixed. we know immediately that it’s not going to shave given of a pointed limiter on there. That’s on any lane of any event now, and it customarily speeds things along. It used to take me 3 weeks to do a remix and now it takes about 3 days. That’s also after carrying finished 120 remixes – that helps too. we consider that if we get a good work flow, we get your ideas down faster and we can be some-more artistic by a boundary of that structure and regulating templates.
Do we wish to speak a tiny bit about a drums on this session?
These were processed with Ozone, and we used Stylus to emanate a drums. we had a live drummer come in, and while we didn’t use a live drums on a lot of a record, they do supplement a good tiny organic peculiarity hold in a background. I’ll start it with customarily removing a good kick. I’m layering drums reduction than we used to. we used to covering a flog drums, regulating 3 or 4, customarily figure them out. It’s a crazy proceed to work and it’s customarily a opposite sound. we like to use purer sounds now. So mostly we will customarily build a flog drum sound from scratch. I’ll start with customarily a sine wave, supplement some white noise, unequivocally removing down to a harmonics of it.
Let’s bucket adult Alloy and demeanour during a sound on a magnitude graph. Were we meditative about a frequencies we wanted to strike with your flog drum and trap while recording a song?
I like to have a bend of a altogether mix, and of a drums, to customarily be this good transition, creation certain that any magnitude is covered. If there are problem frequencies, I’ll customarily poke those out and infrequently I’ll supplement in frequencies to keep that whole range. A lot of times I’ll start a flog drum focusing on a elemental and I’ll supplement a sine call to supplement a tiny some-more impact, a tiny some-more “oomph” to it.
Do we customarily start with a sold elemental for your flog drum, or does that change depending on a pivotal of a song?
It depends on a key. In a final few years, it’s been all about regulating a vigilance generator to beget a garland of opposite octaves off of that fundamental, regulating those to strengthen that sound, customarily as a sweetener.
So you’re indeed meditative about a pivotal of a strain when conceptualizing your flog sounds?
Absolutely. It’s a whole proceed of meditative that we don’t see with a lot of companies and a lot of plug-ins: meditative about things in low-pitched terms. Sure meditative about things in frequencies, yet radically you’re traffic with records and a ranges of all of those records and harmonics. That’s something that’s unequivocally good about Alloy and Ozone; we can see what octaves and pitches we are traffic with.
Let’s speak some-more large picture. Once we have all of a elements of your track, what are we meditative about as distant as mixing? Do we brew as we go? Do we get to a finish and lift all a faders down and afterwards start bringing things adult to get a right mix?
I have to do it as we go. we work on drafts, spending maybe a day and a half to get a breeze sounding good. You don’t wish to get it too polished, though, when we have to come behind after to finish a strain and redo things. we see a value of withdrawal things as demos in demo-form and afterwards unequivocally burdensome appetite with your ears after on to make it sound better.
So do we spin a switch during some indicate and say, “Okay, now I’m in blending mode”?
It’s always piece-by-piece as we go. But, when we am during a finish and have a deadline and consider “this doesn’t sound great,” we have to go into problem elucidate mode. With Ozone I’ll do sorts of “test masters.” we like to have them shrill and considerable for a labels, generally if it’s a vital tag that customarily wants to hear crunch. Lately a proceed I’ve been operative is starting with a limiter on a whole brew rather than bringing that in during a final minute. we consider it’s a lot harder to make those changes during a end. Before, we would customarily do a whole lane and slap on Ozone during a end, yet now a partial of a whole processes starting a few hours into it, that has helped a lot with how a mixes have translated into a clubs and a radio.
It seems like tying has roughly spin an instrument and if we spin it off it changes everything. What happens when we indeed get to that final theatre and you’re prepared to send things off for mastering? Do we leave any tying on a full brew or do we let them take caring of that?
I let them take caring of it. we leave a compressor on now given I’ve seen mastering guys do extraordinary things with my mixes and I’ve seen them hurt mixes completely. It’s unequivocally frustrating given you’re profitable them good money. Especially when you’re doing remixes, we don’t know where it’s going to go to be mastered. I’ve finished mixes for any one of these vital labels and it’s a opposite mastering man any time given mostly a tag doesn’t have a choice if their tip man is busy. we used to leave too many coherence in a mix, so now we restrict it customarily a few dBs with no limiter and it’s sounding good.
For a prolonged time a #1 order of creation strain was to never master your possess stuff. But, there are a lot of people in your position who now contend “Well, we know what we wish my strain to sound like and I’ve got a good listening environment. Why wouldn’t I?”
As prolonged as we have been doing it prolonged adequate and as prolonged as your ears are attuned to hear any issues, go for it. It depends unequivocally on a finish too. we consider if it’s bar stuff, it’s a tiny easier to master on your own. It depends on if you’re on a highway adequate to unequivocally highway exam it. But it’s changed. The program has gotten so many improved and speakers have gotten improved too. Trust your instincts and make bright comparisons to other artists’ tracks. There’s also a underline in Ozone to fit a EQ of another curve.
You’re articulate about a EQ bend matching. Did we use a spectrum snapshots on “Fight For You”?
I need to use them more. There’s so many in Ozone that I’ve customarily scratched a surface.
Tell me a tiny about how we use Ozone and what we would typically do if we were removing something prepared to send off a lane to play during a club?
Now that I’m starting to brew with a limiter on, I’ll use a intensity maximizer. I’ll customarily have a tiny tying going into it, creation certain nothing’s peaking, and we have a dither down in Ozone. we don’t have Pro Tools doing a dithering. For mastering, I’ll keep it during 24-bit, yet for listening functions like a low-res mp3, I’ll rebound it down to 16-bit, modify it, and send it over to a label.
Do we leave a tiny bit of domain on your limiter?
Just 0.3 is what we always use.
So we leave customarily a tiny bit of headroom. Sometimes with mp3 encoding, when we listen to a .wav record it will sound great, yet when we run it by an mp3 encoder you’ll get tiny glitches or pops if we don’t leave adequate space.
The customarily time I’ve had that occur is if a aegis is not set right and it’s a unequivocally complete plug-in, you’ll have some issues. But it’s been good during 0.3. Maybe for a tiny bit of edge, I’ll chuck in some harmonic excitement. You can do some widening, widening a customarily a high frequencies, and mids. we keep it flattering simple – customarily a tiny tip end. You can kind of set your range. Maybe I’ll EQ out any problem frequencies, so if there’s some low-end rumble altogether we wish to customarily trowel out we can do that. we don’t use a compressor here unequivocally much. we like to arrange of customarily keep it as is. we use a stereo imaging to dilate it customarily a tiny bit. So, I’ll dilate a top, a tiny in a middle, and afterwards move in a drum so it’s a tiny some-more centered. That can be a genuine problem with mixes, generally in bar things if a drum is too wide. There’s no genuine need for super-wide sounds. For reproducing a right sound consistently, we like to have a sincerely centered drum sound, where both a flog and a drum line are interacting in that space.
Let’s play a lane so we can demeanour during a proviso scale to see what kind of stereo information there is. A lot of people don’t comprehend this, as vinyl use is removing a lot some-more esoteric, yet if we have a lot of stereo in a low frequencies, that can indeed means a record-cutter to skip. we consider that’s a pretence that a lot of engineers use in electronic music.
For me, there’s good low-end, and afterwards there’s a invalid things that customarily creates it harder for a orator to imitate a sounds, and that’s what we wish to get divided from. It all depends, though, as there are no tough and quick rules. we used to consider that there were these comprehensive rules, like “never do this,” or “never have this panned this way.” It’s adult to you. Even a order of writing – 90% of a time we don’t wish to clip, yet I’ll shave this plug-in intentionally (on a input) given it drives it and can hoop it. It likes it – it customarily responds well.
ORIGINAL INTERVIEW –
You’ve finished about fifty remixes in a past year. So a initial doubt is “do we sleep?”
Well any night I’m adult brewing coffee during about midnight operative until dual or 3 any night. we do get some nap yet now it’s a 24-7 venture.
You’ve been carrying a lot of success on a Billboard Charts, you’ve had 3 remixes strike series one now.
Yeah, three. I’ve been remixing a lot of these marks and they’ve unequivocally been doing good on a Billboard bar play charts.
A lot of remix artists arrange of concentration in on one genre or another, yet you’ve been doing things for Stevie Nicks, Coldplay, Imogen Heap, so it’s unequivocally all opposite a board.
Yeah, and a lot of this things started when we put out my illicit album, Cease and Desist, and those remixes weren’t even regulating a tangible parts, those were customarily true songs being sliced and diced and filtered. So that has led to a lot of a final 60 or 70 remixes that I’ve been doing that are legit.
Do many of your remixes start out as bootlegs (unauthorized remixes) that we afterwards find a proceed to recover or do we get approached to do things?
Usually I’m approached presumably from a artist’s manager or we have a remix representative who arrange of pitches a thought of a remixes. So presumably people come to we or someone else is putting it out there. we consider primarily all started with doing it for fun and removing a mixes out there with a bootlegs. The thought with a illicit manuscript was to get it on peoples’ iPods with pattern embedded in there—so customarily something fun for people to share that we could put on my site. It started out organically as a fun thing to send to friends, and afterwards it progressed from there.
Is Cease and Desist still available?
Yes, a manuscript is accessible during morgan-page.com.
It’s engaging how that’s come full circle, in a lot of cases people doing things like you’re doing get some-more bearing for these artists.
It’s led to a lot of work for remixing. Some of these artists I’d never hear from, and some of them ask me to do remixes now, like Tegan and Sara. It took a while for a lot of them to locate breeze of a project, yet afterwards it came around and has led to a lot of work with vital record labels.
It started with Danger Mouse. He initial started out causing all of this turmoil [with his unapproved use of The Beatles and Jay-Z in The Gray Album -ed] and afterwards he finished adult doing a Gorillaz manuscript and carrying EMI chasing after him. In a finish it customarily works out, as prolonged as a mixes are finished tastefully, as prolonged as they’re good.
You’re unequivocally not customarily a remix artist, we have a lot of extraordinary strange strain too. You’re anticipating an opening for some of these strange marks on your new label, Nuance.
Nuance started this summer, it’s something I’ve wanted to do for a while. It’s an opening for some of my some-more problematic marks and customarily things that’s tighten to my heart that hasn’t found a home on a incomparable label. And this is customarily a proceed for me to get things out quicker and have a tiny some-more control over a process, given once we contention your strain to a label, they have we disdainful for a certain volume of time, and it’s their baby, they’re job a shots.
Nuance is a cold proceed to do it, and it’s good given it’s approach with a store. we work with Beatport. You can go to directly to an artist alighting page, www.beatport.com/morgan+page. They’ve been unequivocally good for removing unequivocally high peculiarity strain out there given they do .wav files, not customarily MP3s. Also, I’m putting things on iTunes.
Landline is a many new release, that I’ve re-released with some new disdainful cuts. We’ve started with some behind catalog element and are relocating to new element in a subsequent integrate of releases.
A lot of a remix work we do is some-more commercially oriented and appeals to a certain audience, yet your strange things goes in a lot of opposite directions … downtempo, and reduction dance building oriented things for example.
That was one of a hardest things on a manuscript I’m operative on for Nettwerk, perplexing to boil it down to what kind of sound we’re going for. It’s going to be 4 originals, 4 remixes on Nettwerk, and 4 outward remixes. I’ve finished a genuine variety. Some of a mid-tempo things like a Jenny Owen Youngs remix, to some-more full on electro-house for a clubs like a Delerium brew we worked on.
Your full length manuscript on Nettwerk is due early subsequent year, correct?
That will be entrance out as a digital album, presumably a longer chronicle digitally, and afterwards earthy recover in open 2008. And there will be a singular called “The Longest Road” this tumble that facilities a good adult and entrance singer, Lissie.
You’re a DJ as good as producer. Are we personification out with digital files now?
I move .wav files and infrequently hi-res MP3s.
What’s your take on that as a producer? Do we like being means to broach in digital formats rather than traffic with a compromises of dire to vinyl?
I’ve always desired a sound of vinyl, yet 320 MP3s and .wav files sound great. we do consider we take a tiny bit of a strike on sound peculiarity operative with a laptop, yet it’s tiny and it’s not adequate that it unequivocally affects a opening with a crowd. For a while we played with vinyl, and afterwards CDs, and changed into regulating Ableton Live. we never wish to go behind now, there’s so many some-more control and we can do some-more with your DJing. Whether it’s remixing on a fly, doing re-edits where we burst forward 64 bars and you’re already into a subsequent verse. It’s non-stop adult a lot of channels and people like Sasha are regulating it unequivocally creatively, so we consider that is a future.
MP3s make things a lot easier to distribute. we send out remix reels to people and it’s a lot easier to send out hi-res MP3s than earthy CDs or massive .wav files.
I’m certain in ubiquitous your strain can strech some-more people faster than ever before.
Yeah, I’m in a routine of promulgation out earthy CDs to radio stations right now, and it is customarily so many some-more vapid to send out 200 promos to radio stations rather than promulgation out 200 links. we consider now a importance is entrance behind to pattern and good mastering, so as prolonged as it sounds good, looks good and creates a good package, it works well.
Speaking of radio we used be hire manager for one of a favorite radio stations here in Boston, WERS! You’re creatively from New England, we came from Vermont and you’re now formed in LA. Was going out to LA a veteran choice or a personal choice? Do we feel being out there affects your career during all?
That’s a good question. You know, we changed out to LA wanting to get strain in cinema and film. we consider my logic was Women, Weather and Work. That’s what we told my relatives and friends anyway. we wanted to come out and have a change of scenery. we had been in Boston for 4 years and we unequivocally got into a theatre and unequivocally enjoyed going to Emerson College. But we wanted to see what this whole West Coast thing was about. And I’m still perplexing to pursue removing strain in cinema and TV yet it’s taken a opposite instruction than we expected, we didn’t know we would be doing some-more remix form work. When we was in Boston we was some-more into doing originals and DJing. But now it’s behind again to originals and full albums.
I consider any plcae is going to change a sound of your work. we don’t know if I’d be improved off operative in a remote location, we consider these days we can work anywhere. But it’s good to be in a artistic hotbed of LA given there are so many vocalists.
Although we know one writer who goes by Myspace.com and looks during who has a tip page views and plucks problematic vocalists. He does it by zip code. So that’s one proceed of doing it! we try to work with referrals. With Nettwerk, with this album, they offering adult a garland of vocalists and we got to palm collect some unequivocally good up-and-comers.
When we record vocals do we work during home?
Right here. There’s no outspoken booth, we customarily spin off my monitors. we use a Pro Tools complement with customarily a Digi 002. It’s good given they’re not tucked divided private in a booth, they’re singing right behind me. It works unequivocally good like that. Sometimes we leave a mic on and leave a room, squeeze a break or a crater of coffee and come behind and they can feel a tiny reduction indifferent operative solo in a room. But it’s worked unequivocally well, there hasn’t been any credentials sound or anything. we work in Silverlake that is a flattering chill area, unequivocally quiet, no ambulances screaming by. Which we remember from Boston was always a large thing. I’d be recording in Brookline and there was always a sound of something function going towards a hospital!
You have been regulating Ozone as a final brew tool, yet also in some cases on vocals and drums?
Things remove their life when we widen them so much. Especially when you’re operative on something like a Stevie Nicks remix and a recordings are from 1981, there is a lot of drain from other elements. You wish to be means to besiege a good tools and give it a some-more discriminating sound. we consider I’ve used Ozone on flattering many any brew that’s come through. Some mixes we feel customarily need a tiny additional polish, others get a complicated sip of it.
It’s also been unequivocally useful for mastering. On this final remix tilt some of a remixes didn’t get correct mastering. we went behind and re-mastered them myself and finished adult with a improved product.
We’ve been conference that from a lot of artists lately. With Ozone and a other record available, people are infrequently means to get closer to what they wish operative from home.
I consider it’s always good to get another set of ears on it. But newly generally with using my possess label, given so many of a production costs have been private from a process, my biggest costs now are striking pattern and mastering. So now I’m unequivocally holding a second demeanour during mastering and saying, “do we unequivocally need to compensate somebody we don’t know 100 to 150 dollars a lane to master my stuff?”
I’m still formulation to have arriving releases mastered with someone else, yet we unequivocally wish to do a comparison side by side to see how many improved they are. That’s my subsequent examination to take a newest material, send it out to a few mastering houses and review it to what we can do with Ozone on my own.
One of a things that’s many important about your marks is a proceed we work with drums. They have a lot of impact and separation. Any tips on blending and operative with drums?
A large thing we do is a lot of sidechaining. I’ve been removing some-more and some-more into it over a years now that it’s so easy to request a pivotal insert. we use a lot of limiters.
Everything is kind of a concede generally with bass. we try to take a unequivocally low things out of marks that don’t need it.
One of my favorite things with Ozone is a Multiband Dynamics. You can give a lot some-more beef to a track, a lot some-more punch, yet carrying to boost a bass. we started with one of a initial presets and I’ve tweaked it over a years. we always do a tiny bit of Stereo Widening, a tiny bit of Multiband Dynamics, and it all arrange of adds adult square by square to a bigger sound.
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