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This view of the Pro Tools Edit window shows some of the beats, which were programmed in some cases by cutting and pasting audio clips rather than using MIDI. Although the vertical waveform zoom level has been raised to make the contents of each clip visible, Pro Tools’ Clip Gain feature has been used to reduce most of them in level by up to 15dB. As Chris Godbey mentions in the main article, the other big hit from The 20/20 Experience 1 of 2, 'Suit & Tie', was written Compared with the sessions for 'Mirrors', the stem session from which 'Suit & Tie' was mixed is relatively simple. The Member’s Newsletters are the ultimate way to get well researched and consistently profitable selections. The “Hints & Tips” section provides the best trading opportunities of the day and the “B2L” section provides selections based on a unique formula only available on InsideTraxs. Again unique to InsideTraxs, we offer a Power Hour, where we provide one to one tuition totally tailored to your needs and experience.

Engineer, mixer and producer Carlo Montagnese likens his work with the Weeknd to painting — and he’s not afraid to use plenty of colour! He thoroughly covers all the major aspects of music production that our students are constantly asking about. How do you get inspired to start an idea? How do you fully develop an idea and how do you mix and master that idea to a fully polished idea that is done?! All done in a fresh new way.

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Verse lead vocal: Antares Auto–Tune EFX, FabFilter Pro–DS, Pro–Q2, Pro–MB & Timeless 2, Waves Vocal Rider, H–Delay & Doubler, UAD API 560, 1176 & EP34, SoundToys Little Radiator & MicroShift, Audio Ease Altiverb.

The songs from the special were released on streaming platforms on June 10, 2021. The special was nominated for six Emmy Awards in 2021, of which it won three: Outstanding Writing for a Variety Special, Outstanding Directing for a Variety Special, and Outstanding Music Direction. “All Eyes on Me” also earned Bo his first Grammy win for Best Song Written for Visual Media at the 2022 Grammys.

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It’s easier and more flexible to work in the box, but it does mean that I spend a lot of time making sure the programmed stuff sounds less sterile. One way of doing that is by adding grit. Distortion is a big part of working in analogue, and the way you hit the console can make a big difference. You don’t have that in the box, but you can simulate it. I’ll use various plug-ins to create grit in the box, like the SoundToys Decapitator and sometimes the Waves NLS console emulation plug-ins.” Then in 2010, when I was 22, I moved to Toronto. I had a room at Dream House Studios, and behind every wall another producer was creating music in a different genre, which made me feel very uncomfortable, as I was working my way through a lot of insecurities. During that time I went to LA to have meetings with people, but nobody was interested. No matter what music I was working on, it wasn’t going for me. The main thing I did during this period, and still afterwards, was developing my techniques. At one stage I was mapping out the different frequency octaves in different keys of songs, and I would visually approach mixing with these different frequency ranges in mind. It was like maths. I literally had vocals rolled off at certain frequencies because it opened up for this other sound to come in. I drove myself absolutely mad! I don’t do that at all any more, but I had to go through it. It was a step along the path.” Born in New Delhi, India, Bainz got to his position as chief engineer and mixer at YSL in Los Angeles via Australia, Florida and New York. He recalls, “I never played an instrument, but got into DJ’ing and I was into electronic music. I went to Melbourne to do a bachelor degree in something, I can’t remember what it was, but I hated it. I dropped out and then enrolled in the School of Audio Engineering Institute in Melbourne. I was always into the technicalities behind music and there I realised I wanted to be an engineer. From comparing the amount of money placed on a horse versus the total on the race you can tell if a horse is overweighted in the market or underweighted.