Attack Kick

Inserts: Sonnox Oxford EQ.

Sends: Kick SC.

Attack Kick (Track 32.12) is the main kick track. It was treated with the Oxford EQ, where a low-shelving filter [136 Hz, 8.2 dB] adds a healthy lows impact (Track 32.13). A steep HPF [42 Hz, 30 dB/oct] prevents boominess and filters the excess of very low frequencies, which many domestic systems cannot reproduce anyway (Track 32.14). There is also a parametric filter [273 Hz, –9 dB, Q 1.5] removing a low-mids tap (Track 32.15). Attack Kick is sent to a bus, which sources the side-chain of the sub-bass gate.

Dirt Kick

Inserts: MOTU Trim.

The Attack Kick is layered with Dirt Kick (Track 32.16), which adds some oomph and noise that contributes some definition (Tracks 32.17 and 32.18). Despite the fact that both are samples, the Attack Kick and the Dirt Kick were out of phase with each other, so the phase of the Dirt Kick was inverted using the MOTU Trim plugin (Tracks 32.19–32.22); otherwise it is untreated.

Kick Triggers

Virtual Instrument: MOTU Model 12.

Still unhappy with the sound of the kick, I decided to add another layer of samples. This was achieved by exporting the kick’s MIDI track from the original Logic session, importing it into Digital Performer, and routing it to the MOTU Model 12 Drum Module. The kick061 was chosen from more than 100 kick samples that ship with Model 12 (Track 32.23). In addition, I programmed a MIDI sequence with a kick on each downbeat and sent it to the same Model 12, this time triggering the kick091 sample. This additional trigger was mixed so it only adds a gentle accent to the downbeats (Track 32.25). Finally, I added sub-bass to the kick by gating a 50 Hz sine wave with respect to the original kick track (Track 32.26).

Thump Kick

There are only six Thump Kick (Track 32.27) hits in the arrangement, three in each break. This track was untreated.

Snare

Inserts: MOTU MasterWorks EQ, Sonnox Oxford Dynamics.

Sends: Snare Reverb (UAD Plate 140).

One problem with the main snare track (Track 32.28) was that it was too bright and did not sit well in the frequency spectrum—it seemed to end up on higher frequencies than it should have done. To correct this, a high-shelving filter [4 kHz, –1.6 dB] on the Master -Works EQ was employed to soften the highs (Track 32.29). Following this, the snare sat better in the frequency spectrum but it lost some presence. In order to return it to the limelight, the compressor [threshold –10.2 dB, 2:1 ratio, hard-knee, attack 28.6 ms, release 130 ms] of the Oxford Dynamics was employed to add some snap (Track 32.30).

I also experimented with adding a reverb to the snare using the Plate 140 (Track 32.32.). It is the nature of reverbs to soften sounds, so in order to achieve some thrust I gated the reverb using the MOTU dynamics (Track 32.32). Since the reverb smears the snare image and sends it slightly backward, it is only mixed during the intro, where the arrangement is sparser and more relaxed.

Sub Snare

Sub Snare (Track 32.33), which was left untreated, is complementary to the snare track that was layered quietly underneath it (Tracks 32.34 and 32.35).

Pend Snare

Inserts: MOTU Gate, MOTU Parametric EQ, Sonnox Oxford Dynamics.

Pend Snare (Track 32.36) was one track that I felt contributed little to the overall snare sound, so instead of layering it with the snare track it was mute-automated to only appear when the snare plays eighth-notes, therefore accenting the momentary intensity of the beat (Tracks 32.40 and 32.41). The raw track involved a very long decay, so to make it punchier it was gated using the MOTU Gate (Track 32.37). The gate is followed by the Parametric EQ, where a high-shelving filter [1.3 kHz, 4.7 dB] brightens what was a dull sound (Track 32.38). To add even more punch, the Oxford Dynamics compressor [threshold …18 dB, ratio 3.17:1, attack 10.6 ms, release 5 ms, soft-knee 20 dB span] accents the snare’s attack (Track 32.39).

Hi Hats

Inserts: MOTU AutoPan, MOTU MasterWorks EQ, MOTU Dynamics.

Sends: Ambiance Reverb (Audio Ease Altiverb).

In addition to the kick and snare, the main beat also consists of the tracks Hi Hats, Comp Break, and Tamb. The Hi Hats (Track 32.42) go through the AutoPan, which adds movement. As the hi-hats shift between left and right, their perceived level rises and falls (partly due to masking), which adds another element of cyclic variation. In order to make the effect not too obvious, the depth on the AutoPan was set to 43 percent; the modulation is synced to a bar (Track 32.43). The AutoPan is followed by the MasterWorks EQ, where a high-shelving filter [3.5 kHz, 2.8 dB] adds definition and spark (Track 32.44). Although not everyone would agree, I felt that brightening the hi-hats further (Track 32.45) would detach them from the mix and cause exaggerated frequency separation. Following the MasterWorks EQ is the MOTU Dynamics, whose role is explained in the next section. One of the problems with the hi-hats was that they sounded too in front and as such a bit like a fly buzzing in the front of the mix. Sending them to the ambiance reverb shifted them backward and rectified this buzzing sound (Track 32.46).

Comp Break

Inserts: MOTU Parametric EQ, MOTU Dynamics.

Comp Break (Track 32.47) is another important component of the beat. Keeping the kick and snare in this loop served little purpose since each drum has respective tracks already. Using the Parametric EQ, an HPF [725 Hz] filters much of the kick and snare, while also clearing some low-mids space for other tracks (Track 32.48). As part of tuning this track to the frequency spectrum and in order to give it more presence, a high-shelving filter [5 kHz, 5.7 dB] was also applied (Track 32.49). The Comp Break was panned off-center to the left [<41] so as to ease masking interaction with the kick and snare.

Later on in the mix, I wanted the leads to stand out more. One way to emphasize them was by ducking other instruments in relation to them—as if they are so powerful that they bring down other instruments. Ducking the whole beat would also attenuate the important kick and snare, so instead only Hi Hats and Comp Break were ducked. This was achieved by inserting the MOTU Dynamics compressor on the two tracks with each side-chain set to the same bus. The bus was sourced from a send on the Dina lead track—a send that was pre-fader, so level alterations to the lead would not affect the ducking. The major setting on the compressors was the release, as it determined how quickly Hi Hats and Comp Break would recover after being ducked. The final settings were 560 ms for the Comp Break and 480 ms for the Hi Hats (Tracks 32.50 and 32.51).

Tamb

Inserts: MOTU Parametric EQ.

Sends: Ambiance Reverb (Audio Ease Altiverb).

The Tamb (Track 32.52) is introduced in the arrangement after the first break. It is mixed, so it blends with the Hi Hats and Comp Break rather than being a distinctive sound (Tracks 32.56 and 32.57). An HPF [1.3 kHz] on the MOTU Parametric EQ rolls off dispensable frequency content, which again clears space on the low-mids (Track 32.53). In addition, a parametric filter [5.3 kHz, 3.3 dB] fills some missing frequency space (Track 32.54). The Tamb is also sent to the ambiance reverb, which blends it into the depth field (Track 32.55). The Tamb was panned slightly off-center to the right [>12], a position in which it best escaped masking without shifting too far (from the beat) to the extreme. It is not ducked since it is masked anyway by the leads, at the moments when it would have been ducked.

Break Beat

Inserts: MOTU Delay, SoundHack +Chebyshev.

The drums during the break are based on four tracks: Break Beat, Hip Hop Beat, Claps, and Half Time. Break Beat (Track 32.58) and Hip Hop Beat are two competing tracks and I wanted to maintain separation between them—had the two been blended around the center, the details of both would have been lost and the two would have combined unimpressively. A break, by nature, involves a departure from the main theme, and this applies to the way we mix it as well. So, while Hip Hop Beat was panned center, Break Beat goes through the MOTU Delay, which only delays the right channel by a quarter-note (Track 32.59). This creates an engaging effect that separates the two competing tracks. Also, this means that during the break some intensity shifts to the extremes and gives an overall wider stereo impression compared with the sections before and after it. The Break Beat delay is followed by the +Chebyshev, which adds a touch of distortion (Track 32.60).

Hip Hop Beat

Inserts: Sonnox Oxford Transient Modulator.

The raw Hip Hop Beat track (Track 32.61) could benefit from more vibrant dynamics, so the Transient Modulator [ratio 0.12] was employed to accent the transients on this loop (Track 32.62).

Hip Hop Beat distorted layer

Inserts: UAD Preflex.

The raw Hip Hop Beat track was duplicated and the new track was distorted using the Preflex. The distorted track is layered with the original Hip Hop Beat and automated to progressively rise in level (Tracks 32.63 and 32.64).

Claps

Inserts: PSP MasterQ.

Claps (Track 32.65) were only treated with the MasterQ, where an HPF [1.8 kHz] rolls off frequency content that contributes little to their sound (Track 32.66).

Half Time

Inserts: MOTU MasterWorks EQ, Sonnox Oxford Dynamics.

Sends: Ambiance Reverb (Audio Ease Altiverb), Closing Delay (MOTU Delay).

Half Time (Track 32.67) is a percussive loop that comes and goes throughout the production. The untreated track contained excessive lows and low-mids noise that contributed nothing but reduced clarity. So it was first filtered by an HPF [214 Hz, 24 dB/oct] from the MasterWorks EQ (Track 32..68). Also, a parametric filter [1.2 kHz, 6.4 dB, Q 0.85] added some flesh to what I found to be thin (Track 32.69). Following the equalizer, an Oxford Dynamics was inserted, where the compressor [threshold –30 dB, ratio 2:1, attack 2.2 ms, release 52 ms] condensed the levels of the percussive sounds, adding some powerful impact (Track 32.70). Half Time was also sent to the ambiance reverb in order to place it backward in the depth field (Track 32.71). The level of this track was automated, where it became louder [2.7 dB] during the second break. In addition, a send to a ping-pong delay was automated to take effect during the last bar of the outro. The MOTU Delay was set to quarter-note delays with a feedback LPF at 3 kHz (Track 32.72). This delay appears to escape to the left speaker earlier than normal with this effect, and although this could have been corrected I decided to keep it.

Bongos 1 and Bongos 2

Inserts: MOTU MasterWorks EQ.

Sends: Bongos Reverb (UAD DreamVerb).

Bongos 1 and Bongos 2 (Track 32.73) were both treated with a high-shelving filter [4 kHz, 6.8 dB] using the MasterWorks EQ (Track 32.74). Mostly, this was done in order to increase their definition. It was hard not to imagine the bongos with a nice, clear reverb. But the ambiance reverb was not fit for the job—the bongos sounded either too dry or too far away (Track 32.75). Also, in the specific case of the bongos, I was after brilliance rather than the native warmth of the ambiance reverb. So the bongos were given their own reverb—the UAD DreamVerb and its “Church Choir” preset (Track 32.76). This preset was only modified by a tiny pull of the high-mids on the pre-reverb EQ.

I did not want the two bongo tracks to be too far apart, yet I did not want them panned to the busy center. So each track is panned slightly off-center toward a different extreme, just enough so the two can be distinguished on the horizontal plane. The level of Bongos 1 is automated to balance some hits that jumped out of the mix.

Pen Drums

Inserts: UAD DM-1 L Delay Modulator, t.c. electronic Filteroid.

On the rough mix submitted by the artist, Pen Drums (Track 32.77) were treated with heavy flanging. To recreate this effect, I used the DM-1 L (Track 32.78), which was followed by the Filteroid (Track 32.79). The Filteroid was set with a resonant LPF, with its cut-off frequency slightly modulated (synced to a quarter-note).

In the original arrangement, the Pen Drums appear a few times throughout the production. The problem was that only during the second break could they be clearly heard—in all other places, they were poorly defined (Track 32.80). This led me to mute all the instances of these drums except those in the second break (Track 32.81).

Crash

Inserts: MOTU MasterWorks EQ.

The Crash (Track 32.82) is only treated with a high-shelving pull [4 kHz, –2.8 dB] using the MasterWorks EQ (Track 32.83). This was done in order to tune it into the frequency spectrum, which was too bright.

Beat group

Main Group Inserts: PSP Nitro (automated).

Parallel Group Inserts: MOTU Dynamic.

Parallel compression was applied on the beat. All the beat tracks are routed to a bus, which feeds two auxiliary tracks. One auxiliary is the main beat group and is only processed for two bars during the second theme section with a flanger from the Nitro (Tracks 32.84 and 32.85). The same group is automated so the beat during the intro and breaks is 1.7 dB quieter than during the theme sections. The second auxiliary is the compressed layer, processed by the compressor [threshold –28 dB, ratio 1.3:1, attack 7.3 ms, release 10 ms] of the MOTO Dynamics (Tracks 32.86–32.89).

Sick as Funk

Inserts: MOTU MasterWorks EQ, t.c. electronic Chorus Delay, MOTU Trim, MOTU Quan Jr.

Sick as Funk was the most problematic track in this production—it choked (Track 32.90). This created a sudden drop in level, which sounded more erroneous than intentional. The first processor Sick as Funk goes through is the MasterWorks EQ, where a low-shelving filter [107 Hz, –12 dB] reduces some excess of lows (Track 32.91) and a high-shelving filter [4.3 Hz, 5.6 dB] brightens up what was a dull sound (Track 32.92).

The main plugin employed to conceal the choking sound is the t.c. electronic Chorus Delay, inserted after the EQ. The “Two-Track” preset was loaded on the Chorus Delay, and its 40 ms of delay and 20% feedback were sufficient to fill the quick level drop (Track 32.93). Another plugin that completed the concealment is the Quan Jr, which reduced the bit resolution to 4 bits (Track 32.94). This adds a noticeable distortion that also promotes the aggressive nature of the track. The Quan Jr only offers a reduction to whole bit values, as opposed to some bit-reduction plugins that offer further bit divisions such as 4.5 (while a half bit might not make theoretical sense, it is perfectly possible to have fractional bit reduction in the floating-point domain). When a bit-reduction process only offers whole values, it is possible to fine-tune the effect by boosting or attenuating the signal prior to the bit reduction. And so, the Quan Jr is preceded by the MOTU Trim plugin, which boosts the signal by 2.4 dB. The bit reduction introduced some high-frequency noise, which was eliminated by an LPF [13.2 kHz, 12 dB/oct] from another MasterWorks EQ that succeeded the Quan Jr (Track 32.95). On the same EQ, a parametric filter [4 kHz, 5.6 dB] adds some presence and definition (Track 32.96). Sick as Funk is panned slightly off-center to the left [<11].

Bass

The Bass track (Track 32.97) is layered with the Sick as Funk track to complement it. It was left untreated and panned hard-center (Tracks 32.98 and 32.99).

Focus Bass

Inserts: Sonnox Oxford EQ, MOTU Dynamics.

Focus Bass (Track 32.100) was treated with the Oxford EQ, where a parametric filter [132. Hz, –8.4 dB, Q 16] treated some resonance that occurred on the last note of a rising sequence (Track 32.101). Also, a low-shelving filter [89.4 Hz, –6.3 dB] reduced some overemphasized lows (Track 32.102). A high-shelving EQ pulls 4 dB at 9.9 kHz to reduce high-frequency noise (Track 32.103). The EQ was followed by the MOTU Dynamics, where a compressor is set to duck the bass with relation to the Dina track. The release was set to a rather long 3 seconds, so that around 5 dB of gain reduction recovers just before the next Dina hit (Tracks 32.104–32.107). Focus Bass was panned slightly off-center to the left [<12].

Dina

Inserts: Sonnox Oxford Dynamic.

Sends: Ducking Side-Chain.

Dina (Track 32.108) is the main lead track. It is only treated with the compressor [threshold –22.5 dB, ratio 4.26:1, hard-knee, attack 52 ms, release 5 ms] on the Oxford Dynamics, which was employed to add attack (Track 32.109). The Dina lead is the sole track to duck other tracks such as the Focus Bass and Hi Hats. It is panned slightly off-center to the left [<16].

Worm

Worm (Track 32.110) complements the Dina track. It could have been panned to the same position as Dina (Track 32.111), but in order to open up the sound it was panned off-center to the right [>26] (Track 32.112). Otherwise, it is untreated.

Lead group

Main Group Inserts: Sonnox Oxford EQ.

Parallel Group Inserts: MOTU PreAmp-1, MOTU Trim, MOTU MasterWorks EQ.

In order to introduce some extra power and aggression, parallel distortion was applied on the five tracks constituting the bassline and leads. This was achieved by sending the five tracks to a bus, and feeding that bus into two aux tracks. One aux track is simply an audio group, and is only treated with the Oxford EQ, where a parametric filter [125 Hz, –2.88 dB, Q 1.87] tunes the leads to the frequency spectrum by reducing some excess content around the 125 Hz area (Track 32.113). The other aux contributes the distorted layer, where the PreAmp-1 severely distorts the signal (Tracks 32.115 and 32.116). The output of the PreAmp-1 involves distinct stereo spread that was unwanted. So it is followed by the MOTU Trim, which converts the stereo signal into mono (Track 32.117). The distortion added a generous amount of high-frequency noise, so the Trim plugin is followed by MasterWorks EQ, where a 12 dB/oct LPF rolls off at 14.1 kHz, and a high-shelving filter attenuates 3.6 dB at 4 kHz (Track 32.118).

Initially, the distorted layer was mixed 8.8 dB below the untreated audio group, but this resulted in saturated lows that lacked tightness (Track 32.119). So the balance between the two was adjusted, ending up with the distorted layer 14.3 dB below the audio group (Track 32.120). This means that the distorted layer ended up being felt more than clearly heard, but it still contributes some extra power (Track 32.121).

The level of the lead group was automated. First, the level rises just before the second break (Tracks 32.122 and 32.123). Then, during the second theme section, the level is ridden to accent single note hits (Tracks 32.124 and 32.125).

Hemorrhage

Inserts: MOTU Delay, MOTU MS Decoder, MOTU Dynamics.

Hemorrhage (Track 32.126) plays between the main motif lines and during the second break. The original mono track would have competed with the beat and other main elements had it been panned center, and would have created stereo imbalance had it been panned to either extremes. So, to make it stereophonic, the Haas trick was applied using 20 ms of delay on the right channel only using the MOTU Delay (Track 32.127). But the new stereophonic track was too wide, so the MOTU MS Decoder narrows its stereo width; this worked well despite the comb filtering that could have occurred between the delayed and non-delayed channels (Track 32.128). Then, the MOTU Dynamics is used to duck Hemorrhage with relation to Dina (Tracks 32.129 and 32.130). The level of this track was also automated to dive by 3.6 dB during the second break. Hemorrhage is panned off-center to the right [>24].

Jumpy

Inserts: MOTU MasterWorks EQ, MOTU Delay, MOTU Dynamics.

Sends: Ambiance Reverb (Audio Ease Altiverb).

Jumpy is a complementary layer for Hemorrhage—it was mixed only to blend with Hemorrhage, not to compete with it; thus, it is not easily discerned (Tracks 32.131–32.132). It was first treated with the MasterWorks EQ, where an HPF [263 Hz, 24 dB/oct] rolls off dispensable lows. Also, a parametric filter [4.4 dB, 1.86 kHz, Q 0.64] adds some presence, and a high-shelving filter [8.4 dB, 9.16 kHz] pulls some high frequencies as part of frequency tuning (Tracks 32.133 and 32.134). Jumpy was a stereo track that did not blend well with the stereo panorama. So the MOTU Delay was used with eighth-note delay on the right channel only—no delay on the left channel. This widened the stereo image to the extremes and added some rhythmical effect (Track 32.135). Like Hemorrhage, Jumpy was also ducked in relation to Dina using the MOTU Dynamics. Jumpy was also sent to the ambiance reverb, which pans it slightly backward (Track 32.136).

Sick Warble

Inserts: MOTU MasterWorks EQ, MOTU Delay, MOTU Dynamics.

Sends: Ambiance Reverb (Audio Ease Altiverb).

Sick Warble is a variation of Jumpy. It only plays in the first theme section, where eight bars of Hemorrhage with Jumpy are followed by eight bars of Hemorrhage with Sick Warble. Like Jumpy, it is a complementary layer for Hemorrhage and was mixed to only blend underneath it (Tracks 32.137 and 32.138). On the MasterWorks EQ, an HPF [346.7 Hz, 18 db/oct] rolls off some dispensable lows (Tracks 32.139 and 32.140) and a parametric filter [7.6 dB, 3.24 kHz, Q 0.83] boosts some presence (Track 32.141). The MOTU Delay also adds eighth-note delay, only this time the non-delayed signal is panned hard-right and the delayed signal is panned hard-left (Track 32.142). The MOTU Dynamics ducks Sick Warble in relation to Dina. In addition, Sick Warble is also sent to the ambiance reverb for backward panning (Track 32.143).

Atoms 1

Inserts: Sonnox Oxford EQ, MOTU Trim.

Sends: Ambiance Reverb (Audio Ease Altiverb).

Atoms 1 (Track 32.144) plays during the introduction and during the second break. First, it goes through the Oxford EQ, where a parametric filter [1.3 kHz, –5.6 dB, Q 2.83] pulls some edge to soften the sound (Track 32.145). In addition, a high-shelving filter [5.2 kHz, 4 dB] adds some brilliance and definition (Track 32.146). Atoms 1 contributes to the main melodic line during the introduction. Therefore, I found the autopan effect imprinted on the raw stereo track disturbing. To combat this, the stereo track was summed to mono using the MOTU Trim (Track 32.147). It was sent to the ambiance reverb to fabricate some atmosphere and to pan the pad backward from the beat. The ambiance reverb also compensates for the mono summing by adding some stereo width (Track 32.148).

Atoms 2

Atoms 2 (Track 32.149) was one track I found annoying, even after applying various treatments to it. I found its sharp character to contribute little to the overall mood of the production and decided to exclude it from the final mix.

Korg 174

Inserts: PSP MasterQ, MOTU Delay.

Sends: Ambiance Reverb (Audio Ease Altiverb).

The Korg 174 (Track 32.150) only plays during the intro. Four bands on the MasterQ were employed to tune this track into the frequency spectrum: an HPF [145 Hz, 12 dB/oct], a low-shelving filter [1 kHz, –8.2 dB], a parametric filter [2.27 kHz, –9.47 dB, Q 1.1] and a high-shelving filter [9.5 kHz, –2.87 dB] (Track 32.151). The original stereo track had a limited stereo width and I wanted this pad to stretch to the extremes. So the MOTU Delay was inserted to produce the Haas trick, with 30 ms delay on the right channel only (Track 32.152). This track is also sent to the ambiance reverb in order to detach it from the front of the mix and to blend it into the mix space (Track 32.153).

Curtis Rev

Inserts: MOTU Tremolo, MOTU Parametric EQ, MOTU Dynamics.

Sends: Ambiance Reverb (Audio Ease Altiverb).

Curtis Rev (Track 32.154) is introduced in the intro, then plays again during the theme sections. It was first treated with the Tremolo [bar-synced, 72 percent depth] in order to tighten it to the rhythm and to enhance its come-and-go nature (Track 32.155). The Tremolo was followed by the Parametric EQ, where an HPF [396 Hz] removes muddiness (Track 32.156) and a high-shelving filter [2.7 kHz, 4.5 dB] adds some brilliance and definition (Track 32.157). The MOTU Dynamics ducks the track in relation to Dina. This track is sent to the ambiance reverb for spatial positioning (Track 32.158).

Curtis Rev was automated in two principal ways. First, it was muted during the first theme section, which clears some space in the mix. Second, it was automated to rise in level during the second theme section, including a rise after the first eight bars of each Hemorrhage phrase.

Horns

Inserts: UAD DM-1 Delay Modulator, t.c. electronic EQSat, t.c. electronic Filteroid.

Horns (Track 32.159) is introduced during the intro and plays during the two breaks. The raw track included open-close hi-hats, which fortunately responded well to the applied equalization (by that I mean hardly limiting the processing). The original mono track is first treated with a chorus from the DM-1. The chorus turns this track into stereo, with the dry/wet control determining the stereo width (ending up at 27.5 percent dry). The chorus also adds some spatial dimension that sends the horns backward (Track 32.160). Next, a low-shelving filter [192 Hz, –5 dB] on the EQSat reduces some lows (Track 32.161) and a high-shelving filter [7 kHz, 3 dB] adds some brilliance and tunes this track into the mix spectrum (Track 32.162).

Horns is automated in two ways. First, its level is automated to rise during the intro, then it drops with the first break and starts rising again. Second, during the first part of the second break, a resonant LPF from the Filteroid sweeps from 668 Hz up to 20 kHz (Track 32.163).

Hip Hornz 2

Inserts: MOTU MasterWorks EQ, UAD DM-1 Delay Modulator.

Sends: Ambiance Reverb (Audio Ease Altiverb).

Hip Hornz 2 (Track 32.164) was mixed to appear distant, somewhat like distant ship horns. First, this track goes through the MasterWorks EQ, where an HPF [263 Hz, 18 dB/oct] removes an excess of lows that resulted in muddiness and lack of definition (Track 32.165); in addition, a high-shelving filter [1.3 kHz, 7.2 dB] adds some missing highs and extra definition (Track 32.166). Just like with Horns, the same chorus from the DM-1 creates some stereo width and sends the track backward (Track 32.167). The track is sent at a high level to the ambiance reverb, which places it deep within the mix space and adds a nice, warm reverb tail (Track 32.168).

Hip Hornz 3

Inserts: MOTU Parametric EQ.

Sends: Ambiance Reverb (Audio Ease Altiverb).

Hip Hornz 3 (Track 32.169) is something of an answer to a question asked by Hip Hornz 2—I wanted them to appear closer, so as to create a contrast between the two. The track is only processed with the Parametric EQ, where an HPF [289 Hz] rolls off an excess of lows (Track 32.170). It is sent to the ambiance reverb but with less level than Hip Hornz 2; thus, it appears closer (Track 32.171).

Curtis Verb

Inserts: MOTU MasterWorks EQ, MOTU Dynamics.

Sends: Ambiance Reverb (Audio Ease Altiverb).

Curtis Verb (Track 32.172), essentially a burst of two trumpet-like notes with reverb, was first treated with MasterWorks EQ, where a high-shelving filter [4 kHz, –4 dB] tuned it to the frequency spectrum by softening its highs (Track 32.173). One issue with this track was that it appeared too much in front. It could have been sent backward with more reverb, but, as discussed below, the reverb added to this track plays a unique roll that restricted changes to the reverb send level. So the job of sending this track backward was assigned to the MOTU Dynamics, where a compressor [–15 dB threshold, 2:1 ratio, 0.1 ms attack, 100 ms release] contained its attack (Track 32.174).

Originally, an HPF on the MasterWorks EQ was employed to roll off the lows, but after sending this track to the ambiance reverb (Track 32.175), disabling the HPF resulted in a metallic thunder that I liked (Track 32.176). This effect, which was discovered by accident, is kept in the final mix.

Riser and Reversed Rise

Sends: Ambiance Reverb (Audio Ease Altiverb).

Riser (Track 32.177) and Reversed Rise (Track 32.178) mostly play together, but at certain points play alone. Neither tracks are treated, but Riser is sent to the ambiance reverb with a generous send level (Track 32.179).

Bent Phase

Inserts: MOTU MasterWorks EQ.

Sends: Ambiance Reverb (Audio Ease Altiverb).

Bent Phase (Track 32.180) was treated with the MOTU MasterWorks EQ, where an HPF [525 HZ, 18 dB/oct] removes dispensable low-mids and lows (Track 32..181). It is sent to the ambiance reverb for depth positioning (Track 32.182).

Hi Synth

Inserts: MOTU PreAmp-1, MOTU Dynamics, MOTU Trim.

Sends: Ambiance Reverb (Audio Ease Altiverb).

One problematic track was the Hi Synth (Track 32.183) because it sounded synthetic and foreign to the arrangement. At certain points, this track was a candidate for exclusion, but it ended up lightly buried after some treatment. First, it was distorted using the PreAmp-1, which adds some grit (Track 32.184). Second, it was compressed using the MOTU Dynamics (Track 32.185)—the untreated track rises both in level and pitch, and I found that the rises in pitch were sufficient for the buildup, so the compressor contained the level rise. Finally, it goes through the MOTU Trim, which inverses the phase of the right channel to produce the out-of-speakers effect (Track 32.186)—neither center nor side panning seemed ideal for this mono track. It is also sent to the ambiance reverb, which blends it into the depth field (Track 32.187).

ES2 Rise

Sends: Ambiance Reverb (Audio Ease Altiverb).

ES2 Rise (Track 32.188) appears once in the arrangement toward the end of the first break. It is untreated, but sent to the ambiance reverb. Apart from blending it with the depth field, some of this track’s definition is courtesy of the reverb and its tail (Track 32.189).

Sine Rise

Inserts: MOTU MasterWorks EQ, MOTU Delay.

Sends: Ambiance Reverb (Audio Ease Altiverb).

Sine Rise (Track 32.190) only plays once toward the end of the second break along with Riser, Reversed Rise, and Bent Phase, and thus its role is somewhat redundant. A choice had to be made as to which tracks would take the spotlight: Riser and Reversed Rise or Sine Rise. Since Riser and Reversed Rise are richer, Sine Rise ended up being layered underneath them. Sine Rise first goes through the MasterWorks EQ, where a parametric filter [–6 dB, 4 kHz, Q 0.83] tunes it into the frequency spectrum (Track 32.191). The originally narrow stereo width is made wider by the MOTU Delay, which delays the right channel only by 80 ms (Track 32.192). It is sent to the ambiance reverb, which sends it quite deep into the depth field (Track 32.193).

Curtis Strings

Inserts: MOTU MasterWorks EQ.

Sends: Ambiance Reverb (Audio Ease Altiverb).

Curtis Strings (Track 32.194) is only treated with the MasterWorks EQ, where an HPF [100 Hz, 18 dB/oct] rolls off dispensable lows (Track 32.195). This track is also sent to the ambiance reverb (Track 32.196) and its level is automated between the various sections.

Strings Finale

Sends: Ambiance Reverb (Audio Ease Altiverb).

Strings Finale (Track 32.197) concludes the production. This track is untreated, but to add some drama its imprinted rise in level is enforced by level automation (Track 32.198). It is also sent to the ambiance reverb (Track 32.199).