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However I would like to mention one recording innovation I used for drums. Au Sénégal, le rideau menace de tomber sur…. Suite des tops vidéos Noir et blanc. However following the pitch pattern is possible because the gated short notes ended up being around milliseconds long. The Urban Pulse,Vol. Découvrez Amazon Music Unlimited. Vous aimerez aussi.

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This was done through fancy applications of gates in order not to cut off the initial attack transients of each note. First an extremely fast optical compressor was used to darken the sound after the initial attack.

The next unit, the gate, was triggered by seeing only the bright attack transients. Next, another fast attack VCA high ratio compressor was used to even out the levels. For each part I also produced a very fat or full sounding compressed version which did not use gating.

In the final mix I would have the staccato or gated version and the legato compressed version at the same time. I would achieve a balance between the two and sometimes vary their mixture levels. In some passages only the gated versions appears in the final mix. When only using the gated version identification of the instrument is often impossible.

However following the pitch pattern is possible because the gated short notes ended up being around milliseconds long. A similar approach was used on cymbals, shakers, guiros, hi-hats, toms, timpani, bass drum, low gamelan tams, electric bass, acoustic bass, contra bassoon, tuba.

A short gated version and a fat compressed version were produced for each performance. In the final mix the gated version produced the rhythmic articulation and compressed version produced a resonant big sound.

The most time consuming part of all this work was when I had sounds for which I could not gate electronically. For example, all the electric bass parts I went through and edited in a silence between each note. Therefore the gate had a chance to identify each note separately and then shorten each that note accordingly.

There were other processes involved to get the sound of Entropic Twilights which are too numerous to mention.


However I would like to mention one recording innovation I used for drums. I first used this idea during the remastering of older works phase in Beyond the Walls of Jericho and Physics of Seduction. Invocation 3. My problem with drum recordings previously is that I had been using standard industry procedures. When I got to the final mix I found I did not have enough level control over individual drum pieces, because of the bleed of sound.

I realized I needed to record the drums in the same manner as I did every other sound: one piece at a time.


This allowed for individual level control in the final mix and individual settings of compression and equalization for each drum piece. Moreover having the player free from playing the entire kit at the same time allowed for certain articulations that are not otherwise possible.

For example the six cymbals parts play a continuous ride in the feel of the musical section.


Ménage à 3. Noir et blanc. Les vrais savent! Shut it down. Shut It Down. Cercle Rouge 7ème Art, Vol.

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You are holy. My sufficiency.

Siya mma mma feat. Ayam abuo. Mma mma feat. The Urban Pulse,Vol. Derniers albums de Eben.

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