PROJECT PLAN
INTRO
I have been involved with music from the first words that I spoke as a child till now, I always had love for the atmosphere that I used to get from music. Being born in a country of multi-cultures gave me a athletic taste in music, from a young age I remember listening to english songs that I didn't understand the words of, but I understood straight away what the songs were saying and the emotion behind it. I had a very strong country music influence from a young age, and in some ways it still affects the style of music that I enjoy making even though my music is very electronic based.
I started singing from the age of 6, I used to mainly sing country music as a child, but then from the age of 9 I started singing gospel music in a children's choir. I've done quite a few performances in church and i gained a lot of my basic knowledge of music from there. This might be because of most of my friends were session players and artists within the gospel music industry. I also met producers whilst in church that inspired me to learn about the technical side of music. I've been playing guitar for about two years now and playing the guitar gives me lots of new ideas to compose.
CONTENT/COLLABORATION
My style of music for this E.P is electro/soul, the reason why I want to stick to this genre is because I feel that it's the only genre that's going to allow me to explore the music that inspires me. I will be making a 6 track E.P about 20-30 minutes long. I would like to release it by May 25th 2014. I want to collaborate with some producers that I have been collaborating with. I also want to work with some musicians from level 3 performance first years. The people that I want to work with are producers: Elliot, Matt, Lemar. The reason why I want to work with these producers is because i feel that they have some similar aspects that i can work with that is similar to my music. They also are very unique with their own work and very good at what they do which would help me to improve my work and push myself to be better. It will also give me an early opportunity to work as a team and build my team working skills.
The session players I want to work with are: Bianca (Guitar), Andre (Bass), Lemar (Piano), Joe (Guitar). These musicians are the people i feel i can collaborate with for this project. Their style are different and that is why this project is going to be so good to work on. This will also be a opportunity for them to get to know each other as musicians. There are two guitar players witch i specifically chose for this project and i specifically chose these two because they can contrast. Bianca is very good at playing to the click whilst joe has a very good sense of melody, and putting them together in a track will be very interesting, so it is also an experiment of musical backgrounds. As for the pianist lemar he has a quite soulful flavour to his piano playing. He is very inspired by soul and r&b and as a person he seems to be open to ideas, yet still sure about what he wants which will work greatly for andre, because andre has the same taste in music and having a bass player and pianist working together will have a major effect on the groove of the song. One problem that I am facing right now is that i cannot find any drummer that suits the style that I want. So for the future my specific goal for the upcoming month is to have a drummer playing in my E.P with me.
Overall working with these musicians will give me an understanding of how each of them work as individuals. My recording skills, my ability of recognising mistakes in recordings and my networking skills should improve by the end of this project based on the amount of work i need to do with every single one of these individuals.
For this E.P I don't want to work with singers because I want this E.P to feel more like a movie, based on the sounds, atmosphere then a normal composed song. The people that will be working with me at the studio will be Elliot (Sound engineer), Charlie (technician) and me as the composer.
E.P 1
- Giving All To Up (3.40)
- The One (3.00)
- Old Man (4.00)
- Unikornfield (4.05)
# GIVING ALL TO UP
Giving Up To All was a song in which I used a lot of new skills that I have learnt from people that inspired me. I wanted every song to have the same feel to it and I wanted the atmosphere to be very relaxing. With this track I used a lot of calm pads, deep bass and reverb.
#DRUMS
KICK -
PITCH: I used a instrument plug in called EKS Pro, I made the kick from scratch, I first changed the pitch to make the kick sound how I wanted it to sound, I did this by increasing the COARSE to 41.16 Hertz, I then increased the ENV AMT to 38%, I did this to keep the kick heavy. I kept the LFOAMT at 0% and the FINE -100CT the reasons for this is to keep the pitch the same.
ENVELOPE: I changed the envelopes to the settings that I wanted by increasing the A.DECAY by 59MS, then I kept the A.SUSTAIN at 29MS and I increased the A.CURVE by 62%. The next thing I did was increase the P.DECAY to 16.2MS then the P.START to 425Hz, then the PCURVE TO -9.0%.
TIMBRE: To Effect the Timbre I kept the attack at 38 percent to make sure it kicks in late and I kept the colour at 100% the SELF FM low and the decay at 92MS
LFO I kept the LFO option down because I did not want to have the LFO working for this kick.
EQ: I didn't use a hard EQ on this particular logic track because I wanted the initial settings on the software plugging to be heard, so what I did was increase the low frequency (80.0HZ) by 3.0DB. I increased the low frequency because I wanted warmth from the kick. I then decreased the 490Hz by -8.5DB because it had an unwanted sound and then decreased 17400Hz by -12DB and I did this to keep the kick very dry.
KICK 2 - For kick 2 I clicked the new track with (Duplicate Setting Button) which you can find on top of all the tracks next to the plus sign on the top left hand side of logic. The reason I did this was to copy all the settings from kick 1 to kick 2, I then eqed kick 2 by increasing 81 Hz by 7.0DB because I wanted to get more sub and air from the kick and then I decreased 52 Hz to 20K by -48DB because I wanted everything in between 52Hz and 20K to be removed. After I did this I clicked on stereo out and held the mac pad which gave me the option of choosing a bus, I chose bus 20 to send my kick because I eventually used my kick as a trigger for my side chain compression.
SNARE - The first thing I did was to choose the EKS Pro instrument plug in again, here is what I did,
COARSE: I increased the Coarse by 100.0Hz I then increased the Fine by 87ct the ENV AMT and LFOAMT I kept it at 0% I made this to keep the a wood sound effect on the snare.
ENVELOPES: A.DECAY I kept it at 68ms A.sustain 8.8ms, A.curve I increased by 26%, I increased the decay to 16.2ms and the P.start I increased by 628Hz. The last thing I did for the envelopes was to increase the P.curve by 28.0%. The reason why I chose the settings I did was because I wanted to create a shape on the sound wave to make the snare sound how I wanted it to sound. I then realised that I needed a strong sound that had more significants and texture. I used the following options on timbre, I increased the attack to 100%, kept the colour on 100%, I then increased the self fm by 90% and I finally decreased the decays by 92ms. I had a chance to shape the LFO so I increased the rate by 9.8Hz, after I increased the shape by 100% making a square wave pattern on the LFO. Once I had the sound I wanted the final thing was to choose what parts I did not like, I realised that the lower end of the snare had a weird note which made the snare go off key. I then decided to remove 24db from 405Hz - 220Hz, once I had the bottom end of the track taken off, the snare sound sounded very thin which is ideal for a track if you are going to add different layers. Once that was done I realised that I still had the same problem with the tuning, so what I did I found the annoying wooden sound and removed it by taking off 24db of a 138Hz making an upside down pyramid shape. To remove a bit of the air on the high end of the snar, I removed 5db from 220K.
SNARE 2: I just wanted to add a second layer to the snare I already had in place, the only difference was that I equed it differently, because I EQs it differently I am going to explain what I did and why I did it. I equed the low end of the snare out so that means I took out 24 dB from 20hz - 200hz. Instead of moving the 1k - 2k completely, I decreased it by 2.5db. I also decreased a bit of the air on 1200hz by 5.5db, the reasons for this is to avoid extra noise and extra distortion.
SNARE (DRY): For my third layer of the snare I had the exact same settings from the first snare including the EQ. What I did different was add a dirty - filter which is a pre-set option on auto filter. The alto filter gave me the options of changing the envelope, the LFO and the filter. The only thing I changed was the waveform to the sign wave, I boosted a bit of the cut of modulation by 13%. The reason I did this was because I realised that the pre-set had almost the exact option that I wanted. The next thing I added was the modulation plugin which gave a doubling effect, and this works by having the LFO of the phase at 180+ and the flanger - chorus by 51%. I increased the feedback by 23% so it delays, I also changed the intensity of the modulation by 9.0%. I kept everything else the same. The reason I did this was to make my own electronic clap sound.
SAMPLED PERCUSSION: This sampled snare was chosen by me and I wanted the snare to do a very simple job of adding to the groove. The snare had a very good recorded sound and I did not want the snare to stand out, so I equed the snare like most of my other snares and I added an envelope. I kept my threshold at -100dB, I kept the gain at 0% and the look ahead at 1ms. I then changed the time for the attack to 20ms and then I changed the time for the release by 2000.0ms, after that I put the gain from the release to -100%, I kept the out levels at 0 dB. The reason I chose these settings was to keep the snare very clean and dry. As well as that I wanted no tail at the end so I could add reverb.
Percussive instruments - The processes was very similar to the sample snare but what I did different was to compressor to the sound to the point it was compressing a lot but not so much to the point where it is horrible but just enough, I did this by using the compressor plugin in logic the reason I did it was simple it was just to bring up the volume without having to distort the sound I had and thats how a compressor work it has a point of peak and anything that goes beyond that gets dragged back. My EQs from that point on was settle because I was working with very good quality sample I did not want to ruin the sounds, so what I did was to EQ the bass part of the Percussion by 2.5 dB which is very noticeable if herd properly.
HATS: High hats is a very sensitive instrument for me and the reason for this is because the H/H is the most consistent sound you will find in a track. So if the hats don't sound perfect it can ruin your mix, the first thing I did was choose the perfect sample hat and then I used a few things to process it to make the sound unique. Here is what I did after I had my chosen sample sound, I copied and pasted the enveloper and the EQ. The EQ and the enveloper is working quite harsh to remove a lot of the texture from the sound. This is because I wanted a very clean sound. The next thing I did was add a compressor, I removed all the attack from it, increased the release by 48.48ms, increased the ratio by 8.0.1, I added 0.7 of hard knee, I kept the threshold at -42.5dB, increased the gain by 5.0dB, I kept the limiter threshold by 0dB, I also clicked on the RMS option to get the compressor working at the right time. My next task was to side chain it, I did that by choosing audio 15 which had a kick playing, every time the kick played it triggered the compressor. That made a very nice groove on the high hats.
LEAD: I wanted a very distinctive sound for my lead, I wanted it to be wide but in mono. I used two instruments to make one synth sound, I made sure that they were playing the same thing. The first instrument plug - in I used was massive, I have used a sound that I have already made, which I already called 'Dream Danny', I made sure I removed all the effects included and then I add plug - in's to process the sound. I used the over drive to distort the sound because I wanted a guitar distortion sound to my piano. I then compressed the sound not to decrease the volume but to gain the volume. I then used space designer to put it in a room that suited the sound. I then equed the reverb by removing all the low end and boosting up the sweet spot which is 2k - 5k. Once I have done that I decided to use another instrument plug - in which I already called 'Electra Synth'. I used a sound that I have already made called 'Dream Kenny' and then I equed the low end of it. I used the ring shifter plug - in with the default options just because it sounded nice. I then copied and pasted the over drive plug - in for that distortion sound and then I added sample delay to only the high cut of the sound. I made sure it was smooth enough and I used 75.30% of the groove with only 35% of feedback.
SUB: For the sub I used a pre-set called 'Basement Bass' which can be found in the ES2. I boosted the attack, increased a bit of the glide and then left everything else at default. Once that was done I compressed a lot of it to make the bass sit underneath everything else which still holds the foundation.
BASS: I created my bass which was called 'Texture Bass', it was also a bass that I have created before so the only thing I needed to do was to process it. I equed a lot of the high ends, boosted the low end by a small amount, compressed it to increase the volume, I then side chain compressed it to the kick to make the bass bounce.
KEYS: With the keys I just used a default option on the EVP88 because I really liked how the keys sound on the EVP88 plug - in. I did not add any reverb or anything else I kept it very clean and dry. The reasons for this is that I wanted the keys to mark a specific point of the track.
FX BUSES: These FX buses was very vital for me because this is where I put the icing on the cake. Here is what I did: Firstly I clicked and held a small rectangular shape underneath the sends option in the arranger. I then chose what bus I wanted to send that specific track to. Once I did that it automatically opened an aux track. I went and chose reverb, I equed the reverb with the EQ plug - in, I then chose the amount of reverb the bus wanted to send, I did this by holding the pad and swiping with my other finger. The reasons I did this was to create a specific room for the whole track.
PIANO
AMBIENT SOUNDS
VOCALS/SAMPLE VOX
# THE ONE
The One was a track in which I started to be more creative with in my mixes I thought about a wise way of making everything sit together with out clashing or drowning each other out in the mix. The mood I wanted on the entire EP had to be reflected on this track because I wanted this to be the stand out track in the EP.
LOGIC
I started this track by making the chords on a software called LOGIC, this software can only be used on a MAC then I wanted the drums to have a R&B swing to it, so I followed a pattern that had space between the kick and the snare giving me enough space to have percussive instrument playing in between.
I then made a bass line, I wanted the bass to have a strong part in the track but I didn't want the warmth of the bass, the lowest frequency on the track was given to the sub kick which comes in with the kick drum to give that boom effect, it worked well and because there was so much space it gave me room to use percussive instruments like the shaker, to fill some section.
# Drums
This track is the type of track that Relies on the groove and consistency of the drum pattern swell as the texture of the sound produced.
Firstly I chose the drums sound I wanted on the logic library then I played and recorded the pattern by using the keys on my Mac keyboard and I did that by pressing the Cap button after I pressed the (R) button to record, after I did that I quantised what I played to 1/8 which made the beat right on the line perfectly on time. My next task was to layer the drum tracks I started by adding 5 tracks I then copied and pasted all of them to all 5 track to when that was I separated them and named them, 1Hats 2shaker 3Snare 4kick 5Hats2 from that I had the foundation from that I found what snare sounded good together after I found a kick with a good combination.
## Bass
For the bass I chose to use an analogue bass with basic compression plugin and I also used EVOC FB with the sweeping bank option. this gave a texture to my bass. I then made a different bass with a bit of the low end to it but with the same pluggins
## Piano
The way the piano works is you normally hit the keys then the hammer within the piano hits the string to create sound.Because logic is only a software that is run on data its hard to create a sound that simulates the piano, one way you can simulate a piano sound in logic is by recording each note into logic, once the notes has been recorded the next step is to play the notes but you can't just record the note and play it, you would have to send it to a software in which you could play the sound that was recorded. One software that has the right attribute to simulate real sound is the EXS 24 (sampler).
The EXS 24 works this way:
Step 1: choose the EXS sampler on the bottom left of the screen then click edit on the sampler on the top right. Once you have done that you have to choose the sound, a good way to know what sound to collect for the right keys is to record the sound and once you record the sound you label the sounds name the note that the sound is, if you don't know you could always use a tuner to show you. Once you have all the piano sounds that you need the next task is to add the piano to the keys and in the edit option you can do that by having a recording of C then you add the recording of C to the key of C on display and then you shorten the pitch of the note making C play the C note and nothing else playing that note.
The sampler normally has no sound in it, to record the piano what they did was record 784 audio files of piano notes. Each note for example C had 8 recordings, each recordings was recorded with a different velocity meaning one was hit light and the other was hit hard.
ADSR ENVELOPE: this is what controls the shape of the sound
-The attack determines how quick the sound reaches the maximum amplitude. To make my sound more aggressive I brought the attack down making the sound react faster meaning there is no delay, it just plays as fast as you play it.
-A decay is the amount of time between reaching maximum volume to fading down. by keeping the delay in-between the low and max I kept a consistent decay
-Sustain: is how long the sound remains at the same level.
-Release: is the volume in which the sound fades to 0.
EQUIPMENT LIST
C414 Microphone - Has a very flat signal response, I wanted to use this microphone to re-record the guitars. I like the C414 but what I have noticed was that the C414 does not really have a character, it is plain, flat and sometimes depending on what your recording it picks up too much background noise, even for a condenser microphone. The C414 is quite expensive and very delicate, it brings a lot out of the producer then most microphones, but that means the producer has a lot more to work with. The producer has a lot to work with because it has multiple solo patterns which you can choose from, it is very clear, and it does not have much character, meaning it does not have a specific sound to it.
SM58 Microphone - You can buy the Shure SM58 vocal microphone for £81 - £88, a reasonable price for a microphone that does the job well. It is the best dynamic microphone money combined, it has a directional cardioid polar pattern. It has a frequency response of 500 hertz - 15000 hertz, which picks up just about enough of the low frequency of the vocals and a great deal of high frequencies of the vocals. It is extremely solid, the sound quality it produces is warm and intimate and it is great for shows, events and gigs because you hardly get any feedback from the sound system due to it’s very short range. People who own it tend to really like it due to it’s strength, and it lasts for a long time if it is well looked after.
The reason i chose the SM58 is because the microphone does not pick up what is not directly close to it, so you have to sing close to it in order for it to pick up sound. I also realised that my voice has a lot of air which makes it very hard to record my vocals on condenser microphones. So I tried recording my vocals with the SM58 microphone because I have already used it for live shows, I realised that the SM58 microphone only picks up the signal that I want.
Yamaha F-310 (Acoustic Guitar) - is a very good acoustic guitar due to it’s normal sized body which ressenates smoothly. The reason why it resonates smoothly is due to The top (Spruce), the backs (Meranti), the side/ribs (Meranti), the necks nato, the finger boards (Rosewood) and the bridges (Rosewood) which are all specific wood types which make a good quality sound for the guitar. The body depth is 96-116mm, the finger board width is 43mm, which makes the guitar a normal standard size that picks up low enough frequencies and high frequencies. If I was to use the C414 microphone there would be enough frequencies to work with in terms of depth, due to the guitars frequency range and the C414 flat frequency pattern.
To record the acoustic yamaha F-310 guitar what I did was use a microphone that picked up a flat frequency. The microphone I used was a C1 behringer, this microphone has a very standard frequency pattern and that usually picks up a lot of low frequencies, it does a better job then normal microphones but the good thing about it is was cheap to buy. I also bought 2 XLR cables and because I did not have a mixer or an interface I needed to find a way to use the max sound card to record the guitar. What I did was buy an XLR cable that had a USB output that also had a female side of the XLR. I then bought a phantom power supply that had a phantom power voltage, it contains +12v and +48v power, the reason I bought the phantom power supply was to give sufficient power to the condenser microphone. Once all of that was set up I needed to find a place to put the microphone and even though I did not have a microphone stand I placed it on my bed facing upwards and I sat down next to my bed and played the guitar. The reason I chose to put the microphone on my bed was to block out reverb from the room I was in and to pick up a flat signal from the guitar. I then recorded the sound and made sure that what i recorded was perfectly on time.
The reason why I wanted to record the acoustic guitar in my song is because I wanted a natural sound to combine with a electronic sound. I also wanted a softer sound as well as that the guitar is an instrument that I usually play. I have enough confidence to record it well.
C1 Behringer - is a cheap microphone but it is a microphone that has character, due to the amount of high frequency it picks up and the low frequency reduction. It has a cardioid polar pattern that is made specifically for singers and recording instruments. The reason I chose this microphone for this track was because it is a very cheap microphone with very good quality and I could use it with the max sound card to record it.
XLR Cables - is what I really relied on to connect the microphone on to the phantom power supply. The XLR cable I used was a female to male XLR cable and a female to XLR USB cable. I used the XLR cables to record the guitar.
RECORDING SCHEDULE
I had to get everything done with this track by May 25th 2014, so I decided to finish 3 songs by christmas in order for me to get it ready to record.
BUDGET
- C414 Microphone: £921.31
- SM58 Microphone: £88.99
- Yamaha F-310 (Acoustic Guitar): £120
- C1 Behringer: £31.03
- XLR Cables: £4.79
- XLR
- USB: £7.75
- Session: £30 (x2)
- Logic: £139
- Macbook Pro 13 Inch: £850
# UNIKORNFIELD
The first thing I did to start this track was to decide what track I wanted to make, I decided to make this track a hip hop track. Then I decided to create a mood, in music you create a mood by choosing the appropriate chord sequence to make the song happy or sad. So I made the song more towards evil and wicked by choosing the bass chords with a mix of majors and minors. Before I played the notes I went onto media on the right hand side of logic, went on library then the instruments came up, then I went on bass then went on synth bass and then I chose bassment bass as my instrument. Once I chose the right bass instrument I played the notes by recording live from the computer keyboard because I did not have a midi controller at home. After I recorded my bass line I copied and pasted the midi data I did this by pressing alt dragging the midi data next to the previous data then letting the mouse go then letting my finger of the alt button, then I repeated this action till I didn't want to copy and paste the midi data.
Then I added a new instrument voice space, what I did with voice space was I copied and pasted the same midi data as the basement bass, and then after that I added another instrument glow stick which sounds like a synth you would use in a dubstep track and like what I did with voice space I copied the midi data from the basement bass midi data, so after I copied and pasted the midi data I made it a octave higher to harmonise with the 2 other instruments I used. So I made 3 instruments doing the same thing.
Next the I did was the piano, with the piano I chose piano's dream because it had a good amount of reverb which had the space design reverb witch is a plug in you get in the side already made on it. After I chose the piano I added auto filter to the piano, synchronized the beat, chose the waveform which made a dubstep wobble, chose the rate of the beat which wobbles at a half pace, I turned up the cutoff mod all the way to 100 percent. After that duplicated the piano's dream instrument twice and then I copied and pasted the high octave synth onto the second duplicated piano and then I played the piano live on the second bar to varie the piano sound, and the first piano only became a compliment due to the style of mixing I chose for it, then on the third piano I played manually a different melody.
My next step was the drums, first step I chose a specific kick drum, it was already compressed so what I decided to do was change the EQ, I made sure that I took out a lot of the bass from the kick drum to prevent the original bass being distorted, then I added a second different kick drum, this was the latin kick, the latin kick is really dry and natural so what I decided to do was to put the volume really low then I added gold verb, once I chose the gold verb as my plug in I made sure the option was according to what I wanted the sound to sound like, I chose the mix option to 45 percent, my reverb time was kept at 1.05 seconds, then my density was kept at 50 percent, my high cut was kept at 4200Hz, kept the room size small at 10m to get the reverb really realistic. I played the kick drum manually and quantised it to 1/8 note.
I then added a snare the roland tr 606, I kept the snare clean, chose the pre EQ option to the sound I wanted, I played it live and quantised it to 1/8 note. then I added a seventies kit, with seventies kit I didn't use a eq I kept it on a straight line but I added a lot of reverb on the averb option and made sure the room size was at a 100 percent, the mix was at 44 percent, denisity/time on 75 percent, reflectivity was at 20 percent.
I then chose the roland tr - 808 as my high hat kit, instead of playing the kit live I decided to edit it by holding command and clicked on the bars I wanted, I done it for less then a beat and copied and pasted where I wanted the high hats to be played at.
I added the broken beat kit for my second high hat, I made sure that I took out the high frequency on the EQ option, I done that because it almost gave a harmony between the 2 high hats, I copied and pasted the broken beat kit at the bottom but instead of playing 2 high hats at the same time I put the second broken beat kit to play quarter of a second later then the first high hat kit.
After I did my beat, bass and piano, to finish the track I added audio, the first sample I used was already in the libary so I looked for an abstract atmosphere 134 because it was a sound of a police speaking on the radio witch is what I wanted. After that I really wanted it to sound like a voice coming from a radio, so I took out all of the low frequency EQ which made it sound like a radio effect, then I added averb, made sure density/time was 100 percent, the room size on 100 percent, the mix on 22 percent and the reflectivity on 20 percent, then I added an echo which played at 1/8, then I added automation for the panning, I panned the sound to the right and left really fast which made a wierd sensation in the sound. Next I chose the vocals that I wanted to use, I downloaded the vocals from youtube which was actually a rapper freestyling live accapella, because he did not have a track playing he kept on going in and out of time in this recording, there also was a lot of people around him, having different conversations which made a amature recording of his vocals, his voice was quite loud so I decided to use that to my advantage, after choosing the vocals I decided to pick the parts that I wanted and the parts that I didn't want, the parts that I wanted I made sure it was on time with my track and I also used a useful plugin which is called bpm counter, bpm counter gave me the time that the track was at, it said 127.3 beats per minuet so I typed in 127.3 into the tempo of my track to make the audio in time with my track, I kept the time signature at 4/4. After that the first vocals I made the EQ and I took out all the low frequency on the EQ option, then I added a lot of reverb in the averb plug in, then I added a different reverb which is called aumatrix reverb, after choosing that plug in I chose the pre setting at a medium hall 3 and kept the settings the same, then I used channel EQ took out some of the low frequency then I added a speech enhancer plug i n, which helps the vocals become clear, I chose the denoise at -33dB, then I kept mic connection on, then I chose the mic model which was powerbook g4 titanium, then I kept the voice enhancer on and chose the male solo option, then I added another plug in exciter, kept the freequency at 6600hz, made the harmonics at 113.000 percent this was helpful because it brightened the vocals. Then I used pitch shifter 2 witch is a plug in that deepens the vocals or makes it thinner, I wanted a evil dark and low sound to his voice so I kept the mixer at 100 percent, chose the semi tones at -7 which made the vocals really low, then I chose cents at -23, after I chose the vocals option. Then I copied and pasted the parts that I wanted and I repeated a lot of the same parts. Once at about 1min 1 second into the song I chose a different verse that the rapper was using and up to that part the rapper vocals was at a low pitch, so what I did to change the dynamics was to add his orignal voice on top of the low pitched voice which created a harmony, once the harmony was created I made sure that the vocals was clear enough by using the same channel EQ speech enhancer and the exciter as the second low pitch vocals, the only difference was that I didn't use a pitch shifter.
EP worked on
Eliot - Translation: my role on this track was simple I sat down in a quiet studio with elliot and we talked and planned what we wanted the track to sound like I gave him my point of view and the direction I wanted the track to take and he used the Ideas I gave him you could say that my role for this track was of a more traditional producers role.
Dar - what you gonna do: What you gonna do is a track that was gives to me with just a piano sound I then played a more morden producer role to make the structure of the instruments then The track was given to other producers for the final mix.
Darlene - Summer days: for this track I had no creative input but I maybe had a more important role, because I made the singer comfortable buy giving her 20 minuets in a room and I used that time to set up every thing. I gave the singer water, positioned the mic when I was asked to by my colleagues or when I felt I needed to.
Harry-scary faces: For this track my role was to Mic the mics for the singer and I did this by making a box position with the dampers and adding a chair for the singer then adding a C414 to the arms of the guitar and after adding a ??? To the body.
