Page Two - Making the Podcast

Speaking of a compressor, I have been switching up the compressor plugin to Vintage Opto and set this at -12 dB. This implies that the dynamics need to shrink, affecting the bass guitar's sound by making it coherent in the threshold, gain input, ratio, make up, attack and release levels.

In the channel EQ of the Beyond Deep Skies synthesizer, I have been adding a high-shelf filter and a parametric filter because the high-shelf filter will reduce the cutoff levels and boost the high-ends of the frequencies. Meanwhile, the parametric filter will change the sound of the keyboard according to the centre frequency, gain and bandwidth.

In the compressor built-in, I have been adjusting the dynamic levels of the Beyond Deep Skies synthesizer by adding the auto gain to -12 dB. This is because I want to shrink the sound of the Beyond Deep Skies synth by changing the threshold, ratio, make-up, knee, attack and release levels, to get a crystal clear sound.

Meanwhile, the Alchemy plug-in on the Beyond Deep Skies synth was changed to a vintage sound because I want to give it a haunting feel to differentiate it from the other synthesizers included in the music production. The levels that include a delay, low pass, high pass and distortion are also altered.

The last synthesizer to be recorded and edited was the Big Dripper; the compressor is set at Vintage FET. Again, this built-in will alter the dynamics level of the synthesizer because it can be reduced with the threshold, ratio, makeup, knee and attack and release levels.

In the channel EQ of the Big Dripper synth, I have been adding the high-pass and low-pass filters along with high-shelf and parametric filters. The high-pass and low-pass filters depend on the increase of the frequencies and a decrease of the high or low frequencies; the high-shelf filter will maximize the high ends of the frequencies and reduce the cutoff levels. On the other hand, the parametric filter will adjust the sound of the synthesizer with the centre frequency, gain and bandwidth while the gain level is slightly down at -0.1 dB.

The strings ensemble all have a channel EQ and compressor correspondingly; the channel EQ for the staccato cello has a parametric filter and a low-shelf filter. While the low-shelf filter maximizes the low ends of the frequencies and reduces the cutoff levels, the parametric filter can alter the sound of the cello by using the gain, centre frequency and bandwidth.

The gain is down to -1.3 dB because it will remove the frequencies of the cello sound.

In the compressor, the sound of the cello can be minimized by adjusting the threshold, ratio, makeup, knee and attack and release levels. Although the auto-gain is at 0 dB, I could've turned it off and sorted out the input and output gain. The same can be said for other instruments in an ensemble like the viola legato section and the violin tremolo section.

Differentiating from the staccato section, the channel EQ for the cello legato section is the same thing as the staccato cello, except the parametric filter is larger in the display level. The gain is also similar because it is at -1.5 dB.

In the compressor of the legato cello, I had to turn off the auto-gain because I don't want to minimize the dynamics any further while making adjustments to the threshold, gain, makeup, knee, and attack and release levels.

The viola legato also has a parametric filter and a low-shelf filter, but this time, the parametric filter is shrunken down in the display level to 1.40.

Over in the compressor, the auto-gain is at 0 dB and the threshold, ratio, make-up, knee and attack and release levels are altered because they will create a comprehensive sound to the viola legato.

As with the cello legato, the violin tremolo also has low-shelf and parametric filters along with the same gain setting at -1.5 dB.

In the compressor, the levels were altered for the violin tremolo to fabricate a lucid sound. However, the auto gain needs to be turned off and I need to do something about the input gain in future.

In the track stack of the string ensemble, it has a high-pass filter, a parametric filter and a low-shelf filter. While the high-pass filter can increase the high frequencies and reduce the low frequencies, the low-shelf filter can boost the low-end of the frequencies and minimize their cutoff levels. Although it has high-pass and low-shelf filters, I have added in a parametric filter because it will alter the sound of the strings according to gain, centre frequency and bandwidth.

In the compressor of the track stack, I have been altering the threshold, ratio, make-up, knee and attack and release levels because I want the strings to enhance a coherent sound for the whole ensemble. I need to pay attention to the auto-gain by turning it off and adjusting the input and output gains of the track stack.

All of the lead synthesizers titled But I Made This have a channel EQ, a compressor and a reverb plug-in, implying that the reverb sound differentiates from what it sounded originally. According to the EQ, I have been adding in a high-pass filter and a low-shelf filter because the high-pass can boost the high frequencies of the synth and the low-shelf can maximize the low-ends of the frequencies.

The gain is turned up to +1.5 dB because it will increase the frequencies of the synthesizers.

In terms of the compressor, I have been turning on the auto-gain when I should've had the option to remove it. Meanwhile, I have been controlling the levels of the compressor due to getting a new and lucid sound for the But I Made This lead synths together.

As for the Enverb reverb, I have been adjusting the controls of the reverberator and I've chosen the Rolling Up setting on all of those synthesizers. Although I have been changing the controls of the synthesizers through reverberation, I need to think about lowering the low frequency and density because I need to have little reverberation in the three of them.

In the channel EQ of the track stack that contains the But I Made This synth respectively, I have been adding in a high-pass filter, a high-shelf filter, a parametric filter and a low-pass filter. The high-pass and low-pass filters can increase and reduce either frequency while the high-shelf filter can only boost the high ends of the frequencies and decrease the cutoff levels. In the parametric filter, the sound of the synthesizers can be altered by controlling the gain, bandwidth and centre frequency.

Over on the compressor, I have been controlling the threshold, ratio, makeup, knee, and attack and release levels to create an understandable sound for the synthesizers. The input gain has been altered slightly because I want the dynamics level to be decreased on each of the synthesizers together without me having to turn on the auto-gain.

The Steinway Grand Piano has a channel EQ that includes two parametric filters because it will adjust the sound of the instrument by controlling the gain, centre frequency and bandwidth. It could've been great if I can expand on this EQ by adding in a high-shelf filter, high-pass filter, low-shelf filter, or low-pass filter in the future, but for the time being, I like how the piano sounded from what it is originally.

In the compressor of the piano, I have been shrinking the dynamics level because I have been controlling the threshold, ratio, make up and attack and release levels to create a comprehensive sound. It would be better if I can change the input and output gains next time, but again, the new sound has a lot of coherence in the piano.

Meanwhile, I have been amplifying the tape delay of the piano because I have been controlling the modulation, feedback, delay and output levels to produce a bit of delay in this instrument. In the future, I need to think about changing the dry signals of the output control down to 55% due to getting a little delay.

For the drum production handled by Jacob Warren, the channel EQ has a high-shelf filter and parametric filter. This is because the high-shelf filter can increase the high ends of the frequencies and reduce the cutoff levels. The parametric filter on the other hand can amplify the sound of the drum kit by using the gain, centre frequency and bandwidth.

The gain level is at +1.0 dB, hinting that the frequencies on the drums will give them a slight boost.

The Adaptive Limiter on the drums can amplify the controls of the dynamics by turning either the gain, output ceiling or lookahead up or down to decrease the compression on each of them. As you can see, the gain is at 5.9 dB, the output ceiling is at -0.2 dB and the lookahead is at 50 ms (Mass Sinestro). The reason why is I want to make the drums sound coherent by changing the controls of the Limiter without being over the top on either one.

In the lead vocals, I have been altering the controls in the DeEsser 2 plugin because I don't want to create a hiss in the background. To do that, I have been controlling the threshold level, max reduction and frequency levels, setting them at -10.2 dB, 6.8 dB and 4166 Hz respectively.

Over in the compressor, I have been amplifying the controls in the threshold, ratio, makeup, knee and attack and release levels because it will reduce the dynamics level of the lead vocals. I have also been turning up the input gain due to decreasing the sound of the dynamics even more, making the vocals sound coherent.

I have been adding reverb in my lead vocal under the Chromaverb setting due to enhancing the reverberation by amplifying the attack, size, distance, dry and wet signals and delay. I could've gone and turned up the attack level to 38% while adjusting the dry signals to 75%; the size and density levels need to be altered to avoid similarities with each other.

In the DeEsser 2 setting on my ad-lib vocals, I have been controlling the threshold, max reduction and frequency levels to -12.2 dB, 5.6 dB and 4685 Hz. This is because I don't want to generate a hiss in the feedback of my ad-libs in the production.

In the compressor of my chorus vocals, I have been switching up the threshold, ratio, makeup, knee and attack and release levels. This is because I want to reduce the dynamics of my chorus vocals while adding an auto-gain in the compressor.

Even though there's a slight gain input in the plugin, I could've left out the auto-gain and turned it off, leaving me to turn up the gain input on its own.

In the DeEsser 2 plugin of my chorus vocals, I have been amplifying the threshold, max reduction and frequency level, setting at -13.8 dB, 8.5 dB and 4166 Hz individually, creating a similarity to my lead vocal in the verses of the song. Once again, I need to make sure there's no filter hiss in the audio feedback of my vocals.

Over in the DeEsser 2 plugin again, I have been controlling the threshold, max reduction and frequency to avoid making a filter hiss in the audio feedback of my backing vocals...

...while here in the compressor, I have been reducing the dynamics levels and made the sound of my vocals crystal clear by making adjustments to the threshold, ratio, makeup, knee and attack and release levels. Once again, the auto gain is turned on and there is a slight increase with the input gain; the auto gain needs to turn itself off in future.

Two separate channel EQs are included in the backing vocals and ad-libs because I don't want to make similarities with each of them. According to the EQ on the backing vocal, I have been adding a high-pass, high-shelf and parametric filter because while the high-pass and high-shelf filters can boost the high-ends of the high frequencies and decrease the cutoff levels and the low frequencies together, the parametric filter can amplify the gain, centre frequency and bandwidth of the vocal sound.

Meanwhile, in the EQ of my ad-lib vocals, it has the same filters as before but it also has an increase in the gain level due to adding the frequencies of the sound, going at +1.4 dB.

On the stereo output of the production, I have been adding a Multipressor plugin because I want to control the volume of the dynamics in the overall music production. As you can see, the changes in the gain have been turned up and down on one, three and four while two is left unchanged.

Lastly, I have added reverb in the music production under the Chromaverb setting, meaning that it has been changed to Medium Ambience in the room setting. The reason why is I want to have a lot of reverb in the music production by altering the size and density in full volume while the decay and distance controls are down to 0.97 s and 39% simultaneously.

Here is the music production of Sheeshkebab so far, including the vast majority of synthesizers, a grand piano, live drums done by Sam Bennett and a drum machine made from a drummer track.

Looking at the Classic Slap House Bass, I have been adjusting the controls of the Alchemy plugin because I want to make the instrument sound different from what it is originally. The effect is set at Classy and the reverb delay is altered to produce a bit of reverberation in the bass synth.

In the channel EQ of the Classic Slap House Bass, I have been adding a parametric filter and a low-pass filter. This is because the parametric filter can adjust the gain, centre frequency and bandwidth of the sound while the low-pass filter can increase the low frequencies and shrink the high frequencies.

The i95 Bass Meter is unavailable at this time while I was using an outdated version of Logic Pro, but over in the Boarding Area synthesizer, I have been making some alterations with the controls in the delay. This is because I want to produce a little bit of delay in the instrument and not have lots of it.

In the compressor, I have been changing up the dynamic levels of the sound. This is because I've increased and decreased the controls of the threshold, ratio, makeup, knee and attack and release levels to improve the coherence of the Boarding Area synth pad.

In the channel EQ of the Boarding Area synth, I have been adding in a high-pass and low-pass filter. The reason why is that either filter can boost and decrease the high or low frequencies. This implies that I have been moving and increasing the high-pass and low-pass together to create a distorted sound while avoiding a filter hiss in the instrument.

In the Steinway Grand Piano, I have been putting in high-pass, low-pass and parametric filters into the channel EQ. This is because either a high-pass or low-pass filter can increase and shrink the frequencies of this sound, whilst the parametric filter can control the sound of the instrument by amplifying the gain, centre frequency and bandwidth.

Over in the tape delay of the Steinway Grand Piano, I have been producing a little bit of delay. The reason why is I have been changing the delay level, note and deviation, omitting the delay effect of the piano entirely.

Meanwhile, over in the compressor, I have been controlling the threshold, ratio, makeup, knee and attack and release levels for the piano to create a comprehensible sound. I originally had the auto-gain turned on for this one, but a staff member helped me turn it off as it can overpower the volume of the instrument.

In the channel EQ of the Cavernous Dreams lead synthesizer, I have been adding a high-pass filter, a high-shelf filter, parametric filters and a low-pass filter. The reason why I did this is to make a coherent sound while putting in some distortion toward the instrument.

According to the compressor, it can reduce the dynamic levels of the Cavernous Dreams synth because it will adjust the threshold, ratio, makeup, knee, and attack and release levels. Like the other synth, it originally had the auto-gain on but it was turned off and the input gain needs to be increased as a substitution for the auto-gain.

In the Oceans and Space Lead synthesizer, the channel EQ features a high-shelf filter, a parametric filter and a low-pass filter. This is because the high-shelf filter can boost the high ends of the frequencies while the low pass filter can increase the low frequencies. The parametric filter on the other hand can also amplify the gain, centre frequency and bandwidth of the sound.

The gain is increased to +1.6 dB because the frequencies need to be added to this sound.

Over in the Chorus plug-in, I have been adjusting the rate, intensity and mix levels to fabricate a phaser sound in the Oceans and Space lead synth. The reason why is that the phaser effect will sound different to the other synthesizers in this music production.

Finally, in the compressor of the lead synthesizer, I have been controlling the threshold, ratio, makeup, knee and attack and release levels. This means that the dynamic level of this sound needs to be decreased to produce a lucid sound.

Moving on to the drum machine, I have been changing it to Onyx Club. In the compressor, I have been controlling the threshold, ratio, makeup, knee and attack and release levels. I have also increased the input gain because it acts as a substitution for the auto gain, suggesting that the sound of the drum machine needs to be lucid and understandable as with the individual drum parts included in there.

The channel EQ of the kick drum features a high-pass filter, parametric filter and a low-pass filter. This means the high-pass filter and low-pass filter can either boost or reduce the frequencies whilst the parametric filter can adjust the gain, centre frequency and bandwidth of the sound.

The gain level is also increased to +1.1 dB because it can increase the frequency levels.

Over in the compressor of the kick drum, I have been controlling the threshold, ratio, makeup, knee and attack and release levels because I want to make the kick drum sound comprehensible. I also have been turning up the input gain slightly, standing in to the auto-gain.

Over in the channel EQ of the secondary kick drum, it included the same filters as before, with some minor changes. The gain level is slightly down at +1.0 dB because it will, again, add on the frequencies and increase them.

Meanwhile, the compressor in the secondary kick drum made some adjustments to the threshold, ratio, makeup, knee and attack and release levels. This is because the sound of the kick drum needs to have a crystal clear sound and it will decrease the dynamics of the drum accordingly.

Over in the secondary snare drum, I have been putting in a high-shelf filter and low-pass filter because the high-shelf filter will increase the high ends of the frequencies and reduce the cutoff. Meanwhile, the low-pass filter will boost the low frequencies and shrink the high frequencies.

The gain is decreased to -0.6 dB, implying that the frequencies of the sound have been removed.

On the compressor of the snare roll, I have been making some adjustments to the threshold, ratio, makeup and attack and release levels. This is because I want to reduce the dynamics of the snare roll and create an understandable sound.

In the drum kit fill of the Onyx Club machine, I have been amplifying the controls of the compressor. This is because I have been altering the threshold, ratio, makeup and attack and release levels, making sure I will shrink the dynamics of the fill and create a comprehensible sound.

According to the channel EQ of the secondary hi-hat, I have been putting in a high-shelf filter and a parametric filter. This is because the high-shelf filter can increase the high ends of the frequencies and reduce the cutoff levels whilst the parametric filter can change the sound using the gain, centre frequency and bandwidth.

Meanwhile, the gain has been increased to +0.9 dB because it can boost all the frequencies in this EQ.

Over in the compressor of the secondary hi-hat, I have been controlling the threshold, ratio, makeup, knee and attack and release levels because I want to decrease the dynamic of the hi-hat while creating a clear sound to it. The input gain is also increased due to maximizing its sound instead of the auto-gain.

Next in the channel EQ of the tertiary hi-hat, I have been adding a high-pass filter and a low-shelf filter. This is because the high-pass filter will boost the high frequencies and the low-shelf filter will increase the low ends of the frequencies.

The gain, meanwhile, has been increased to +2.9 dB because it's been adding the frequencies altogether.

In the compressor of the tertiary hi-hat, I have been making some modifications to the threshold, ratio, makeup, knee and attack and release levels. This is because I want to shrink the dynamics of the sound and produce a lucid and understandable effect on the hi-hat. The input gain is also increased to boost its coherent sound rather than putting in the auto-gain.

In the compressor of the saxophone FX, I have been controlling the threshold, ratio, makeup and attack and release levels. The reason why I want to reduce the dynamic levels of the sound to build some coherence.

Over in the bass sound effects, the gain plugins are separate from each other. According to the gain in the first bass, it has been increased to +10.6 dB...

...but in the second bass, it goes up to +13.3 dB. The reason why is both bass effects need to amp up the volume and match them together in the drum machine of the music production without overpowering them simultaneously.

The compressor of the xylophone is also modified using the threshold, ratio, makeup and attack and release levels due to reducing the dynamic controls of the sound, thus producing a lucid tone.

Finally, we have the lead vocals. In the channel EQ of the primary lead vocal, I have been adding a high-pass filter and a low-shelf filter. This is because the high-pass filter can increase the high frequencies and reduce the low frequencies while the low-shelf filter can boost the low ends of the frequencies and minimize its cutoff level.

The gain level is also maximized at +2.0 dB because the frequencies are added in there.

In the compressor of the primary lead vocal, I have been controlling the threshold, ratio, makeup and attack and release levels on the Studio FET section. The reason why is I want to reduce the dynamic level of the lead vocal to produce a comprehensible sound.

In the reverb plugin Chromaverb, I have been changing the reverb set to Dark Abyss because I have been modifying the attack, size, density and distance levels to fabricate a little reverberation to my vocal.

Meanwhile, the channel EQ in my secondary lead vocals has a high-pass filter and a parametric filter because the high-pass filter can maximize the high frequencies and the parametric filter can affect the sound by amplifying the gain, centre frequency and bandwidth. The gain is decreased to -2.0 dB because they are omitted in the EQ.

Over in the compressor, I have been making some alterations with the threshold, ratio, makeup, knee and attack and release levels because I have been minimizing the dynamic levels of my vocals, therefore making a crystal clear sound for the listener to hear.

Lastly, the reverberation (Chromaverb) in my second lead vocal features a Punchy Room effect where the attack, size, density, distance and dry and wet signals are being modified in the built-in. This is due to fabricating a little reverb without going over the roof.

In the first backing vocals that are recorded by Coryn Townsend, the DeEsser 2 allows me to control the threshold, max reduction and frequency levels. The reason why I can get rid of the hiss in the audio feedback and in the controls, the threshold level is at -12.6 dB, the max reduction is at 7.3 dB and the frequency is at 4332 Hz.

In the channel EQ of the first backing vocal, I have been adding in a high-pass filter, a high-shelf filter and two parametric filters. This is because the high-pass filter can increase the high frequencies while the high-shelf filter can boost the high ends of the frequencies and decrease their cutoff levels.

The gain is increased to +1.2 dB because the frequencies will be added in with the four filters together, affecting the volume.

Meanwhile, the compressor can reduce the dynamics of the vocals because I have been controlling the threshold, ratio, makeup, knee and attack and release levels stabily. I have also increased the input gain because the vocals need to be turned up slightly without the use of the auto-gain.

Over in the pedalboard, it can boost the dynamics of the vocals by adjusting the controls of whatever section I am using. For example, the Heavenly Chorus will create a phaser effect because it will sound mysterious than what it is originally while modifying the levels of that section (depth, feedback, density). Also, I have been using the mixer to turn up the vocal a bit.

In the DeEsser 2 plug-in for the track stack of the backing vocals, the threshold, max reduction and frequency had been modified so that it will not interfere with the filter hiss in the audio feedback.

Over in the channel EQ, I have been adding in a high-pass filter, a parametric filter and high and low shelves in the plug-in. While the high-pass filter can only increase the high frequencies, the high and low shelves can boost either frequency and reduce the cutoff levels. The parametric filter on the other hand will modify its sound because I will use the gain, centre frequency and bandwidth.

In the gain of the EQ, it has been turned down to -2.2 dB because it will remove the frequencies on that plug-in.

In the compressor, both of the backing vocals in the track stack can be amplified because I can do that by using the threshold, ratio, makeup, knee and attack and release levels simultaneously. The input and output gains are also altered due to increasing the volume of the vocals and they work better than the use of the auto-gain.

Last but not least, we have the pedalboard and for this one, I have chosen the Spring Box built-in because it will incorporate reverberation effects in all of the backing vocals. As you can see, I have been modifying the vocal compression in terms of time, tone, style and mix.

The style is in a bright vocal setting whilst the time and tone settings are slightly decreased in a short but comprehensive tonality. The mix, meanwhile, has been increased to maximize the volume.

In the Magical and New Bass synthesizer, it has a channel EQ and compressor. In the channel EQ of the instrument, I've been putting in a high-shelf filter, a parametric filter and a low-pass filter. This is because the high-shelf filter can increase the high-ends of the frequencies and reduce its cutoff levels. The parametric filter can switch up the sound with the gain, centre frequency and bandwidth, while the low-pass filter can only maximize the low frequencies and decrease the high frequencies.

Looking at the gain, the gain level is at -3.3 dB because the four frequencies need to be removed from the sound of the instrument.

In the compressor of the Magical and New Bass synthesizer, I have been adjusting the threshold, ratio, makeup, knee and attack and release levels. The reason why is I want to reduce the dynamics of the sound for it to give them a boost in the music production while I'm editing this instrument.

In the Dream Voice synth pad, I have been adding the high-shelf filter and low-pass filter on the channel EQ. The reason why is the high-shelf filter can solely maximize the high-ends of the frequencies and shrink its cutoff level whilst the low-pass filter can increase the low frequencies and minimize the high frequencies.

The gain level is increased to +2.4 dB because I want to add the two frequencies together to affect the sound of the instrument.

Over in the compressor, I have been modifying the threshold, ratio, makeup and attack and release levels for me to shrink the dynamics of the Dream Voice synth pad. The input gain is slightly increased because it will increase the volume of the synthesizer without the use of the auto-gain.

Finally, we have the Alchemy built-in that came with the Dream Voice synthesizer pad. I have been choosing Hollow Voices as the setting because it will affect the sound of the synthesizer by turning it into a mysterious and enigmatic tonality from what it originally was. The controls including the delay, LFO, filter and modulation are also modified.

The Aliased Bender Lead synthesizers are the first to be included in a track stack. In the channel EQ, I have only been changing the high-shelf filter and low-pass filter implying that the high-shelf filter can increase the high-ends of the frequencies and shrink its cutoff level. Meanwhile, the low-pass filter will boost the low frequencies and decrease the high frequencies of the instrument.

According to its compressor, I have been adjusting the threshold, ratio, makeup, knee and attack and release controls. The reason why is I want to minimize the dynamics of the synth's sound to increase the volume of it. While using the auto-gain, I have been decreasing the make-up level slightly because I don't need to get it increased while the auto-gain is turned on, otherwise if I do that, it will overpower itself from the rest of the instruments, drowning them out in the process.

The phaser effect in the Aliased Bender Lead synthesizer allows me to change up the sound of the instrument by creating an indistinct tonality. This is because I have been modifying the sweep controls, the LFO, feedback and output level so that it will fabricate a phased-out effect in the instrument.

Meanwhile, the Aliased Bender Lead synthesizer has a gain built-in added in there. In terms of gain, it has been turned up to +6.7 dB because the instrument's volume will be increased, therefore affecting the dynamics of it.

In the second lead synthesizer, the channel EQ has the same high-shelf and low-pass filters as before, only this time, the high-shelf filter has been maximized whereas the low-pass filter has been decreased.

Over in the compressor, I have been changing the threshold, ratio, make up and attack and release levels while under the Studio FET setting. The reason why is it will decrease the dynamics of the sound to increase the volume of the instrument.

Meanwhile, the overdrive built-in on the Aliased Bender Lead synthesizer will allow me to distort the sound by changing up the drive, output level and tone. As an example, the drive is set at 10.25 dB, the output level is at +6.0 dB and the tone is left unchanged at 20,000 Hz.

The Aliased Bender Lead synthesizer also has a gain built-in, but this time around, I have slightly increased the gain to +2.0 dB because I don't want to do the same with the instrument, therefore avoiding a similarity.

In the synthesizer track stack, it has channel EQ and Exciter built-ins. In the channel EQ, I have been adding a high-shelf filter, a parametric filter and a low-pass filter respectively. This implies that the high-shelf filter can increase the high-ends of the frequencies and decrease the cutoff level and the parametric filter can affect the sound by making adjustments to the gain, centre frequency and bandwidth. Meanwhile, the low-pass filter will only maximize the low-ends of the frequencies and shrink the high frequencies of the sound.

Over in the Exciter built-in, I have been modifying the frequency levels by moving them up at 2100 Hz with the Harmonics level being increased at +37.0%. This is because I want the synthesizers to incorporate a new and brighter sound, differentiating from what it originally sounded like.

The pianos are the second instrument to be featured in the track stack set. For starters, the channel EQ in the first Steinway Grand Piano has two parametric filters because they can control the sound by modifying its gain, centre frequency and bandwidth.

Meanwhile, I have been changing up the compressor controls including the threshold, ratio, makeup, knee and attack and release levels due to reducing the dynamics of the sound and increasing its volume.

Finally, the tape delay has been modified by terms of delay because I don't want to have lots of delay into the pianos themselves. The character, feedback, modulation and output levels are left intact, but it could've been better if I can expand them a little more while using the delay plugin.

Since the second grand piano is staying the same with the first, we move on to the piano track stack. On the channel EQ, I have been adding in a high-pass filter and a parametric filter. This is because the high-pass filter can only maximize the high frequencies and reduce the low frequencies, whereas the parametric filter can modify the sound in terms of gain, centre frequency and bandwidth.

Meanwhile, the compressor levels have been modified on the threshold, ratio, makeup, knee and attack and release levels, implying that the dynamics need to be shrunken to boost the volume of the pianos together.

In the solo piano melody, I have been adding two parametric filters in the channel EQ because they can affect the sound by modifying the gain, centre frequency and bandwidth.

Over in the compressor, the threshold, ratio, makeup, knee and attack and release levels have been amplified to reduce the dynamics of the piano's sound.

Moving on to the Sugar Hill Brass ensemble, I have been putting in a high-shelf filter and a low-pass filter in the channel EQ. The reason why is the high-shelf filter can only increase the high-ends of the frequencies while reducing the cutoff levels and the low-pass filter will only maximize the low frequencies and shrink the high frequencies.

The gain level is decreased to -2.0 dB because I need to remove the two frequencies together in the sound.

Meanwhile, I have been modifying the threshold, ratio and makeup levels in the Classic VCA setting because I need to reduce the dynamics of the Sugar Hill ensemble to boost the volume levels in the music production. The makeup level is decreased slightly because I don't want to turn up the brass ensemble, drowning the other instruments out.

Speaking of dynamics, the gain level is turned up to +1.6 dB because I need to modify the sound levels of the Sugar Hill brass ensemble. Therefore, I had to turn it up slightly to avoid increasing its volume a lot.

In the Advanced Machines drum machine, I have been adjusting the channel EQ by adding a high-pass filter, a parametic filter, a low-shelf filter and a low-pass filter. Whereas high-pass and low-pass filters can increase either frequency to reduce the other ones, the low-shelf filter will only turn up the low-ends of the frequencies and shrink its cutoff level. A parametric filter on the other hand will affect the sound of the drums by changing the gain, centre frequency and bandwidth.

Over in the compressor, the Advanced Machines drum kit is set at Studio VCA and I have been modifying the threshold, ratio, makeup and attack and release levels. This is because the dynamics need to be minimized for the sound's volume to be amplified. The input and output gain are turned up so that it will maximize the volume of the sound instead of using the auto-gain.

The pedalboard on the Advanced Machines drum machine is changed up to reduce the dynamics of the sound, reminiscent of the compressor that came with the drum machine. The phaser and flanger effects are used for that machine because I want to interpolate a indistinct and fuzzy sound into the drums, thus modifying its controls to give it a new sound.

The DJ Scratch Topper sound effect doesn't have built-ins, but I have added them on manually. It contains a channel EQ which has a high-shelf filter and low-pass filter, meaning that the high-shelf filter can only increase the high-ends of the frequencies and the low-pass filter will maximize the low frequencies of the sound, drowning out the high frequencies.

Over in the compressor, the threshold, ratio, makeup, knee and attack and release levels have been changed due to its reduction of the dynamics to turn up the volume in the music production. Meanwhile, the input and output gain are increased a bit in place of the auto-gain.

Going to the spoken parts of the vocal production, I have been adding a high-pass filter, a low-pass filter and parametric filters in the EQ. This means that the high-pass and low-pass filters will maximize and reduce either frequencies, whereas the parametric filter can control the sound by amplifying the gain, centre frequency and bandwidth.

In the compressor, I have been changing the setting to Classic VCA because I have been enhancing the threshold, ratio and makeup levels to reduce the dynamic levels of my vocals. The input gain is slightly increased whereas the output gain is slightly decreased because I don't want the latter to have a similarity with the input level.

I have been adding in a Space Designer built-in to my vocals because I want to put in some reverberation, adjusting the controls to make it sound like if I had a bit of reverb in there and not a lot of it. The spreads need a bit of work because they are left intact and I need them to put them at 43% and 78% respectively.

In the vocal part where I'm shouting as a way to give a speech to women, I have been adding two parametric filters in the channel EQ, hinting that both of them will amplify the sound by controlling the gain, centre frequency and bandwidth levels. Meanwhile, the gain is decreased a bit because the two frequencies will remove themselves together in the channel EQ.

In the compressor where it's changed to Studio VCA, I have been modifying the threshold, ratio, makeup and attack and release levels because I want to reduce the dynamcs of my shouty vocals. Over in the input and output levels, they have been increased respectively to shrink the dynamics further.

According to the Amp Designer plug-in, this will allow me to adjust the EQ, reverberation and effects of the sound. This is because I want to turn up the vocals and give them a comprehensible sound without drowning the rest of my vocals out.

In the channel EQ of my first harmony vocal as part of the backing vocal track stack, I have been adding a high-pass filter and a parametric filters. This is because the high-pass filter can increase the high frequencies and shrink the low frequencies whilst the parametric filter can change up the sound in terms of gain, centre frequency and bandwidth.

In the compressor of the first harmony vocals, I have been adjusting the threshold, ratio, makeup, knee and attack and release levels. This is because I want to reduce the dynamics for the vocals to give them a coherent sound.

Penultimately, the channel EQ in the backing vocal track stack features a high-shelf filter, a parametric filter and a low-pass filter. This is because the high-shelf filter can only maximize the high-ends of the frequencies and the low-pass filter can increase the low frequencies and shrink the high frequencies. Meanwhile, the parametric filter can adjust the gain, centre frequency and bandwidth, therefore affecting the sound of the vocals.

Over in the compressor, I have been amplifying the threshold, ratio, make up and attack and release levels while using the Studio FET setting. This is due to reducing the dynamics of the sound, making an understandable sound along the way. The input gain is increased a bit while the output is maximized slightly in place of the auto-gain to add some more coherence in the vocal's sound.

In the channel EQ of the Lo-Fi Drive 808 Bass synth, I have been adding a high-shelf filter and a parametric filter because the high-shelf filter can boost the high-ends of the frequencies and the parametric filter will affect the sound of the bass synthesizer according to gain, centre frequency and bandwidth.

Over in the compressor, I have been adjusting the threshold, ratio, make up and attack and release levels in the Studio FET setting. This is because I need to reduce the dynamics of the instrument and produce a new, comprehensible sound.

Meanwhile, I have been modifying the controls in the Phat FX built-in to take hold of the new 808 Bass sound. This is because I want to change up the bandpass, distortion, filter, compressor, master volume and EQ to give it a filtered and broken sound.

On the Alchemy built-in of the Lo-Fi Drive 808 Bass synthesizer, I have been changing the setting to Bouncy because I want to amplify the controls to affect the new and distorted sound through the EQ. In addition to the increased decay and sustain, I want to create a bit of delay in the sound of the instrument.

In the channel EQ of the Light Harmonics synth pad, I have been putting in a high-pass filter and a low-shelf filter. The reason why is the high-pass filter can increase the high frequencies and shrink the low frequencies while the low-shelf filter can only maximize the low-ends of the frequencies and reduce its cutoff level.

The gain level is decreased to -1.6 dB because I want to remove both frequencies in the sound.

Over in the compressor, I have been modifying the threshold, ratio, makeup and attack and release levels in the Studio FET setting. This has to be done because I need to reduce the dynamic level of the Light Harmonics synth pad and produce an understandable sound for the instrument. The input gain is increased in the compressor because I want to amplify the volume of the sound along with the output gain; the output needs to be minimized in the future.

Meanwhile, in the Alchemy built-in, I have been modifying the controls of the delay, cutoff, harmonics, resonance and reverberation. This is because I want to affect the sound by using the Light Belly Pad and take control of the EQ, amplifying a bit of sustain, reverberation and delay.

In the channel EQ of the Kensington string ensemble, I have been adding a high-pass filter, high-shelf filter, parametric filter and low-shelf filter. They are used because the high-pass filter can maximize the high frequencies and lower the low frequencies while the high-shelf and low-shelf filters can increase the ends of the frequencies and shrink the cutoff level. The parametric filter on the other hand can adjust the gain, centre frequency and bandwidth to create a new sound.

The gain is increased to +1.0 because the frequencies have been added to increase the volume of the strings' sound.

Over in the vintage console EQ, I have been amplifying the cutoff levels and the frequency gains. The reason why is I want to change up the warmth of the sound and adjust the volume to put in the frequencies of the console EQ in this sound.

In the compressor of the string ensemble, I have been switching the setting to Classic VCA because I changed up the threshold, ratio and makeup levels of the built-in. This had to be done because the dynamics need to be minimized to create a coherent sound. The limiter is turned on, but it is unchanged, implying that I need to use that effect in the future as an area of improvement.

Lastly, the gain built-in needs to be modified because it will maximize the volume of the string ensemble. The gain level is slightly increased, but the balance level has been lowered to -12.0% due to not getting a similarity to the gain level.

The channel EQ in the Mississippi Joint brass ensemble has a low-shelf filter, a high-shelf filter and a low-pass filter. The reason why is the high-shelf and low-shelf filters can enlarge the ends of the frequencies and the low-pass filter can maximize the low frequencies to affect the sound.

Like the Kensington strings ensemble, the brass ensemble also has a vintage console EQ. This is because I want to make some adjustments to the gain and centre frequency of the sound, but I can also decrease the output drive and slightly shrink the volume, omitting the frequency of it.

In the compressor of the Mississippi Joint brass ensemble, it has been set in the Studio FET built-in because I have been amplifying the threshold, ratio, makeup and attack and release levels. This is because I want to shrink the dynamics of the sound and fabricate a lucid one.

Meanwhile, in the gain plugin, I have been increasing the gain level because, as with the strings ensemble, I want to swell the volume level of the brass ensemble in the music production accordingly.

Over in the Yamaha Grand Piano, I have amplified the controls in the Sampler plugin because I want to change up the Enveloper, filter and LFO simultaneously. This needs to be expanded on because I want to change up the modulation of the piano's sound a little more.

In the compressor of the grand piano, I have been changing the threshold, ratio, makeup and attack and release levels under the Studio FET setting. The reason why is the dynamic levels of the sound needs to be shrunk to create a comprehensible sound, although the limiter needs to be adjusted as an area of improvement.

Over in the channel EQ of the solo trumpets, I have been adding a high-pass filter, a parametric filter and a low-shelf filter. This is because the high-pass filter will increase the high frequencies and the low-shelf filter needs to have the low ends of the frequencies enlarged. Meanwhile, the parametric filter can change the sound by using the gain, centre frequency and bandwidth.

The gain is shrunk to -2.2 because the frequencies are removed from the new sound.

Next, the compressor of the trumpets amplified the threshold, ratio, makeup, knee and attack and release levels. The reason is that I have to reduce the dynamics of the instrument and fabricate a crystal clear sound.

At last, the trumpets need to create reverberation in the new sound because I have been switching up the controls to produce a bit of reverb in the sound such as a delay, length, size, lo-spread and hi-spread effect in this one.

Penultimately, the channel EQ of the timpani tremolo features a high-pass filter and a parametric filter. This is because a high-pass filter can enlarge the high frequencies while the parametric filter can swell the sound by changing the gain, centre frequency and bandwidth.

In the compressor of the timpani, the threshold, ratio, makeup, knee and attack and release levels have been changed, along with slightly maximized input and output gain levels. The reason why is I want to reduce the dynamics of the sound, fabricating a coherent one in the process.

On the other hand, the timpani tremolo crescendo has a channel EQ, once again featuring the same filters as before like the high pass filter and the parametric filter.

Differentiating from the compressor in the timpani tremolo, the compressor in the timpani tremolo crescendo has the threshold, ratio, makeup, knee and attack and release controls switched up whilst the input gain has been slightly increased. This is because I have to minimize the dynamics of the sound and produce a crystal clear one.

Finally, we get to the Infinity drum machine. In the channel EQ, I have been putting in a high-shelf filter, a parametric filter and a low-pass filter. This is because the high-shelf filter can increase the high ends of the frequencies, a low-pass filter can maximize the low frequencies and a parametric filter can intensify the sound by changing the gain, centre frequency and bandwidth.

The gain is swelled to +2.5 dB, hinting that the frequencies are added to this sound.

Meanwhile, in its compressor, the threshold, ratio, makeup and attack and release levels are modified for the drum machine in the Studio VCA setting. The input and output gain have also been increased because I want to shrink the dynamics of the sound and make it comprehensible from what it originally sounded.

Finally, the pedalboard can change up the sound under a different built-in. For example, the Infinity drum machine has phaser and flanger effects because I want to produce a new sound, insinuating it will be going out of phase while adding a chorus effect.

In the channel EQ of the Yamaha Grand Piano, I have been adding a high-shelf filter and a low-pass filter. This is because the high-shelf filter can increase the high-ends of the frequencies and reduce the cutoff level whilst the low-pass can maximize the low frequencies and shrink the high frequencies.

Over in the compressor, I have been modifying the threshold, ratio, makeup, knee and attack and release levels because I want to reduce the dynamics of the sound and produce a bit of coherence. The input gain is turned up slightly and the output gain is unchanged due to enlarging the volume of the piano in place of the auto-gain.

Next, I have been adding a Daylight Piano FX because I have been moving the transpose down from the original key of B minor. I have been putting in the channel EQ and compressor respectively in this effect; I have added a high-pass filter, parametric filter and low-shelf filter. The high-pass and low-shelf filter can turn up the high frequencies and the low ends of the level while the parametric filter can amplify the gain, centre frequency and bandwidth, changing its sound.

The gain level is increased to +3.6 dB because I want to add the three filters together.

Over in the compressor, I have been changing up the threshold, ratio, makeup, knee and attack and release levels. The reason why is I want to decrease the dynamic levels by creating a lucid and understandable sound of the Daylight Piano loop.

Lastly, I have been adding a reverb effect in the Daylight Piano loop under ChromaVerb. This is because I have been modifying the reverberation controls to produce a bit of delay in the Bloomy setting.

Finally, we have the whispered vocals containing a channel EQ, compressor and echo effects. According to the channel EQ, I have been putting in a high shelf filter and low pass filter because the high shelf filter can enlarge the high ends of the frequencies and the low-pass filter will increase the low frequencies.

The Steinway grand pianos are the first instruments to be featured in a track stack. In the channel EQ of the Steinway grand piano, I have been adding two parametric filters because they will affect the sound by amplifying the gain, centre frequency and bandwidth.

Meanwhile, the gain is turned up to +2.7 dB because it will increase the two frequencies of the piano together.

Over in the compressor, I have been changing the threshold, ratio, makeup, knee and attack and release levels. This is because I want to shrink the dynamic levels of the sound to make them coherent and lucid.

Similarly, the channel EQ on the second Steinway piano has the same filters and gain as before while the compressor built-in is also identical to the first piano.

Over in the channel EQ of the piano track stack, I have only put in the high-pass filter because it will boost the high frequencies of the sound and reduce the low frequencies. It would be good if I can add in some other filters like the parametric, low-pass and high-shelf ones due to affecting the sound of the pianos a little more. Not to mention making adjustments with the gain level.

In the compressor of the piano track stack, I have been modifying the threshold, ratio, makeup, knee and attack and release levels accordingly. The reason why is I want to shrink the dynamic levels of the sound to give it a crystal clear one.

Over in the guitars which also have a track stack, the acoustic guitar has a channel EQ, adding in a high-shelf filter and a parametric filter. This is because the high-shelf filter can boost the high-ends of the frequencies and the parametric filter can amplify the gain, centre frequency and bandwidth of the sound.

The compressor is set at the Vintage VCA setting with the threshold, ratio, makeup, knee and attack and release levels being modified to reduce the dynamics of the sound. The input and output levels are also increased because they will minimize the dynamics and enhance the coherence a little further.

The channel EQ of the Warm Electric guitar features a high-shelf filter, a parametric filter and a low-pass filter. This is because the high-shelf and low-pass filters can increase the low frequencies and high-ends respectively; the parametric filter can be adjusted in terms of gain, centre frequency and bandwidth of the sound.

The Warm Electric guitar has an Adaptive Limiter because it will make the guitar sound even louder if I can control the gain, output ceiling and lookahead together. For instance, the gain is at 5.8 dB, the output ceiling is at -0.5 dB and the lookahead is at 50 ms (Mass Sinestro).

Over in the Amp Designer built-in, it will help me boost the volume level of the Warm Electric guitar because I can control the EQ, reverberation and effects together to fabricate a new sound.

Meanwhile, the pedalboard of the Warm Electric guitar will change up the course of the sound because I will be using a built-in to modify the controls of the setting. In this case, the hi-drive will change the treble of the EQ, whereas the Blue Echo will amplify the tonality of the EQ in its sound.

Over in the channel EQ of the guitar track stack, I have been adding a high-shelf filter, a parametric filter and a low-pass filter. This is because the high-shelf filter can maximize the high-ends of the frequencies while the low-pass filter can only increase the low frequencies. Meanwhile, the parametric filter can adjust the gain, centre frequency and bandwidth of the sound.

Over in the compressor of the guitars, I have been amplifying the threshold, ratio, make up and attack and release levels. The reason why is I want to shrink the dynamic levels of the sound and make a coherent one.

In the channel EQ of the Abbey Wood string ensemble, I have been putting in a high-pass filter, high-shelf and low-shelf filters and parametric filters. This is because the high-pass filter can increase the high frequencies whereas the high-shelf and low-shelf filters can maximize the ends of the frequencies while decreasing the cutoff level. Meanwhile, the parametric filter can amplify the gain, centre frequency and bandwidth of the sound.

Over in the compressor in a Classic VCA setting, I have been adjusting the threshold, ratio and makeup levels because I want to reduce the dynamics of the instrument to give it a lucid sound.

Over in the vintage tube EQ, I have amplified the EQ frequencies and output levels because it will affect the sound of the string ensemble by controlling the frequency and bandwidths levels along with the output drive and volume.

In the channel EQ of the electric piano, I have been adding a parametric filter and low-shelf filter because the parametric filter can amplify the gain, centre frequency and bandwidth of the sound while the low-shelf filter can boost the low-ends of the frequencies and shrink the cutoff level.

The gain is increased to +4.0 dB because it will add the two frequencies in the EQ.

Over in the compressor, I have modified the threshold, ratio, make up, knee and attack and release levels because I want to shrink the dynamics of the electric piano and fabricate a new, coherent sound.

In the channel EQ of the drum kit, I have been adding a high-pass filter, a parametric filter and a low-shelf filter. This is because the high-pass filter can increase the high frequencies and the low-shelf filter will maximize the low-ends of the frequencies. The parametric filter on ther other hand can amplify the gain, centre frequency and bandwidth of the drums.

Looking at the compressor, I have been adjusting the threshold, ratio, make up, knee and attack and release levels to produce an understandable sound if I can reduce the dynamic levels of the drums. The input and output gains are increased to boost the volume of the drums in place of the auto-gain.

Finally, we get to the lead vocals. In the channel EQ of the vocals, I have been adding a high-pass filter, a high-shelf filter and a parametric filter. The reason why is that the high-pass filter can maximize the high frequencies and the high-shelf filter can boost the high-ends of the frequencies. Although they are included, the parametric filter can change the course of the sound by making adjustments to the gain, centre frequency and bandwidth.

Over in the compressor, I have been alternating the threshold, ratio, make up, knee and attack and release levels because I have been shrinking the dynamics of my lead vocals to create a comprehensible sound. The input gain has been slightly increased whereas the output gain is decreased due to not wanting the latter to sound similar to the input gain, replacing the auto-gain.

In the reverberation built-in (EnVerb), I have been controlling the levels of the reverberator including the high cut, low frequency levels, crossover frequency and dry and wet signals. The reason why is I want to put in a bit of reverberation in my lead vocals when I'm singing the verse or chorus of it. The density and spread still needs a little work because I thought about decreasing them to 67% and 85% individually.

The second lead vocals have the same built-in as before, so it's on to the backing vocals which are the final things included in a separate track stack. According to the channel EQ, I have been putting in a high-pass filter and low-shelf filter implying that the high-pass can only boost the high frequencies and reduce the low frequencies whilst the low-shelf filter can increase the low-ends of the frequencies.

Over in the compressor, I have been modifying the threshold, ratio, makeup, knee and attack and release levels in the Vintage VCA setting because I need to decrease the dynamic level of the vocals by producing a coherent sound.

Meanwhile, the Space Designer built-in will affect the reverberation of the backing vocals accordingly. For instance, I have been adjusting the length, size, X-Over and dry and wet frequencies because I want to create a bit of reverb into the vocals without having lots of it. The Hi-Spread and Lo-Spread need a little work because I want to put them in 55% and 78% respectively, changing the reverb of the sound.

Finally, the backing vocal track stack has a channel EQ where I have been adding a high-shelf filter, a parametric filter and a low-pass filter. This is because the high-shelf filter will increase the high-ends of the frequencies and lower the cutoff levels while the low-pass filter will maximize the low frequencies and reduce the high frequencies. The parametric filter will also change the gain, centre frequency and bandwidth, affecting the sound of the vocal.

The gain is increased to +4.4 dB because I want to add in the three frequencies together, boosting the levels of the EQ even further.

At last, we have the compressor where I've been adjusting the threshold, ratio, makeup, knee and attack and release levels. The reason why is I need to lower the dynamic levels of the sound and produce an understandable sound to my backing vocals.

In the channel EQ of Nat Mason's guitar contribution, I added a low-shelf filter, a parametric filter and a low-pass filter. This implies that while the low-shelf and low-pass filters can increase the low ends and the low frequencies together, the parametric filter will change the sound's gain, centre frequency, and bandwidth.

The gain level is decreased to -2.6 dB, meaning that the three frequencies are removed entirely.

Next, I have modified the threshold, ratio, makeup, knee and attack and release levels in the compressor. The reason why is I want to shrink the sound's dynamics and produce a comprehensible effect with the addition of input and output gains in the built-in, amplifying the volume level.

In the compressor of the bass guitar, I have changed the threshold, ratio, makeup, knee and attack and release levels under the Vintage Opto setting. This suggests that I want to decrease the sound's dynamics to produce a lucid effect. I have been increasing the input and output gains due to boosting the volume level of the sound in place of the auto-gain.

Lastly, in the Bass Amp Designer, I have switched up the EQ and compressor effects because I want to incorporate a bass guitar sound under the 60s Combo built-in, putting in vibrato and tremolo effects. However, I need to pay attention to the gain because the level was turned up full blast and it could've been decreased further in my area of improvement.

Last but not least, I have been using the Clip Distortion built-in because I need to trim the broken effects of the bass guitar by changing the input and output gains, the filters and the overdrive. The only gripe I have with the control is the similarity of the input and output gains due to the decay level set at +6.0 dB consecutively. Because of it, I could've modified the output gain and lowered it to +1.5 dB or +0.5 dB instead.

Finally, the channel EQ of the Solid Soul Electric Bass includes a high pass filter, a low pass filter, a parametric filter and a low shelf filter. This insinuates that while the high pass and low pass filters can boost either frequency and reduce the others, the low shelf filter can only enlarge the low ends of the frequencies. Meanwhile, the parametric filter will adjust the sound's gain, centre frequency and bandwidth.

The gain level is decreased to -3.5 dB because it will remove the four frequencies in the EQ, but I could've done the opposite and added the four frequencies together at +3.5 dB.

Afterwards, I have been flipping the threshold, ratio, makeup and attack and release levels in the Studio VCA setting of the compressor. This is because I want to shrink the bass guitar's dynamics and create a comprehensible effect.

In addition to the compressor, I have added the Adaptive Limiter because I want to smooth out the enlarged volume of the bass guitar. To do this, I have been adjusting the gain, output ceiling and lookahead, implying that they are at 6.4 dB, -0.6 dB and 123 ms (Mass Sinestra) individually, therefore making the guitar sound louder than what it originally was.

Penultimately, I have been adding the Clip Distortion plug-in due to cutting the distortion effects short in the bass guitar. Under the British Blues Boost setting, the controls have been automatically adjusted, but I have been making slight tweaks in the gain levels as well as the filters in the plug-in.

Eventually, I have been taking control of the Chorus plugin because I want to reshape the sound of the bass guitar by controlling the rate, intensity and mix levels. This means that I have been producing a vibrato effect in the bass guitar, differentiating it from the other live guitars in the music production.

First, I have added a DeEsser 2 in my speaking part. This is because I want to decrease the sibilance of the s and t phonics sounds while I'm talking in the episode, adjusting the threshold, maximum reduction and frequency levels in there.

Next is the channel EQ of my spoken bits and I have put in a high-shelf filter and a parametric filter. The reason why is the high-shelf filter can increase the high-ends of the frequencies and the parametric filter can enhance its sound by changing the gain, centre frequency and bandwidth.

Furthermore, the gain level is turned down to -1.4 dB because it will remove the two frequencies in the EQ.

Over in the compressor, I have amended the threshold, ratio, makeup, knee and attack and release levels in the built-in. This is because I want to shrink the dynamics and create a comprehensible sound in my speaking part. The input gain is also raised due to increasing the volume of the dynamics in place of an auto-gain.

Meanwhile, I have been adding a reverb plugin known as a ChromaVerb. This is due to fabricating a reverberation effect into my speaking part and I have been adjusting those controls in the theatre room setting. The attack, size, density, decay and distance levels were modified to produce a little reverb along with the dry and wet signals because I don't want to have too much reverberation in my vocal.

According to the compressor, I have modified the threshold, ratio, makeup, knee and attack and release controls. This is because I need to reduce the dynamics to produce a crystal clear sound to my speaking bits in the track stack.

Meanwhile, the input gain and output gain are altered because the input level has been increased and the output level has been minimized, making sure that I don't drown out the background music.

Next up is the bit where Faith Shaw asks questions about female empowerment in the podcast. In the channel EQ, I have put in a high-pass filter and a low-shelf filter. This is because the high-pass filter will only turn up the high frequencies and the low-shelf filter will reduce the low-ends of the frequencies.

Over in the gain level, I have been turning it up to +3.4 dB because I want to add the two filters together and produce an understandable sound.

Speaking of which, I have been changing the controls of the compressor so that the dynamics will be reduced to make a lucid sound to Faith Shaw's vocals. The input and output gains are also modified because the input gain increased the volume of the dynamics and the output gain can shrink it, again, not trying to drown out the background music of the podcast.

Up next, I have added in a reverberation built-in known as SilverVerb. I have decided to adjust the room, modulation and output levels because I need to have a bit of reverberation being put in Faith Shaw's part. It could be better if I need to work on the modulation a bit more because I want it to have an effect on the reverb of Faith's bit when she is answering the questions, fabricating a bit of delay.

On with the podcast music; the channel EQ featured in the intro music has a high-shelf filter and a parametric filter. This implies that the high-shelf filter will solely maximize the high-ends of the frequencies while the parametric filter can make an impact of the sound by revising the gain, centre frequency and bandwidth.

Again, the gain level is set at +3.4 dB, adding the two frequencies simultaneously. However, I need to think about decreasing the gain slightly so that it won't tamper with the rest of the frequencies (+0.9 dB, for example).

Up next, I have added in an Enveloper in the theme tune. This is because I want to affect the attack and release levels of the sound while altering the gain and output levels. For example, both of the gain levels are set at -30% and 34% individually, hinting at their volume balance in both the attack and release controls of the Enveloper.

The outro music have the same plug-ins as the intro music too.

Lastly in the channel EQ, I have added a high-pass filter, a parametric filter and low-shelf filter. This implies that the high-pass filter will only increase the high frequencies and the low-shelf filter could maximize the low-ends of the frequencies. Meanwhile, the parametric filter needs to have an impact on the sound by revamping the gain, centre frequency and bandwidth.

Finally, there is a sting to introduce a segment of the episode. According to the channel EQ, I have put in a parametric filter and low-pass filter because the parametric filter can tkae hold of the sound by changing the gain, centre frequency and bandwidth while the low-pass filter can only amplify the low frequencies of the sound.

Meanwhile, the gain level has been decreased to -5.4 dB because it will remove the three frequencies of the sound simultaneously.

In the Adaptive Limiter of the sting music, this will help me amp up the loudness of the sting music because I can adjust the controls of the plugin (such as the gain, release, output and lookahead levels) without letting it go overboard, deadening the rest of the music if I turn it up louder enough.

At last, I get to the three songs that play as snippets in the episode. In the channel EQ, I have added high-shelf, parametric and low-pass filters. This is because the high-shelf filter can only increase the high-ends of the frequencies; the low-pass filter will solely amplify the low frequencies in the sound. The parametric filter will change the course of the sound by reshaping the gain, centre frequency and bandwidth.

The gain level is at +3.5 dB because I want to add in the three frequencies to affect the sound of the song.

Meanwhile, the channel EQ for the second track, Sheeshkebab, features high-pass, parametric and low-shelf filters. This is because the high-pass filter will turn up the high frequencies, the low-shelf filter will only increase the low-ends of the frequencies and the parametric filter will take effect of the sound by altering its gain, centre frequency and bandwidth.

Again, the gain level is increased, but this time it has been shrunk to +2.9 dB, putting in the frequencies of the sound at the same time.

Eventually, the channel EQ for the final track, Riches to Rags, includes the same filters as before, with the high-shelf filter only amplifying the high-ends of the frequencies, the low-pass filter maximizing the low frequencies and the parametric filter affecting the sound by revising the gain, centre frequency and bandwidth. Meanwhile, the gain level is reduced to -2.5 dB because it will remove the frequencies from the sound of this track.

In the compressor, I have been revamping the threshold, ratio, makeup and attack and release levels due to affecting the dynamics of the sound, fabricating a crystal clear tonality in the process. The input and output gains are also modified because I want to balance the volume of the dynamics.

Furthermore, I have been putting in automation in the background music of Feminfinity. The reason why is I want to decrease the main volume of the music to make way for my talking parts and a question segment. In addition to it, I've also let the bed music fade out to transition into a sting piece or a snippet of a song so that the listener would understand what segment he/she is listening to.