Main kick

Inserts: Logic Compressor, UAD Cambridge EQ.

The main kick (Track 31.8) was compressed using the Logic Compressor [threshold –11 dB, ratio 2.4:1, peak sensing, knee 0.5, attack 10.5 ms, release 92 ms], which adds punch and power (Track 31.9). On the subsequent Cambridge EQ, there is one parametric filter [4.4 kHz, 2.8 dB, Q 1.12], which adds attack and makes the kick even more prominent in the mix—a prominence customary in such productions (Track 31.10).

The compression and the added attack on what was already a powerful kick resulted in a massive sound. But during the first few bars of the production, this made the kick appear completely detached from the sparse and relaxed arrangement. One way to combat this would be automating the level of the kick, but changing its tonality provided a more creative alternative. So two more bands on the Cambridge were employed that are only operational during the first few bars. On one band, a parametric filter with a wide Q [991 Hz, –6.8 dB, Q 0.52] reduces much of the kick’s impact (Track 31.11); this filter is bypassed with the introduction of the hats. The second band involves an HPF [34.7 Hz, 24 dB/oct], which effectively starts rolling off frequencies below 250 Hz (Track 31.12). Its role is to attenuate much of the powerful lows and subs. It is bypassed just before the introduction of the snare. The bars involving these two EQ automation events are presented in Track 31.13. The level of the main kick was automated to rise just before the first main section.

Pillow kick

Inserts: Sonnox Oxford EQ.

Pillow kick only appears in the two closing bars of the intro. The raw track (Track 31.14) was treated with the Oxford EQ, where a single parametric filter [4.3 kHz, –4.4 dB, Q 2.83] attenuates some click to result in a more pillow-like sound (Track 31.15).

One-hit snare

Inserts: PSP MasterQ, Logic Noise Gate, Logic PlatinumVerb.

One-hit snare (Track 31.16), as the name suggests, only involves one hit, which concludes the intro section. This track was first treated with the MasterQ, where three bands shape the tonality of the snare: an HPF [73 Hz, 12 dB/oct] removes dispensable lows (Track 31.17), a parametric filter [470 Hz, –3.43 dB, Q 0.26] attenuates some body (Track 31.18), and a high-shelving filter [10 kHz, 2 dB] adds a touch of definition (Track 31.19). Following the EQ comes the Noise Gate [threshold –17 dB, –100 dB reduction, attack 3 ms, hold 130 ms, release 10 ms, hysteresis –3 dB], which shortens the length of the snare so it fits better into the rhythm (Track 31.20). This gate was configured with the next PlatinumVerb already in place. On the reverb, which was added as an insert rather than a send, the dry control is set to 100 percent and the wet to 45 percent. The reverb adds an audible effect and its tails smoothes the transition to the lead-in section (Track 31.21).

LiSnare 1

Inserts: UAD Cambridge EQ.

LiSnare 1 (Track 31.22) plays during the first part of the lead-in section and during the last four bars before the outro. This track was treated using the Cambridge EQ, where an HPF [168 Hz, 6 dB/oct] rolls off muddling lows (Track 31.23). Also, a high-shelving filter [6.32 kHz, 4 dB] brightens the snare and tunes it to the frequency spectrum (Track 31.24).

SnareB

Inserts: PSP MasterQ.

SnareB (Track 31.25) accompanies every other hit of LinSnare 1 during the first part of the lead-in section. It was treated with the MasterQ, where an HPF [74 Hz, 12 dB/oct] rolls off dispensable lows (Track 31.26) and a high-shelving filter [10 kHz, 4 dB] adds some extra definition (Track 31.27).

Claps

Inserts: t.c. electronic ClassicVerb.

There are five clap hits during the first part of the lead-in section, two of which conclude this first part. Only a reverb was added to these claps and the plugin was added as an insert. The wet/dry control was set to 50/50 and the pre-delay to 91 ms, and the early reflections were muted (Tracks 31.28 and 31.29).

LiMidSnare

Inserts: Logic Channel EQ.

Two hits of LiMidSnare play right before the second part of the lead-in section (along with two claps). The raw track (Track 31.30) was treated with the Channel EQ, where an HPF [130 Hz, 24 dB/oct] rolls off dispensable lows (Track 31.31) and a parametric filter [7.7 kHz, 5.5 dB, Q 1.9] adds brightness and definition (Track 31.32).

LiSnare 2

Inserts: UAD Cambridge EQ.

LiSnare 2 (Track 31.33) plays during the second part of the lead-in section. Its tonality was altered quite noticeably by the Cambridge EQ, mainly due to the HPF [428 Hz, 12 dB/oct], which dries out all the lows (Track 31.34). As part of frequency tuning, a parametric filter [900 Hz, 4.2 dB, Q 2] was also employed (Track 31.35) along with a high-shelving filter [6.32 kHz, 1.6 dB] (Track 31.36). At some point during the mix, a compressor was also loaded onto this track, but a punchy snare didn’t quite work in the context of the relaxed lead-in section. What’s more, the beat is not the most important element of this section— the real action occurs later.

Kick 2

Inserts: Sonnox Oxford EQ.

Kick 2 plays during the main and the straight sections of the production and it provides a layer to the main kick (Tracks 31.37 and 31.38). The only plugin inserted on this track is the Oxford EQ, where a parametric filter [95 Hz, –2.88, Q 1.4] attenuates disturbing content around 95 Hz (Tracks 31.39 and 31.40).

Kick WoodKnock

Kick WoodKnock only plays during the first main and the straight sections. It is a complementary layer for the kick and it was untreated (Tracks 31.41–31.43).

Main Snare

Inserts: UAD Cambridge EQ.

Main Snare appears during the main sections. In many productions such as “Donna Pomini,” the kick is the mighty beat element and the snare gets much less stage space. To some extent, the Main Snare was mixed with slightly more entity than what some consider normal. The raw track (Track 31.44) was only treated with the Cambridge EQ, where a high-shelving filter [4 kHz, 1 dB] adds a touch of presence (Track 31.45). The level of this track was automated to rise during the second main section, but falls again in its second part.

Rvs Snare

Inserts: PSP MasterComp.

Rvs Snare plays during the first part of the first main section and throughout most of the second main section. It accompanies the main snare as a supportive beat element (Tracks 31.46–31.48). Rvs Snare is only treated with the MasterComp [threshold –16.1 dB, ratio 1.4:1, RMS sensing, hard-knee, attack 3.16 ms, release 1 second], which condenses the snare’s dynamics (Track 31.49).

Straight Snare

Inserts: Sonnox Oxford Dynamics, Sonnox Oxford EQ, Logic BitCrusher.

Sends: SnareVerb (Sonnox Oxford Reverb).

Straight Snare (Track 31.50), which plays during the straight section, was first treated with the Oxford Dynamics, where both the compressor [threshold –22.5 dB, ratio 2:1, hard-knee, attack 15.3 ms, release 5 ms] and the gate [threshold –30 dB, range –40 dB, attack 5 µs, hold 550 ms, release 19.6 ms] are employed to add weight and punch (Tracks 31.51 and 31.52). Then, the Oxford EQ shapes quite drastically the sound of the snare using four bands: an HPF [271 Hz, 24 dB/oct] rolls off the body and dispensable lows (Track 31.53), a parametric filter [487 Hz, –8.44 dB, Q 2.83] attenuates disturbing low-mids (Track 31.54), another parametric filter [3.13 kHz, 7.71 dB, Q 2] adds snap (Track 31.55), and a high-shelving filter [3.32 kHz, 2.18 dB] adds some brightness (Track 31.56). The EQ is followed by the BitCrusher, which adds its own touch of grit [8 bits, drive 4.5 dB] (Track 31.57).

The snare was sent to a dedicated reverb—a modified version of the “Hall Full” preset on the Oxford Reverb. The send level to the reverb was automated so as to open on every other hit (with one hit being an exception). Apart from making the effect appear on every other hit, this also makes one hit appear at the back, the other in front (Track 31.58). There is no practical purpose for this automation and it is hardly creative, but we do these things sometimes.

Whip Snare

Inserts: Sonnox Oxford Dynamics, Sonnox Oxford EQ.

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

Whip Snare (Track 31.59) plays during the last four bars before the outro. It first goes through the Oxford Dynamics, where much like the Straight Snare both the compressor [threshold –17.7 dB, ratio 5:1, soft-knee, attack 16.8 ms, release 130 ms] and the gate [threshold …17.2 dB, range –40 dB, attack 5 µs, hold 120 ms, release 20.9 ms] add snap and punch (Tracks 31.60 and 31.61). On the subsequent Oxford EQ, an HPF [210 Hz, 12 dB/oct] rolls off dispensable lows (Track 31.62) and a parametric filter [3.29 kHz, 3.2 dB, Q 1.96] emphasizes some edge (Track 31.63). Whip Snare is sent at high level to the ambiance reverb, which places it quite deep in the depth field and adds an apparent tail (Track 31.64).

March Snare

Inserts: SoundHack +Chebyshev, Logic Gain, UAD GateComp, t.c. electronic Filteroid.

March Snare is part of the buildup during the ocean section. The raw track already contained some room sound (Track 31.65). It is first treated with the +Chebyshev, which adds some harmonics that fatten the sound (Track 31.66). Then the Gain plugin was inserted for level automation, where the snare progressively rises in level (Track 31.67). The succeeding GateComp adds weight to the snare with its compressor facility [threshold –28.8 dB, ratio 4.64:1, slow attack, fast release] (Track 31.68). The Gain plugin was intentionally inserted before the GateComp, so the compression effect increases as the snare rises in level. On the succeeding Filteroid, a non-resonant HPF [185 Hz] and an LPF [17.8 kHz] contain the frequency extremes of the snare (Track 31.69).

Main hats

Inserts: Logic BitCrusher, SoundHack +Chebyshev, t.c. electronic EQSat.

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

The main hats are the only hats playing during the lead-in section and, as importantly, during the second part of the first break. They also play along other hats during the main sections. The clean sound of the raw track (Track 31.70) could work in the context of many similar productions, but I personally felt that a slightly more dirty sound would better suit the aggressive nature of this track. To achieve this dirty sound, two plugins were used. First, the BitCrusher reduces the bit resolution to 4 bits, which adds a noticeable amount of noise. In addition, 13 dB of drive causes clip distortion that adds healthy grit (Track 31.71). Then, the +Chebyshev adds some harmonics that enhance the effect (Track 31.72). The BitCrusher and +Chebyshev made the hats appear brittle and therefore detached from the mix. To ease this excess of highs, a high-shelving filter [5 kHz, –1.5 dB] was engaged on the EQSat (Track 31.73). The level of the main hats was automated with respect to the different sections in which they play. It might be worth noting that during the lead-in section, the hats are fairly visible as they play an important rhythmic role. They are also sent to the ambiance reverb, which moves them back from the front of the mix (Track 31.74).

Hats 2

Inserts: Logic BitCrusher.

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

Hats 2 (Track 31.75) are the only hats playing during the straight section, but they play along other hats tracks during the first part of the second main section. As with the main hats, Hats 2 were treated with the BitCrusher [ 3 bits, 6 dB drive], which distorts them quite noticeably (Track 31.76). They were also sent to the ambiance reverb, which sends them back in the depth field (Track 31.77).

Hats 4 Hits

Four hi-hat hits mark the border between the two parts of the first main section. These hits were left untreated (Track 31.78).

Hats Backbeat

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

Hats Backbeat (Track 31.79) plays along with the main hats during the main sections. This track was untreated, but was sent to the ambiance reverb for depth positioning (Track 31.80).

Crash 1, Crash 2 and Crash 3

“Donna Pomini” involves three crash tracks. None of them were treated or sent to the reverb, but the levels of Crash 2 and 3 were automated between various hits.

WoodZest

Inserts: Logic Channel EQ.

WoodZest is part of the buildup to the first main section and plays for most of the production from that point onward (Tracks 31.81–31.83). It was only treated with an HPF [240 Hz, 24 dB/oct] from the Channel EQ (Track 31.84). Its level was automated; for example, to progressively rise during the ocean section.

PaperLoop

Inserts: Smartelectronix Cyanide 2, SoundHack +Chebyshev, Sonnox Oxford EQ.

Sends: Ambiance Reverb (t.c. electronic ClassicVerb), Loop Delay (PSP 84).

PaperLoop plays during the straight and the second main sections. The raw track (Track 31.85) was distorted using Cyanide (Track 31.86). Then additional distortion was produced by the +Chebyshev (Track 31.87). The Oxford EQ was employed to tune this track into the frequency spectrum—a low-shelving filter [114 Hz,–6.27 dB] attenuates some lows (Track 31.88).

PaperLoop was sent at low level to the ambiance reverb in order to move slightly backward in the mix (Track 31.89). It was also sent to PSP 84, with the send level automated to open during the last few hits before the ocean section. The delay time was set to quarter-note, –4.89 dB feedback gain, a resonant LPF in the feedback loop, and gentle modulation of the delay time (Track 31.90).

Bat Zips, Bat Zaps, Bat Hit1, Bat Hit2, Bat Hit3, Bat Iron and Bat Wiper

Inserts: Smartelectronix Cyanide 2.

Sends (for some): Ambiance Reverb (t.c. electronic ClassicVerb).

Bat Zips, Bat Zaps, Bat Hit1, Bat Hit2, Bat Hit3, Bat Iron, and Bat Wiper (Tracks 31.91–31.98) were all processed using the same Cyanide configuration (Track 31.99). This produced a very distinctive sound, which adds some aggressiveness. Bat Zips, Bat Zaps, and Bat Iron were sent to the ambiance reverb in order to shift them backward in the mix (Track 31.100).

Beat Group

Inserts: PSP Vintage Warmer.

Although entitled “Beat Group,” only four beat elements were routed to this audio group: Kick 2, Kick WoodKnock, Rvs Snare, and Hats Backbeat. On the group track, the Vintage Warmer was loaded and configured for parallel compression [mix 32.6 percent dry, drive 16.5 dB, knee 0, speed 51.5 percent, release 0.25]. The idea was to create a thicker sound layer and to draw some compression effect (Tracks 31.101 and 31.102).

Splutter

Inserts: Logic BitCrusher, Logic PlatinumVerb.

Splutter appears once, right before the introduction of the lead during the first break (Track 31.103). It was first processed using the BitCrusher, but the bit reduction facility was not utilized and the plugin was used purely for distortion and downsampling purposes [24 bits, drive 22.5 dB, downsampling 2×, clip level –7.8 dB] (Track 31.104). The BitCrusher is followed by the PlatinumVerb, which was inserted [73 percent dry, 49 percent wet] to send Splutter backward and add some effect to the dry sound (Track 31.105).

Laser Gun

Inserts: Logic Channel EQ.

Laser Gun appears right before the drop to the main section (Track 31.106). It was only treated by the Channel EQ, where an HPF [240 Hz, 24 dB/oct] rolls off dispensable lows (Track 31.107).

ChemiWind

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

ChemiWind gels the transition between the straight and the ocean sections (Track 31.108). It was only sent at high level to the ambiance reverb, which adds some dimension to it and generates a transition tail (Track 31.109).

FallBall

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

FallBall creates some tension toward the end of the first main section and the pitch dive leads into the straight section (Track 31.110). It also appears briefly between the two parts of the second main section. This track was only sent at high level to the ambiance reverb, mostly in order to place it behind the beat and the leads (Track 31.111).

SciFi Waves

SciFi Waves (Track 31.112) appear right before the first break, and also make a short appearance early in the first main section. This track was not treated, but its level was automated to rise before its appearance in the main section.

JoviBass

Two bass tracks were included on the multitrack. JoviBass (Track 31.113) plays up until the first break. This track was not treated.

ZugBass

In contrast to JoviBass (no treatment), ZugBass (Track 31.114), which plays from the first main section onward, was hopeless. Neither its frequency content nor its dynamics were workable and, despite some time and effort, it sounded wimpy, undefined, and flat. So ZugBass was excluded from the mix and I copied its source MIDI track into Logic and synthesized a new bass using the Access Virus. This new bass was called ZugBassR.

ZugBassR

Inserts: Sonnox Oxford EQ.

ZugBassR (Track 31.115) was equalized using the Oxford EQ, where an HPF [44.3 Hz, 36 dB/oct] sets the low-frequency boundary of the bass; this was done to prevent an excess of subs that occur on the low notes (Track 31.116). In addition, there is also a parametric filter [267 Hz, –4.8, Q 2.83] that combats an excess of low-mids (Track 31.117).

Vox

Inserts: Logic Vocal Transformer, Logic Channel EQ, Logic Guitar Amp Pro.

The vocal on “Donna Pomini” (Track 31.118) called for a distinctive effect—just having a normal speaking voice would be mundane and characterless. Also, what’s said, and the way in which it is said, suggests an abstract and somewhat dreamy message. A nice vocal effect would improve this mood. The first plugin in the inserts chain is the Vocal Transformer—it does not fulfill its original purpose, but adds a unique effect, which is a blend between a robotic hollowness and a wired distortion (Track 31.119). Next is the Channel EQ, where an HPF [450 Hz, 24 dB/oct] rolls off an excess of lows that really contributed nothing to the speaking voice (Track 31.120). The most dominant contributor to the final vocal effect is the Guitar Amp Pro, where, in addition to the guitar amp simulation, both the tremolo and the spring reverb are enabled (Track 31.121). The vocal track was sent to the ambiance reverb so as to shift it backward in the depth field and to give it some stereo size (Track 31.122).

The squeaking loop that appears in the second part of the main break and in the main sections has its origins in a saturated feedback loop of an automated delay on the words “each other.” This loop was already bounced on the vocal track on the multitrack.

Gidi FM

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

Gidi FM plays during the lead-in section (Track 31.123) and also provides the FM riser during the breaks buildup (Track 31.124). This track was automated in level between and within the various sections. It is sent to the ambiance reverb, which pans it backward and increases its stereo size (Track 31.125).

Wacko

Inserts: Sonnox Oxford EQ.

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

Wacko opens the production and also plays during the first main section and the straight (Track 31.126). Only a stereo version with imprinted delays was included on the multitrack.

This track was automated in three principal ways: its level was automated, for example, to drop twice during the intro section; while being panned center up until the straight section, it then shifts to the right [+21] to reduce its masking interaction with Straight Bass; for the same reason, the Oxford EQ is enabled at the beginning of the straight section and an HPF [149 Hz, 18 dB/oct] rolls off some colliding lows (Track 31.127). It was also sent to the ambiance reverb in order to blend it into the mix space (Track 31.128).

Wacko Filtered

Wacko Filtered plays for the first four bars of the production. On the multitrack, this track already contained the filter and the level automation (Track 31.129). It was not treated.

Wacko Support

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

Wacko Support plays for two bars during the intro (Track 31.130). This track was mixed at a low level underneath Wacko and its level was automated to rise progressively. It was sent at a high level to the ambiance reverb, which sends it deep to the back of the sound stage (Track 31.131).

Drops

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

Drops is one of the main elements playing during the lead-in section. The multitrack included both a version with no delay (Track 31.132) and a stereo version with a delay (Track 31.133). From the early mix stages to the final ones, the stereo version presented no issues, so it is the one used in the final mix. Drops is sent to the ambiance reverb, just to gel it to the mix ambiance (Track 31.134).

Drops Noise

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

Just like with Drops, between the versions of Drops Noise with and without delay the former was used (Tracks 31.135 and 31.136). It is also sent to the ambiance reverb (Track 31.137).

SinSeqRoot, SinSeq3rd, SinSeq5th

Inserts: PSP Nitro.

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

SinSeqRoot, SinSeq3rd, and SinSeq5th all constitute a sequence of sine beats (Tracks 31.138–31.141). Each of the individual tracks was treated with the Nitro, which was configured for an autopan effect. The modulation frequency on each of the three tracks is different, which creates an unpredictable panning relationship between each track (Track 31.142). To detach the sequence from the front of the mix, each track was also sent to the ambiance reverb (Track 31.143).

SinSeq group

Inserts: PSP 608 MultiDelay.

The three SinSeq tracks are all routed to an audio group. The inserted 608 is set for 35 percent dry and 65 percent wet and two taps are operational—one with a delay of 372 ms and the other with 743 ms. The feedback control on the second tap is set to 32.5 percent. This addition of delays softens the SinSeq and makes it somewhat more dreamy and distant (Track 31.144). The level of the SinSeq group was automated.

LeadSeq

Inserts: UAD Fairchild.

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

LeadSeq (Track 31.145) is introduced during the second half of the first break and is one of the most important elements in the production. This lead occupies a huge amount of space on the frequency spectrum and as it clearly involves unison it also takes up quite some space on the stereo panorama. It is somewhat surprising that this lead fits nicely into the mix without any frequency or stereo treatment. The Fairchild inserted on this track was employed to condense the level of this lead and add some more weight— essentially making the lead even bigger (Track 31.146). The level of this track was automated; for example, it is made louder on the first main section. It is also sent at low level to the ambiance reverb, which gels it into the mix ambiance and shifts it slightly backward (Track 31.147).

LoFi Saw

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

LoFi Saw accompanies LeadSeq during the first main section and the first part of the second main section. Between the versions on the multitrack with and without delay, I chose to use the one with delay (Tracks 31.148 and 31.149). This track was untreated, but it was sent at a high level to the ambiance reverb. This not only places it behind LeadSeq, but also fills the ambiance during the most powerful moments of the production, making it denser and richer (Track 31.150).

Straight Bass

Inserts: UAD Cambridge EQ.

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

Straight Bass (Track 31.151) plays during the straight and ocean sections. The Cambridge inserted on this track only has one parametric filter engaged [90.8 Hz, –2.4 dB, Q 1.66], which eases an excess of lows around 90 Hz that muddled the mix (Track 31.152). This track was also sent to the ambiance reverb in order to send it slightly backward and gel it to the mix ambiance (Track 31.153).

Straight Beep

Straight Beep plays during the straight section only. I wanted the beep to appear distant and to audibly excite this reverb or another. Initially, I used the dry version from the multitrack and sent it at a high level to the ambiance reverb (Tracks 31.154 and 31.155). However, the multitrack also contained a version with a reverb and auditioning it at a later mix stage worked out better (Track 31.156). It is the only track from the multitrack that had a version with a reverb that was used in the final mix.

Leadar

Inserts: PSP MasterComp.

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

Leadar plays from the beginning of the ocean section until the end of the production. Between the versions on the multitrack with and without delay, I chose to use the former (Tracks 31.157 and 31.158). This track was compressed using the MasterComp [threshold –12.93 dB, ratio 1:30:1, RMS sensing, hard-knee, attack 10 µs, release 100 ms], which thickens it and makes it bigger (Track 31.159). It was also sent to the ambiance reverb, which gels it to the sound stage but also makes its stereo appearance richer and bigger (Track 31.160).

OceanPad

Inserts: PSP MasterQ.

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

OceanPad plays during the ocean section (Track 31.161). This track was compressed with the MasterQ, where a high-shelving filter [6.41 kHz, –4.15 dB, Q 0.5] rectifies an excess of brittle highs (Track 31.162). The ocean section is also some kind of a break that I felt needed to have an extra dreamy and spacious sound. Ocean Pad was sent at an extremely high level to the ambiance reverb, which makes it appear distant and facilitates the required dreamy sensation (Track 31.163).

OceanSup

Inserts: PSP 84.

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

OceanSup is a complementary track to OceanPad—while OceanPad is more concerned with the soundscape, OceanSup gives a clearer idea of the melody being played (Tracks 31.164 and 31.165). The raw track (Track 31.166) was first treated with the PSP 84 [30 ms delay on the left channel only, no feedback], which combats this track’s presence in the busy center—the delay converts its central image to a sound bound to the stereo extremes (Track 31.167). It was also sent at a high level to the ambiance reverb to help project the wistful ambience that this section demanded (Track 31.168).

LowHarm, HighHarm

Sends: Ambiance Reverb (t.c. electronic ClassicVerb).

Both LowHarm and HighHarm only appear at the end of the ocean section (Tracks 31.169 and 31.170). Both tracks were sent at a high level to the ambiance reverb in order to place them far away in the depth field (Track 31.171). Both tracks were mixed at a low level, which means that rather than being clearly present they blend with the overall atmosphere.

ContraWaves

ContraWaves appears during the eight outro bars as a support layer to Leadar (Track 31.172). This track was not treated.