It's all about what you're trying to do, what kind of sound you're trying to create. To me there are no rules about EQ & compression. Queen Of Hearts, Catcall, Radio Ink, Sister2Sister, Van She, Polysix, Che Jose. It's a great project, and the album is nearly finished! But at the moment I'm working on a lot of different stuff. those guys have had a number of projects in the past but formed Visitor after getting me involved on a remix a couple of years ago, and it all started from there. Yeah I'm kind of like the silent member of Visitor. I've read you've done some work with Visitor. So I'll listen to the original track on repeat for a while so I can invent something, then I'll start figuring out how to produce it. For some reason I get most of my ideas from listening to a completed mix. Usually I find the most inspiration from listening to the original track anyway, not the individual parts. If someone just gives me just an A Capella on its own then I'll work out how to do something with that, if it's full mix stems then I'll work with that. With remixes I just roll with the punches. In fact that's what I've mostly been doing for the last year or so. ![]() I only post remixes on Soundcloud but I have been doing lots of production as well. So I always find myself manipulating those kinds of things as an integral part of creating a rhythmic identity for a track. If they feel like there's a hole at the end of a bar they're not going to reprogram the drum pattern, they're going to add another verb or something to the last snare in the bar. That's the way serious mix engineers think when they get a track to mix, they're like "how do I make this instrument groove better" or "how do I give this part a different character" and the only tools they have are mixing tools. I think the important nuances come from how you use EQ & compression & effects. With lots of work you can make a sampler sound almost like a real drummer (sorry Jeff Porcaro) and with lots of work you can make a sequencer sound totally robotic or other-worldly or arhythmic. Basically you can program a machine to sound however you like. I like to think of it from a different perspective other than how you program the parts. Stage-73 V 2, The original electric piano superpower, re-energized with a new physical modeling engine, an authentic pedal & amp rig, advanced tonal customizations, and more.Groove can be such a strange thing in electronic music. Jup-8 V 4, The legendary polyphonic flagship responsible for some of the most awe-inspiring sounds of all time, reborn with a colossal new sound engine. OB-Xa V, Faithful to the fat, aggressive sound of the original and supercharged with new features, OB-Xa V will take you for a wild sonic ride. Vocoder V, The iconic 16-band vocoder expanded with advanced synth, sampler, and modulation capabilities, offering a distinct sound that truly speaks for itself. New for V-Collection, Jun-6 V, The legendary easy-to-use polysynth with an irresistible creamy sound that stirs the soul, with iconic chorus and enhanced modulation for the richest chords and arps.Įmulator II V, The perfect dusty lo-fi sampling toolkit, combining the original Emulator’s digital grit that you love with the cutting-edge creative flexibility that you need. V Collection 8 gives you the iconic, professional, and inspiring sounds you need for performance, production, and sound design. These virtual instruments can be used standalone or in your DAW of choice, and are designed to work seamlessly with your favorite MIDI controllers. They're faithfully emulated using exclusive analog and physical modeling technology for unparalleled realism, and enhanced to allow in-depth sound exploration that goes far beyond their ancestors.
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