ABSTRACT
ABITCRUSHERANDTREMOLOGIVINGANAUTOPANEFFECTWITHA BARCYCLE ANDTHEN COPIEDOVERCERTAINWORDSAT THEENDOF THECHORUS TOlLL INSOMEOF THEGAPS !LITTLEADJUSTMENTOFTHELEVELSANDTHATWASDONE
.OWTHAT)WASLISTENINGTOTHEREMIX)WASACTUALLYHAPPYTOKEEPTHEhLEADv PARTSINALLTHEWAYTHROUGHASTHEYBLENDEDQUITENICELYWITHTHEVOCAL)THAD ORIGINALLYBEENMYIDEATOTAKETHESESOUNDSOUTINTHERADIOEDITANDONLYUSE THEMINTHECLUBMIXBUTAFTERASMALLADJUSTMENTTOTHELEVEL)FELTTHATTHEY WORKEDHERE TOO7HAT )MIGHTDO IN THE CLUBMIX IS ACTUALLY RAISE THE LEVEL SLIGHTLYDURINGACHORUSSECTIONWITHNOVOCALSTOBRINGOUTTHATMELODYALITTLE BUTOTHERWISE)WASHAPPYTOKEEPTHEMASTHEYWERE
3OTHATWASIT…THERADIOEDITWASDONE!TTHISPOINT)BOUNCEDAFULLVOCAL MIXANINSTRUMENTALANDANACAPPELLA-YREASONFORBOUNCINGTHELASTTWOIS THAT)HAVEINTHEPASTBEENASKEDFORBOTHANINSTRUMENTALANDANACAPPELLA QUITESOMETIMEAFTERlNISHINGTHEREMIXSO)NOWDOITASAMATTEROFCOURSE WHENBOUNCINGDOWNTHEMASTERSINCASE)GETASKEDFORONELATER!LSOIFTHE CLIENTASKSFORAhVOCALUPvMIX)HAVETHEINSTRUMENTALANDACAPPELLAVERSIONS SO)CANEITHERLOADTHEMINTO,OGICANDADJUSTTHEBALANCEBETWEENTHEMOR ALTERNATIVELY JUST SENDBOTH TO THE CLIENT AND LET THEMMAKE ANYlNE TUNING ADJUSTMENTSTHEMSELVES)WASALSOPLANNINGTOBOUNCEDOWNFULLSTEMSFORTHE RADIOEDITCLUBMIXANDDUBMIXBUTTHATISSOMETHING)WOULDDOONCETHE REMIXHADBEENAPPROVEDBYTHECLIENT
7ITHALLOFTHATDONEITWASTIMETOMOVEONTOTHECLUBMIXSO)SPENTALITTLE WHILE CLEANING UP THE ARRANGEMENT ANDMAKING SURE EVERYTHINGWAS COLORED
ANDNAMEDAS)NORMALLYDOANDTHENSAVEDAlNALVERSIONOF THESEQUENCE )THENSAVEDACOPYOFTHERADIOEDITSEQUENCETOWORKTHECLUBMIXFROMAND HADATHINKABOUTWHAT)WOULDDOTOEXTENDTHISVERSIONOUTTOA MINUTE VERSION )DECIDEDlRSTOFF TOMOVEALLOF THEPARTSOVER SO THAT THElRSTVERSE WOULDCOMEINATAROUNDMINUTESECONDSWHICHWORKEDOUTTOBAR ATBPM ANDTHISGAVEMEAGOODAMOUNTOFTIMETOHAVEANICE$*INTRO )THENINSERTEDBARSBETWEENTHEENDOFTHElRSTCHORUSANDTHESECONDVERSE TOGIVESOMEBREATHINGSPACEFROMTHEVOCALANDASANAFTERTHOUGHT)INSERTED EXTRABARSATTHEENDOFTHElRSTCHORUSTHAT)WOULDUSEASANINSTRUMENTAL SECTIONBEFOREDROPPINGTOTHESECONDVERSE4HISWOULDMEANTHATTHEh,EADv RIFFCOULDBEHEARDALITTLEBETTERANDTHATTHECHORUSTHENENDEDUPATTHEFOR MEATLEAST MOREFAMILIARLENGTHOFBARS
&OR THE BREAKDOWN SECTION ) DECIDED TO ADD BARS AT THE BEGINNING SO ) HAD SOMESPACETODROPTHEDYNAMICSDOWNQUITELOWBEFOREBUILDINGBACKUPAGAIN )HAVEMADEBREAKDOWNS LONGER THANBARS IN THEPASTBUT THATWASA GOOD PLACE TOSTART )COULDALWAYSADDMORE IF )NEEDED IT LATER7ITH THEEXTRAADDI TIONS)HADMADESOFARITMEANTTHATTHEENDOFTHEBREAKDOWNWASAROUNDTHE MINUTEMARK4HEhDOUBLEvCHORUSAFTER THEBREAKDOWNADDEDSECONDSTO THE LENGTHWHICHBROUGHT THE TOTAL TO ABOUTMINUTES SECONDS AND )WAS ASSUMING A MINUTEISH hOUTROv GIVING A TOTAL RUNNING TIME OF MINUTES SECONDS OR SO 4HIS MEANT ) STILL HAD A LITTLE BIT OF TIME TO PLAY WITH SO )DECIDEDTOADDBARS TO THEBEGINNINGOF THEOUTROCHORUSSO)COULDHAVEA SHORTINSTRUMENTALSECTIONTHEREBEFOREKICKINGINTOTHElNALVOCALCHORUS
7HILE)WASWORKINGONTHEARRANGEMENTCHANGES)MUTEDTHEVOCALSBECAUSE )WANTEDTOMAKESURETHEMUSICWASmOWINGWELLBEFORElGURINGOUTTHEVOCAL CHANGES)DECIDEDTOWORKONTHESECTIONBETWEENTHElRSTCHORUSANDTHESEC ONDVERSElRST)NORDERTOlLLINTHEBARS)HADINSERTED)COPIEDACROSSTHE KICKBASSSOUNDSANDTHEMAINPADSOUNDFROMTHESECONDVERSE4HISKINDOF DYNAMICDROPINTHEMIDDLEOFATRACKALWAYSWORKSREALLYWELLANDSETSUPTHE SECONDVERSEANDCHORUSTOSOUNDBIGGERTHANTHElRSTEVENIF THEYAREVIRTU ALLYIDENTICALINSTRUCTUREANDSOUND!TTHESTARTOFTHENEWLYINSERTEDSECTION) MADESURETHATTHEPADSOUNDWASlLTEREDDOWNAND)ADJUSTEDTHElLTERCUTOFF AUTOMATIONSO THE INCREASEUP TOhFULLYOPENvHAPPENEDOVER THE FULL BAR SECTIONTHATWASNOWAVAILABLETOME
!T THEPOINTWHERE THE SECONDVERSE VOCALWOULDBEGIN ) ADDED IN THEVERSE PATTERNFORTHEh%3-AIN3TABvBUTMADESURETHElLTERWASSETQUITELOWAND lLTEREDTHATUPOVERTHECOURSEOFTHEBARSTHATREMAINEDBEFORETHESECOND CHORUS!SINTHElRSTVERSE)USEDACURVEONTHElLTERCUTOFFAUTOMATIONSOIT SEEMEDTORISEUPQUICKER JUSTBEFORE THESECONDCHORUS )ADDEDACOUPLEOF THEDRUMELEMENTSBACKINATTHISMIDWAYPOINTBETWEENTHElRSTANDSECOND CHORUSTOHELPPICKTHINGSUPALITTLELEADINGBACKINTOTHECHORUSSECTIONAND ASAWAYOFINTRODUCINGTHESECONDVERSEVOCALATTHISMIDWAYPOINT)CREATEDA SMALLDRUMlLLUSINGJUSTTHEKICKDRUMANDTHESNARESOUNDINALITTLEOFFBEAT PATTERN.OTONLYDOESITSERVEASANINTRODUCTIONFORTHEVOCALBUTITALSOJUST FOR AMOMENTBREAKSUP THE RELENTLESS FEEL THAT THEWHOLEOF THE RESTOF THETRACKHAS)TSJUSTALITTLETOUCHBUT)THINKITWORKSREALLYWELL)ONLYLIKE TOUSETHINGSLIKETHATONCEORTWICEINATRACKBECAUSE)THINKITSVERYEASYTO OVERDOITWITHTHOSEKINDOFARRANGEMENTTRICKSANDATTHATPOINTTHEYBECOME LESSSPECIAL,ESSISDElNITELYMORE
4HE LAST THING)WANTEDTODOWITHTHISSECTIONWAS TOCOPYOVER THEh2EVERSE 0IANO&8vTOTHEENDOFTHEPRECEDINGCHORUSTOHELPSMOOTHOVERTHETRANSI TION7ITH THAT DONE ) HAD A LISTEN THROUGH THIS NEWLY CREATED SECTION FROM HALFWAY THROUGH THElRST CHORUSUNTIL HALFWAY THROUGH THE SECOND CHORUS TO MAKESUREEVERYTHINGmOWEDAS )HADHOPED ITWOULDANDONCE )WASHAPPY WITHTHAT)MOVEDONTOTHENEXTSECTION
)ALREADYKNEWPRETTYMUCHEXACTLYWHAT )WANTED TODO IN THE LONGERBREAK DOWN THAT ) WOULD HAVE IN THE CLUB MIX ) DID MENTION A WHILE BACK THAT )HADANIDEABUTASSOOFTENHAPPENSTHATPLANHADBEENAMENDEDASTHINGS WENTONANDWHAT)HADINMINDNOWWASREALLYQUITESIMPLE4HEEXTRABARS )HADINSERTEDWOULDALLOWMETODROPDOWNTOJUSTTHEh%3-AIN3TABvWITH THElLTERCLOSEDDOWNQUITEABITANDTHENLETITRUNONITSOWNFORTHOSEBARS WHILESLOWLYOPENINGUPTHElLTERANDLEADINGBACKINTOTHEBEGINNINGOFTHE BREAKDOWNFROMTHERADIOEDIT&ROMTHATPOINTON)INTENDEDTOKEEPTHINGS ASTHEYWEREINTHERADIOEDITVERSION
) COPIED THE MAIN STAB SOUND OVER FROM THE BREAKDOWN SECTION THAT WAS ALREADYTHEREANDADJUSTEDTHElLTERCUTOFF FREQUENCYDOWNTOAPOINTABOUT WHERE ) FELT ITWAS CLOSED ENOUGH BUT STILLWITH A SENSE OF BEING ABLE
TO HEAR THE CHORDS CLEARLY ) THEN AUTOMATED THAT lLTER BACK UP TO WHERE ITWAS IN THENEXTSECTIONOVER THOSEBARS )ALSOCOPIEDOVERALLOF THEKICK DRUMSSOUNDSASWELLASTHEh0"&834!"vh#RASHvANDh.OISE#RASHvPARTS TOTHElRSTBEATOFTHENEWBREAKDOWNSECTIONTOGIVEAREALimpactGOINGINTO THENEWLY THINNED OUT SECTION ) STARTEDPLAYBACK ABOUTHALFWAY THROUGH THE SECONDCHORUSAND LISTENED TO THEDROP INTO THEBREAKDOWNAND ) LOVED THE BUILD UPATTHEENDOFTHECHORUSANDTHEBIGIMPACTFOLLOWEDBYASECONDOR TWOOFNOTREALLYBEINGABLETOHEARANYTHINGBEFORETHESTABSCREPTINTOSONIC FOCUS)CARRIEDONLISTENINGANDWASQUITESURPRISEDTHATTHEhOLDvBREAKDOWN SECTIONCAMEINSOQUICKLYANDWITHQUITEAhBANGv
)TWASNTREALLYWHAT)WANTEDBECAUSE)THOUGHTTHATTHESECTION)HADJUSTCRE ATEDWITHONLYTHESTABSWOULDFEELLIKEITWENTONFORLONGERBUTTHOSEBARS WENTBY REALLYQUICKLY SO ) DECIDED TO INSERT ANOTHERBARS AND ALLOW THOSE STABSTORUNANDlLTERUPONTHEIROWNOVERBARSINSTEADOFTOSEEIFTHAT FELTMORENATURAL)TMOSTCERTAINLYDIDANDITFELTLIKETHERIGHTLENGTHNOWBUT )STILLHADTODEALWITHTHEISSUEOFBUILDINGUPTHEBREAKDOWNDYNAMICSMORE GRADUALLYBECAUSERIGHTNOW IT FELT LIKE THEREWASAGRADUALBUILD UPWHILE IT WAS JUST THE STABS THENAHUGE JUMP INTOWHATWAS THEOLDBREAKDOWNAND THENAGRADUAL RISE TOWARDTHEENDOF THATSECTION7HAT )WANTEDWASSOME THINGTOHELPEASEINTOTHEORIGINALBREAKDOWNSECTION
4ODOTHAT )COPIEDOVER THEh"EACHBALL,OOPvANDh 3TEP&LUX"EATv INTO THISNEXT SECTIONBUT THEY FELTABITHARSHCOMING INAS THEYDID SO )ADDEDA LOW PASSlLTER!UTOlLTER TOTHEh,OOPSvBUSANDSETFATNESSTOCUTOFFTO RESONANCETOANDTHENDREWINANAUTOMATIONCURVETHATINCREASED CUTOFF TO WITH A SLIGHT CURVE WHILE SIMULTANEOUSLY REDUCING RESONANCE DOWN TO ) ALSO COPIED OVER ALL OF THE &8 AND KICK SOUNDS FROM THE VERY BEGINNINGOFTHEBREAKDOWNTOBARSINTOTHEBREAKDOWNBUTBECAUSEALLOFTHE MUSICHADDROPPEDMASSIVELYINDYNAMICS)HADTOLOWERTHEVOLUMEONALLOF THEPARTSBYANYTHINGBETWEEND"KICKDRUMPARTS ANDD"&8SOUNDS TO GETTHEMTOSITNICELYAGAINSTTHESTABS
)COPIEDOVERTHEh7'-3TABvPARTTOCOMEINBARSINTOTHENEWBREAKDOWN BUTREDUCEDTHEVOLUMETOZEROANDGRADUALLYRAISEDITBACKUPTOD"WHERE ITWAS OVER THE COURSEOFBARS AGAINWITHMYPREFERRED CURVE SO THAT THE INCREASEINLEVELWASMOREMARKEDTOWARDTHEENDHELPINGTORAMPUPTHELEVEL OFTENSION4HISEXTRAhLAYERvOFMELODICSOUNDHELPEDTOSMOOTHOUTTHEBUILD OFDYNAMICSDURINGTHEBREAKDOWNASWELLASADDINGALITTLEEXTRAhBODYvWHICH )THOUGHT)WOULDGETAWAYWITHINTHECLUBMIX
)HADANOTHERLISTENBACKANDTHISSOUNDEDGOODFORNOWBUT)DECIDED)MIGHT NEED TOMAKESOMEADJUSTMENTS LATERWHEN)UNMUTED THEVOCALS!NYCHANGES THAT)DIDMAKEWOULDPROBABLYBELEVELSAUTOMATIONAS)THOUGHTTHATTHERIGHT SOUNDS ANDMUSICAL PARTS CAME IN AT THE RIGHT TIME AND IN THE RIGHTWAY SO IT WOULDJUSTBEACASEOFMAKINGSMALLADJUSTMENTSINAFEWPLACES IFANYTHING) HADAFEELINGTHAT)WOULDNTNEEDTOADJUSTMUCHBECAUSETHEARRANGEMENTOFTHE LASTBARSOFTHEBREAKDOWNWHICHISTHEPARTTHATWOULDHAVETHEMOSTVOCALSIN
WASNTREALLYANYDIFFERENTFROMTHERADIOEDITARRANGEMENTAND)HADBEENHAPPY WITHTHAT"UTTIMEWOULDTELL&ORNOWTHOUGHONTOTHENEXTSECTION
.EXTUPWASTHEEXTRASECTIONAFTERTHEBREAKDOWNANDBEFORETHElNALCHORUS 4HISWASGOINGTOBEFAIRLYEASYAS)JUSTWANTEDITTOBEANINSTRUMENTALVERSION OFTHECHORUSBUTWITHAFEWLITTLETWEAKSSO)STARTEDBYCOPYINGOVERTHEFULL CHORUSPARTSFROMTHEOUTROCHORUS!TTHEENDOFTHISINSERTEDSECTIONOFEIGHT BARS)COPIEDOVERTHEHIGH PASSlLTERAUTOMATIONFROMTHEh)NSTRUMENTALvBUS )HADUSEDGOING IN TOEACHOF THE CHORUSES SO FAR AS THISWOULDHELP CREATE THATLITTLEBITOFEXTRAIMPACTONEMORETIMELEADINGINTOTHElNALCHORUSOFTHE TRACK4OGIVETHISlNALSMALLEDITSOMEEXTRAIMPACT)ALSODROPPEDOUTACOU PLEOFTHEPERCUSSIONPARTSFORTHEVERYLASTBARBEFORETHECHORUSVOCALRETURNS !LLMINORDETAILS)KNOWBUTTHEYALLADDUPTOMAKEABIGGERWHOLE
(AVINGTHIS BARINSTRUMENTALSECTIONALSOALLOWEDMETORAISETHELEVELOFTHE h,EADSvBUSBYD"TOGIVEABRIEFBUTWELCOME OPPORTUNITYFORTHELEADMEL ODYTOCOMETOTHEFRONTABITMORE)DIDTRYPUSHINGTHELEVELUPEVENMORE THAND"HEREANDWHILE IT SOUNDEDOKAYALL THEWAYUP TOD" IN TERMSOF BEINGBALANCEDWITHTHEOTHERSOUNDSATANYTHINGABOVED"HIGHERYOUREALLY STARTEDTOFEELTHATITWAShMISSINGvWHENTHELEVELWASDROPPEDAGAINANDTHE VOCAL RETURNED SO ) SETTLEDOND"ASACOMPROMISE )HADYETANOTHER LISTEN THROUGHBEFOREDECIDING THAT ITWASOKAY TOWORKON THENEXT SECTION!T THIS POINTWHAT)WASLEFTWITHWASBASICALLYANEXTENDEDVERSIONOFTHERADIOEDIT
&ORTHE$*OUTRO)DROPPEDBACKINTOTHESTRAIGHTVERSEPATTERNBUTLEFTTHEPADS RUNNINGANDKEPTTHESTABSlLTEROPEN)WANTEDTOGRADUALLYFADEORlLTERTHINGS
OUTSOTHEREWASANICEGENTLETRANSITIONINTOTHEENDOFTHETRACK)KNOWANUM BER OF PRODUCERSREMIXERSWHOWILL JUST STOP PARTS PLAYINGWITHOUT NECESSARILY FADINGTHEMORlLTERINGTHEMOUTBUTMYPERSONALPREFERENCEISFORASMOOTHER CHANGE)CANTSAYTHATONEORTHEOTHERIShRIGHTvBECAUSEITREALLYCOMESDOWNTO PERSONALPREFERENCEANDTOSOMEEXTENTTHESTANDARDPRACTICEOFTHEGENREYOU AREWORKINGIN3OTOGETTHISGENTLEFADE OUTINTHEOUTRO)STARTEDOFFBYCLOSING THEPADlLTERDOWNTOOVERTHENEXTBARSANDCLOSEDTHECUTOFFONTHE%3 STABDOWNTOABOUTOVERTHESAMEPERIOD)THENCLOSEDDOWNTHESTABSBUS lLTERFROMTOOVERTHENEXTBARS!TTHATPOINT)STOPPEDTHESTABS FROMPLAYING-EANWHILEBARSAFTERCOMINGOUTOFTHECHORUS)DROPPEDTHE h&-3UB"ASSvTOJUSTLEAVETHEOTHERTWOBASSSOUNDSPLAYINGAND)FADEDTHOSE OUTOVERTHENEXTBARSASWELLTOSTOPATTHESAMEPOINTTHESTABSDID
$RUM WISE)DROPPEDTOJUSTKICKSNARECLAPHATSh"EACHBALL,OOPvAND h$IRTY%LECTROvFORTHElRSTBARSOUTOFTHELASTCHORUS!FTERTHIS)STOPPEDTHE HATS ASWELL AND THENAFTER ANOTHERBARS STARTED TO FADE THE h"EACHBALL ,OOPvANDh$IRTY%LECTROvDOWN TONOTHINGOVER THElNALBARS ) ADDED THE h#RASHvh.OISE#RASHvANDh0"&83TABvINACOUPLEOFPLACESANDCOPIEDOVER THEh2EVERSE0IANOvTOENDTHETRACKON)DIDTHINKABOUTHAVINGAh"OOM+ICKv ATTHEVERYENDOFTHETRACKBUTINTHEEND)DECIDED)DIDNTNEEDIT)FYOULOOK AT THEWAYTHEPARTSGRADUALLYGET REMOVEDIN THEARRANGEMENTWINDOW ITWILL GIVEYOUAGOODINDICATIONOFHOWITWILLSOUNDWITHOUTYOUEVENHAVINGTOPLAY IT!SALWAYS )PLAYEDTHISWHOLESECTIONBACKAFEWTIMESTOMAKESURE ITWAS mOWINGTHEWAY)WANTEDANDONCE)HADMADEAFEWlNALADJUSTMENTSTOTHE POSITIONANDCURVEOFTHEAUTOMATIONDATA)WASHAPPYTOMOVEONTOTHElNAL PARTTHATNEEDEDWORKINGONTHEINTRO
)NSOMEWAYSTHEINTROWOULDBEAhMIRRORvOFWHATHAPPENSATTHEENDOFTHE TRACKBECAUSEBOTHPARTSSERVETHESAMEORATLEASTASIMILAR PURPOSETOGIVE THE$*SOMETHINGTHATISEASYTOMIXWITH/FCOURSEITWOULDNTBEANEXACTMIR RORIMAGEBUTWOULDDOMANYOFTHESAMEKINDSOFTHINGSONLYINREVERSE3OTO BEGINWITH)STARTEDTHINGSINTHESAMEWAYAS)DIDTHElRSTVERSEOFTHERADIO EDITWITHTHEh2OOM+ICKvh4OP+ICKvANDh"EACHBALL,OOPvPLAYINGANDWITH THEh0"&83TABvANDh.OISE#RASHvSOUNDSBUTWITHLEVELTURNEDDOWNQUITE ALOT !FTERBARS)INTRODUCEDTHEh3UB+ICKvANDADDEDANOTHERCRASH&8HIT TOEMPHASIZE THISPOINT4OMAKE THINGS TRANSITIONNICELYBETWEEN THEh2OOM +ICKvANDTHEh3UB+ICKv)REDUCEDTHELEVELOFTHEh2OOM+ICKvOVERTHELAST BARBEFORETHECHANGE
)AMNOTAHUGEFANOFHAVINGONLYDRUMSRUNNINGFORtooLONGATTHEBEGINNING ORENDOFTRACKSORREMIXESSO)COPIEDOVERTHEh(0&"ASSvPARTFROMTHEVERSE ANDFADEDTHEVOLUMEUPTOITSCURRENTLEVELFROMZEROOVERTHElRSTBARSAND THENLETITRUNATTHATLEVELFORANOTHERBARS!TBAR)WANTEDTOINTRODUCE THEh&AT-OOG"ASSvSOUNDBUTWHEN)TRIEDCOPYINGOVERTHEVERSEPATTERNIT FELTLIKETOOMUCHHADHAPPENEDATONCESO)EDITEDTHEPARTALITTLEANDMUTED SOMEOFTHENOTESSOITNOWHADAMOREhCUTUPvFEELWHICHWOULDSERVEASAN INTRODUCTION TO THEhFULLvPART THATWOULDCOME INA LITTLE LATER ) LET THIS hCUT UPvPARTRUNOVERTHEh(0&"ASSvFORTHENEXTBARSANDTHENDECIDEDITWAS TIMETOINTRODUCETHEFULLBASSLINESO)REVERTEDBACKTOTHEORIGINALh&AT-OOG "ASSvPARTANDALSOINTRODUCEDTHEh&-3UB"ASSvSOUNDATBAR
4HISWASAGOODPOINTTOSTARTPICKINGUPTHEPACEALITTLEWITHTHEDRUMSAND PERCUSSIONSO)ADDEDINTHEh(ATSvPART)DIDNTWANTTOGIVETOOMUCH AWAY TOO SOONON THEPERCUSSION SIDE SO ) JUST LEFT IT AT THAT FORNOW ) ALSO WANTEDTOINTRODUCETHESTABSATTHISPOINTBECAUSETHEYWEREAPARTOFTHElRST VERSEWHICHWASNOWONLYBARSAWAY)F)WANTEDTHEMTOCOMEINSUBTLY )WOULDHAVETOSTARTBRINGINGTHEMINHERE)COPIEDOVERTHEh-AIN%33TABSv SOUNDANDDREWINSOMEAUTOMATIONONTHEh3TABSvBUSTODROPTHE!UTOlLTER CUTOFFFREQUENCYALLTHEWAYDOWNANDTHENOPENITUPOVERTHENEXTBARS !S A MEANS OF HINTING AT WHAT WAS TO COME AND TO EMPHASIZE THE CHANGE )DROPPEDTHEh3UB+ICKvFORTHELASTBARSBEFORETHEDROPINTOTHElRSTVERSE
) KNOW IT SEEMS LIKE A REALLY SIMPLE PROCESS BUT THESE KINDS OF INTROS OFTEN ARE4HISISAPARTOFTHETRACKTHAThasTOBERELATIVELYSIMPLEBECAUSEIFITSTOO COMPLICATEDANDELABORATEITWILLBEDIFlCULTFORA$*TOMIXWITH)NADDITION IFPEOPLEARELISTENINGTOITINITSINTENDEDDESTINATIONACLUB THENTHEYORDI NARILYWOULDNTBELISTENINGTOTHISPARTOFTHETRACKONITSOWNANYWAY4HATIS SOMETIMESADIFlCULTTHINGTOREMEMBER7HENYOULISTENTOACLUBMIXWHILE YOUAREWORKINGONITINTHESTUDIOYOUHAVETOREMEMBERTHATYOUAREHEARING IT INAVERYDIFFERENTWAYTOHOWTHEGENERALPUBLICWILLBEHEARING IT4HINGS THATSEEMOVERLYSIMPLIlEDINTHECLINICALSTUDIOENVIRONMENTCOULDWORKPER FECTLYINACLUBENVIRONMENT7ITHTHATINMINDTHISREALLYWORKEDFORMEASA CLUBMIXINTROBUTOBVIOUSLY)WOULDNEEDTOWORKONSOMEVOCALSTOUSEIN THISPARTSO)SAVEDTHEPROJECTANDHADALISTENTHROUGHTHEWHOLESONGASIT WASCURRENTLYWITHTHEVOCALSIN
!S )WAS LISTENING THROUGH THEVOCALSMYATTENTIONWASDRAWN TO THEVERYlRST LINEh$IDYOUEVER…v AND)HADANIDEATOUSEJUSTTHOSETHREEWORDSASAVOCAL hEFFECTvONTHEINTROOFTHETRACK)WOULDNEEDTOCREATEQUITEAhSPACEYvDELAYED SOUNDFOR THISPARTAND)WANTED TOSLIGHTLYCHANGE THE TIMINGOF THEWORDSAS WELL)CREATEDANEWAUDIOTRACKANDCOPIEDTHATLINEOFVOCALOVERANDTHEN) CUT IT INTOTHETHREESEPARATEWORDS )HADSOMETHINGINMINDFORTHERHYTHM) WANTED SO )NUDGED THE TIMINGOFEACHOF THEWORDSAROUNDUNTIL IT FELT RIGHT )TWASONLYASMALLCHANGEBUT)FELTTHATITSUITEDTHEOVERALLFEELOFTHEINTRO
)N TERMSOF THE EFFECTS FOR THIS VOCALPART THE CHOICEWAS REALLYQUITE SIMPLE 4HIS TYPEOFVOCALEFFECT ISSOMETHING)USEQUITEA LOTSOTHECHOICEOFPLUG INSANDSTARTINGPOINTS FOR THESETTINGSWASPRETTY FAMILIAR TOME ) STARTEDOFF BYUSINGA#HANNEL%1WITHTHEh0HONE&ILTER7IDE"ANDvPRESETBUTONTHIS OCCASION)BYPASSEDTHELOW PASSlLTERTOOPENUPTHETOPENDOFTHESOUND .EXTUPWASTHE0ITCH#ORRECTIONPLUG INWITHTHE2ESPONSESETTOMSTOGIVE THATHEAVILYautotunedVOCALSOUND)FOLLOWEDTHISWITHAN%NSEMBLEPLUG INTO GIVEASENSEOFWIDTHANDSOFTENTHESOUNDSLIGHTLY4HEN)ADDEDA4APE$ELAY WITHA BEATDELAYTIMEANDA3PACE$ESIGNERREVERBWITHTHEhS3WIMMING 0OOLvPRESETLOADED&INALLYINTHECHAINWASA4REMOLOPLUG INSETUPTOGIVE AN AUTOPAN EFFECTWITH A CYCLE LENGTHOF BARS ) SPENTQUITE AWHILE SETTING THEWETDRYBALANCEINTHEDELAYANDREVERBEFFECTSBECAUSE)WANTEDSOMETHING THATWASQUITEDISTANT SOUNDINGBUT AT THE SAME TIME ) STILLWANTED IT TOBE INTELLIGIBLE)HAVETOADMITTHAT)DONTNORMALLYUSETHE4APE$ELAYAND3PACE $ESIGNERFORTHISTYPEOFEFFECT7HEN)AMWORKINGWITHMYFULLSETOFPLUG INS ATMYDISPOSAL)NORMALLYUSETHE5!$2% 3PACE%CHOFORTHEDELAYPART ANDTHE5!$%-4FORTHEREVERBPARTBUTTHESETTINGSANDPLUG INS)HAD CHOSENHEREREPLICATEDTHESOUNDPRETTYWELL
.OW THAT THE EFFECTSWERE RIGHT ) STARTED PLACING THIS h$ID YOU EVERv VOCAL LINE WHERE ) FELT IT WAS NEEDED &IRST ) PLACED IT AT AROUND BAR AND THEN EVERY BARS UNTIL BAR ) LOWERED THE VOLUME OF THE EARLY COPIES A LITTLE BECAUSE THEY FELT A BIT LOUD COMPARED TO THEMUSIC BEHIND THEM7ITH THEM IN PLACE EVERY BARS ) HAD TO MAKE A MINOR ADJUSTMENT TO THE 4APE $ELAY FEEDBACK AMOUNTSOTHAT THEECHOESOFEACHLINEHADJUSTABOUTDIEDOUTBYTHETIMETHE NEXT LINE WAS HEARD )T SOUNDED GOOD SO ) COPIED OVER THE SAME THING EVERY BARS TO THE START OF THE BREAKDOWN AND ADJUSTED THE VOLUME ACCORDINGLY ) REALLYLIKEDTHEEFFECTSO)DECIDEDTOUSETHISVOCALPARTANDEFFECTATTHEENDOF THETRACKAFTERTHELASTCHORUSASAWAYOFKEEPINGAHINTOFTHEVOCALGOINGTOWARD THE END ) COPIED THE PARTS OVER TO THE ENDOF THE TRACK ANDPLACED THEM EVERY BARS AGAIN BUT THIS TIME ) DID A VOCAL FADE OUT TOMORE OR LESS NOTHING OVER BARSSOTHATTHEVOCALSSOUNDEDLIKETHEYWERERECEDINGOFFINTOTHEDISTANCE
4HATWASALL)REALLYWANTEDTODOVOCALLYSO)TOOKABREAKGOTSOMETHINGTOEAT DONTFORGETTODOTHAT ANDTHENCAMEBACKABOUTMINUTESLATERTOLISTENTO THECLUBMIXFROMSTARTTOlNISH!PARTFROMAFEWSMALLCHANGESTOSOMELEVELS AND%1lLTERINGAUTOMATIONTHINGSWEREVERYMUCHAS)HOPEDTHEYWOULDBE )KNOWITMIGHTSEEMLIKE)GETTHINGSRIGHThTHElRSTTIMEvALOTBUTREMEMBER THAT )HAVEONLYBEENDESCRIBING THEhOUTLINEvOF THEPROCESS RATHER THANEVERY
SINGLE LITTLESTEPANDADJUSTMENT )TSALSOWORTHREMEMBERING THAT )HAVEBEEN DOING THISQUITEAWHILEANDEXPERIENCECERTAINLYHELPSYOUTOKNOWWHATWILL ANDWONTWORKSOITMAKESTHEDECISION MAKINGPROCESSMUCHEASIER.OWTHAT )WASHAPPY)WENTTHROUGHANDBOUNCEDTHESAMEVERSIONS)HADFORTHERADIO EDITFULLVOCALINSTRUMENTALANDACAPPELLA SAVEDAhlNALvVERSIONOFTHElLE AGAINSAVEDACOPYANDRENAMEDITSO)COULDSTARTWORKINGONTHEDUBMIX
&OR THE DUBMIX ) WANTED TO KEEP THE SAMEMUSICAL ARRANGEMENT BUT WITH LESS VOCALS AND MAKE THOSE SLIGHTLY MORE EFFECTED ANYWAY !S ) LISTENED )DECIDED)REALLYWANTEDTOKEEPTHEVOCALSQUITEMINIMAL)DONTALWAYSWANT TOKEEP THEMASMINIMALAS )HAD INMIND TODOHEREBUTON THISOCCASION )THOUGHTTHATTHEMUSICWASSTRONGENOUGHTOCARRYTHETRACKWITHHARDLYANY VOCALS4HATSAID)REALLYLIKEDTHEh$IDYOUEVERvVOCAL)HADUSEDINTHECLUB MIXINTROANDWANTEDTOMAKEMOREUSEOF THAT INTHEDUBMIX) LEFTEVERY THINGTHESAMEUPUNTILTHEPOINTWHERETHElRSTVERSECAMEINORIGINALLY
) LIKEDTHETWOLINESh$IDYOUEVERSTOPBELIEVINGvANDh$IDYOUEVERNEEDA REASONv FROM THElRST VERSE BUT IF )WAS GOING TOUSE THEMHOW ) IMAGINED )WOULDNEEDTOSPREADTHEMOUTOVERAWHOLEVERSE3O)CUTTHOSETWOLINES OUTINTOSEPARATEREGIONSANDKEPTTHElRSTONEWHEREITWASWHILEMOVINGTHE SECONDONETOBARSLATER)COPIEDTHEENDOFEACHLINEOVERTOTHEh$ELAY&8v TRACKASWELLTOGIVEANICEECHOATTHEENDANDCOPIEDTHElRSTWORDOFEACH LINEONTOTHEh2EVERSE6ERB6OCALvTRACKTOGIVEANICESWEEPUPINTOEACHLINE ,ISTENINGBACK ) THOUGHT THEVOCAL SOUNDWASNTQUITE RIGHT FOR THEDUBMIX ANDWANTEDSOMETHINGALITTLEMOREEFFECTEDSO)CREATEDACOPYOFTHEORIGINAL VOCALTRACKANDCOPIEDTHESETWOLINESONTOTHENEWTRACKANDEXPERIMENTED
WITHSOMEDIFFERENTEFFECTS4HElNALEFFECTSSETUPFORTHISTRACKWEREAN!6ERB h,ONG3UBWAY4UNNELvPRESETBUTTWEAKEDALITTLE FOLLOWEDBYAN!UTOlLTER )CHOSETHEBAND PASSOPTIONSETCUTOFFTORESONANCETOFATNESSTO INPUTDISTORTION TOOUTPUTDISTORTION TOANDADJUSTED THE -AIN/UTLEVELUNTILITWASABOUTTHERIGHTVOLUME
4HEUSEOFJUSTTHOSETWOLINESMADEITFEELMUCHMORELIKEADUBMIXWHICH INMYOPINIONISGENERALLYQUITEREPETITIVE!NDITWASTHATONEFACTTHATGAVEME ANIDEAOFSOMETHINGTOTRYINTHECHORUSSECTION)NSOMECASES)WILLLEAVETHE WHOLECHORUSOFASONGPRETTYMUCHINTACTINADUBMIXBUTAS)HAVEALREADY EXPLAINEDINTHISCASE)WANTEDITTOBEMUCHMOREOFANINSTRUMENTALMIXWITH AFEWVOCALSPLACEDSTRATEGICALLY4HATBEINGTHECASE)CHOSETOGETRIDOFTHECHO RUSALTOGETHERANDREPLACE ITWITH JUST THOSE TWOVOCAL LINESAGAIN&ORTUNATELY THE MELODY WORKED JUST AS WELL OVER THE CHORUS AS IT DID OVER THE VERSE SO )DIDNTHAVETOCHANGEANYTHINGATALLEXCEPTFORANINCREASEINLEVELOWINGTO THEMOREPOWERFULMUSICALBACKINGATTHISPOINT!FTER)HADAPPLIEDTHEVOLUME CHANGES )WASPLEASEDWITH THE RESULTBUT ITNEEDEDA TURNAROUNDAT THE END 3EEINGAS)HADNTACTUALLYUSEDTHETITLEOFTHESONGYET)COPIEDOVERTHEh-AKE ITYOUv LINE FROMTHEENDOF THECHORUSONTO THISNEWSOUNDANDTHISWORKED PERFECTLYASATURNAROUNDLETTINGYOUKNOWTHATITWASTHEENDOFASECTION)N ADDITIONTHEDUBMIXNOWBOREATLEASTSOMERELATIONTOTHETITLEOFTHETRACK
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BECAUSETHEORIGINALOUTROCHORUSHADTWOLOTSOFBARSSO)ENDEDUPWITHA BARSECTIONINCLUDINGTHE BARINSTRUMENTALSECTION !S)DIDNTWANT TOBRINGTHEVOCALSINATTHEBEGINNINGOFTHEBARS)THEREFOREHADBARSTO ACCOMMODATEWHATHADBECOMEA BARCHORUS3O)HADTHElRSTCHORUSASIS BUTWITHOUTTHEh-AKEITYOUvVOCALATTHEENDANDTHENJUSTREPEATEDTHEh$ID YOUEVER STOPBELIEVINGv LINE FROM THElRSTHALFOF THEDUB CHORUS AND THEN ENDEDWITHTHEh-AKEITYOUvAS)WOULDNORMALLYONADUBCHORUS)NEFFECT )HADONEANDAHALFDUBCHORUSESFOLLOWINGTHE BARINSTRUMENTALSECTION)T FELTATADSTRANGEONLYHAVINGONEANDAHALFBUTTHENITKEPTTHE BARLENGTH OVERALLFORTHISSECTIONWHICHWASMYMAINGOAL
7ITH THISDUBMIX ANDESPECIALLYBECAUSE THEVOCALUSEWAS REALLYQUITEMIN IMAL ) WAS IN A WAY MORE CONCERNED ABOUT KEEPING THE mOW OF THE MUSIC WORKING AND THEN JUST DROPPING THE VOCAL IN PLACES OVER THE TOP 4HERE ARE A NUMBEROF$*SWHO REALLYDONT LIKEPLAYINGVOCAL TRACKSBECAUSE THEYARE TOO hCHEESYv AND hCOMMERCIALv 4HIS IS ONE OF THE REASONS WHY THE MARKET FOR ADUBMIX EXISTS AT ALL )N FACT THISMIX IS CLOSER TO AN INSTRUMENTALMIX THAN THE VOCALMIX SO THATWOULDPROBABLY SUIT THOSE$*S JUST lNE ) TOOK A QUICK BREAK AND THEN HAD A LISTEN BACK AT A LOWER LEVEL BECAUSE ) DIDNT NEED TO CHECKBASS LEVELSOR ANYTHING LIKE THAT WHILE )WAS CHECKINGMY EMAILS ) DID THISBECAUSE)WANTEDTOLISTENONAMORESUBCONSCIOUSLEVELTOSEEIFTHEVOCALS GAVE ENOUGHOF AHINT OF THE TRACKWITHOUTBEING TOOOBVIOUS!FTER LISTENING )MADEACOUPLEOFMINORCHANGESTOVOCALLEVELSBUTTHATWASBASICALLYIT)KEPT THE VOCAL LEVELS LOWEROVERALL IN THISMIX COMPARED TO THE CLUBMIX BECAUSE THEYWEREQUITESPACEYANYWAYAND)WANTEDTHEMTOSOUNDPRETTYDISTANT
"ACK IN THEDAY DUBMIXESWEREOFTEN COMPLETELYDIFFERENTPRODUCTIONS BUT THESEDAYSTHATHAPPENSLESSANDLESS)THINKONEFACTORISTHATTHEFEESARESO MUCHLOWERANDDEADLINESSOMUCHTIGHTERTHATTHEREMIXERCANTREALLYJUSTIFY DOINGWHAT ISEFFECTIVELYASECONDREMIX JUST FOR THEPURPOSESOFADUBMIX !SSUCHMOSTDUBSTHESEDAYSARE JUSThDUBVOCALvVERSIONSOFTHEMAINCLUB MIX!NDTHATISWHAT)WANTEDTODOHERE(ADTHECLIENTACTUALLYTOLDMETHAT THEYREALLYWANTEDTOPUTALOTOFFOCUSONTHEDUBTHENPERHAPSHADSCHEDUL INGALLOWED)MIGHTHAVECHANGEDTHEPRODUCTIONASWELLASJUSTTHEVOCALS)N THISCASETHECLIENTHADNTEVENASKEDFORADUBBUT)WANTEDTODOONEANYWAY BECAUSE)THOUGHTADUBWOULDALLOWTHEMUSICTOCOMETHROUGHALITTLEMORE AND)WASREALLYHAPPYWITHTHERESULTSOTHEDUBWASMOREFORMYPERSONAL SATISFACTIONTHANANYTHINGELSE(ENCEMENOTSPENDINGAGESWORKINGONADIF FERENTPRODUCTION
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4HE VERY lRST THING ) SHOULD REITERATE IS THAT ) AM NOT A MASTERING ENGI NEER BY ANYMEANS SO ) SIMPLY USE THEMASTERING PROCESS ASMY ATTEMPT TO
GET THEBEST SOUNDINGMASTERS )CAN3ADLYANDPERHAPS THIS ISA FATALmAWIN MYOWNATTEMPTSATMASTERING )USUALLYDOITWHENITCOMESTOREMIXINGAT LEAST ONTHESAMEDAY)lNISHAREMIX)FTHATDAYISATTHEENDOFATHREE OR FOUR DAYPROCESSTHENMYEARSHAVEBECOMESOACCUSTOMEDTOTHESOUNDSAND DETAILSANDSUBTLENUANCESOF THE TRACK THAT IT ISALMOST IMPOSSIBLE FORMETO BEENTIRELYOBJECTIVEABOUTHOWTHINGSSOUND%VENTHESPACEOFADAYORTWO MIGHTPUTENOUGHDISTANCEBETWEENTHEMEMORYOFHOWTHETRACKSOUNDEDIN MYHEADANDTHEREALITYOFHOWITSOUNDSONTHEDAYBUTASSOMETIMESHAP PENS)DIDNTHAVETHELUXURYOFDOINGTHATIF)WASGOINGTOMEETMYDEADLINE 3OWITHOUTFURTHEREXCUSESANDJUSTIlCATIONSLETSTAKEALOOKATWHAT)DID
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/NCE ) HAD SOME GOOD SETTINGS ON THE 0RECISION -ULTIBAND ) ADDED A 030 6INTAGE7ARMER TO ACT AS A SINGLEBAND hBUSv TYPE COMPRESSOR AND TO GIVE A LITTLEWARMTHANDDRIVE4HISPLUG INHASBEENHIGHLYRECOMMENDEDBYAGREAT NUMBEROFPEOPLEINTHEDANCEWORLDBECAUSEITCANWHENUSEDCAREFULLY ADD A REAL RICHNESS ANDWARMTHONPRETTYMUCHANYTHING YOU THROWAT IT )NMY CASEITWASSETUPSUBTLYSOITWASGIVINGNOMORETHANAFEWD"OFGAINREDUC TIONEVENONTHELOUDESTPASSAGES)DIDNTREALLYWANTTHETRACKTOSOUNDANY MORECOMPRESSEDAFTERPASSINGTHROUGHTHE6INTAGE7ARMERJUSTALITTLEWELL WARMER
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4HEREISAGREATDEALSAIDABOUTTHEBENElTSOFTAPESATURATIONWHENMASTERING AND SOMEPEOPLE GO AS FAR AS RECORDING THE STEREOMIXDOWNONTO A REAL TAPE MACHINEANDTHENRECORDINGITBACKINTOA$!7TOGETTHATrealhTAPESOUNDv )AMNOTTOTALLYCONVINCEDTHEREISNTANELEMENTOFSNAKEOILINALLOFTHISAT LEAST IN SOME CASES BUT )WAS CERTAINLYWILLING TO GIVE IT A TRY 3ADLY ) DIDNT HAVE A TAPEMACHINE TOHAND SO ) DECIDED TO ACTIVATE ANOTHER PLUG IN DEMO THATCLAIMSTOGIVEMANYOFTHEBENElTSOFTHETAPESOUNDBUTINADIGITALPLUG IN)AMTALKINGABOUTTHE5!$%,&ATSO3R/NCE)HADLOADEDTHISUP)SET THETRACKPLAYINGANDRANTHROUGHAFEWOFTHEPRESETSTOSEEWHATITWASCAPA BLEOF-ANYOF THEMWEREFAR TOOJUICYFORWHAT)WANTEDAT THISSTAGE INTHE PROCESSBUT)CANTOTALLYSEEMYSELFUSINGTHEMONINDIVIDUALSOUNDSWITHINA MIXTOADDSOMEDRIVEDISTORTIONATANEARLYSTAGEINTHEMIX)NTHEEND)DID lNDONEPRESET h4APE"USSv THAT SEEMED FAIRLY SUBTLEBUT AT THE SAME TIME NOTICEABLE ANDBENElCIAL 4HE COMPRESSION SECTION SEEMED TOBEONLY TAK INGOFFANOTHERCOUPLEOFD"WHICHWASGOODBECAUSE)PREFERTODOTHEMAS TERING COMPRESSION INA COUPLEOFDIFFERENT STAGESWITHDIFFERENT COMPRESSORS TO GET VARYING TONAL CHARACTERISTICS AND SOUNDING ON THE WHOLEMORE TRANS PARENTTHANJUSTONECOMPRESSORWORKINGREALLYHARD)TWASCLEAREVENTHOUGH )WASNT AT ALL FAMILIARWITH THIS PLUG IN THAT ITWAS DOINGMORE THAN SIMPLE COMPRESSIONAND)WASTOTALLYCONVINCEDWHEN)BYPASSEDTHEPLUG INTOCOM PARETOTHESIGNALGOINGINTOIT!FTERACOUPLEOFBYPASSACTIVERUNS)WASSOLD
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3OINSUMMARYWHATDO)THINKOFTHEREMIX)AMVERYHAPPYWITHTHERESULT ESPECIALLY GIVEN THAT ) DIDNT HAVE ALLMYUSUAL hTOOLSv TO HAND AS )WANTED TOCREATE THEREMIXAT LEASTUP TO THEMASTERINGSTAGE JUSTUSING THEBUILT IN ,OGICTOOLS!RETHERETHINGS)WOULDDODIFFERENTLY9ESOFCOURSEAND)PROB ABLYCOULDHAVEDONEBECAUSEASIDE FROMTHECLIENTSDEADLINES ) COULDEAS ILYHAVEGONEBACKOVER THINGS AFTER )HADDELIVERED THEMIX TOHIM TOMAKE IT SOUNDBETTER FOR THEPURPOSESOF THISBOOKBUT )DIDNTWANT TODOTHAT )T WOULDHAVEBEENVERYEASYFORMETOMAKEABULLETPOINTLISTOFHOW)CREATED THEPERFECTMIXAFTERSPENDINGAMONTHDOINGITANDLEAVINGOUTALLTHEPARTS WHERE ) CHANGEDMYMINDANDWENTBACKOVER THINGSBUT )DONT THINK THAT WOULDHAVEBEENASREALISTICOR)HOPEASHELPFUL)WANTEDTOPRESENTTHISPART OF THEBOOKINASMUCHOFAREAL WORLDWARTSANDALL WAYSOYOUCOULDSEE THErealPROCESSRATHERTHANAGLOSSYIDEALIZEDVERSIONOFIT
)NHINDSIGHTANDLISTENINGBACK)WOULDHAVELIKEDTOHAVESPENTALITTLEMORE TIME ON THE MIXDOWN AND MAYBE TRY A FEW DIFFERENT VERSIONS WITH SLIGHTLY DIFFERENT BALANCE AND EMPHASIS BUT THAT IS PARTLY THE NATURE OF THE BUSINESS $EADLINES ARE OFTEN TIGHT AND YOU HAVE TO GET THINGS DONE IN TIME SO YOU AIM TOGET THEBEST RESULT YOUCANWITHIN THEBOUNDARIES THATARE SET FORYOU ,EONARDODA6INCIISQUOTEDASSAYINGh!RTISNEVERlNISHEDONLYABANDONEDv AND)THINKTHATISCERTAINLYTRUEHERE)CANLISTENBACKTOEVERYREMIX)HAVEEVER DONEANDEVERYORIGINALTRACK)HAVEEVERPRODUCEDANDMAKEALISTOFTHINGS) WOULDDODIFFERENTLYNOW"UTTHAT ISPARTOF THENATUREOF THEBEAST4HELAST ANDPERHAPSMOSTUSEFULPIECEOFADVICE)CANGIVETOYOUASAREMIXERISTHAT YOUHAVETOLEARNWHENTOLETGO)NSOMEWAYSTHISCOULDBESEENASACOMPRO MISEANDITPROBABLYIS3OMEOFYOUWILLPOSSIBLYREADTHATASMESAYINGTHATIT ONLYHASTOBEhGOODENOUGHvANDTHATISALSOTRUE7HENYOUHAVETHELUXURY OF TIMEYOUCANPOSSIBLYGETCLOSER TO THEULTIMATEVERSIONOFANYGIVENTRACK "UT THERECOMESAPOINTWHENYOURENOTMAKING ITANYBETTERONLYDIFFERENT !NDKNOWINGWHENYOUREACHTHATPOINTISASKILLTHATCANTBETAUGHTITHASTO BEFELT
