Today at Metronome, Nathan and I have been working on the first of three songs in Metronome called At My Last Breath. We laid out the chord arrangements for the intro and verse before opening up Logic Pro in an empty project:

Intro: Amaj9, Dmaj9, Amaj9, F#sus4, Bm, Bb

Verse: A, F#sus4, C#m, Ab7, B, Bb7

For this next project entitled In Teknikolour, I want to collaborate with other musicians on this song because it will be created as a demo version leaving guest musicians to work on a musical piece with their chosen instrument before fabricating a final version of the track. For example, I could pick a guitarist and let him/her play some chords, I could choose a drummer to perform a simple drum beat or I could let a keyboardist do a few melodic lines here and there. The reason why is because I need a session musician to play their part in the music production, no matter what musical instrument he/she has to play as long as a said musician contributes the track.

Nathan told me that we need to book out a session musician if the song is 75% done: guitarist Max Cotton. Last night, Max spoke to me about getting an audio file of what Nathan and I did earlier that day because he needs to put his twist on it. I told him to play the chords over the layers we recorded on Logic Pro because he was asked by the tutor to do something with At my Last Breath either putting in some chords over the other instruments or adding in a secondary melodic line.

I have set up an empty project on Logic Pro and I have been adjusting the tempo and key signature simultaneously due to the song set at 88 BPM and A major. Nathan played the chords of the intro and verse on an electric piano through the keyboard while I was performing a melody line on the ghost piano via keyboard because we did it separately at a time rather than doing it in one go.

The Electric Piano has an E-Piano built-in in the Logic Pro project because the instrument sounds fuzzy and distorted in the chord structure. As for the melodic line in the Ghost Piano, it has equaliser and compressor effects affecting the volume gain and its sound. Combined with pedalboard, delay and modulation built-ins, this is due to the hefty sound in terms of reverberation and ensemble effects, echoing a real grand piano that is majorly haunted throughout.

When Nathan and I recorded the instruments in the intro and verse, we had to quantize the electric piano and Ghost Piano by bringing up the piano roll (P) because some parts are out of synchronization and they must be on time in a 1/4 note (highlighting the notes by using Alt then Q). Nathan moved up the note of the Ghost Piano creating a sixth major chord in the process because when it was first recorded on Logic Pro, I performed the arpeggio chords separately on the keyboard and he thought that they didn't sound right.

UPDATE - 09/01/2022:

I have been expanding my music composition of At My Last Breath over the next few days on Logic Pro because I have added a few more MIDI instruments and recorded them at college, most of them which are synthesizers featuring the Impossibly Soft Horns, Juicy Pump Bass, Driven Synth Lead and Short Pulse Waves. In addition to the synth instruments, I have also been putting in some Roland TR-808 drum beats and recorded two layers of them separately because I need the drums to create a trip-hop style by attaching the kick, toms, congas, hi-hats and cowbells in there.

I have thought about the rest of the chord arrangement in my head rather than writing it down on a piece of paper:

Pre-chorus: F#m6, A6, Emaj7/9, Amaj7

Chorus: A, G#m, F#m7, Emaj7, Db7

Bridge: E6, Bm, A, F#m, E7/9, Dmaj7

Guitarist Max Cotton had already recorded his music piece on his guitar last night and he followed the chord arrangement of the intro well, honing the acoustic feel apart from its electronic-based production. However, the last few chords in the verse are out of place because it didn't go along with the Electric Piano chord structure the way it wanted to be i.e. when he did a D-flat major chord and B major chord on its own instead of performing two chords, D-flat major and G-sharp minor and B major and Bb7 in the verses, respectively.

What Max should've done is to work on transitioning from one chord to another quickly as an area of improvement because he needs to move those two chords at a quick pace to go back to the beginning of the chord, or in this case, building up to each section of the song e.g. pre-chorus, chorus, bridge. This had to be done due to a metamorphosis of those two chords that need to be played swiftly on the guitar instead of performing them belatedly and separately.

In terms of music production, the music instruments mainly feature synthesizers like the Impossibly Soft Horns, Juicy Pump Bass, Short Pulse Waves and Driven Synth Lead; some of them have a Q-Sampler built-in whereas the rest are in an ES2 built-in. Additionally, all of them have equalization and reverberation into here because one of the synthesizers will affect its sound while creating a reverb effect from the feedback. Sometimes, the effect of the synthesizers must be altered because by using the controls, it depends whether the new sound will differentiate from the usual music instruments that I have recorded on a MIDI keyboard beforehand.

For example, one of my peers commented that he doesn't like the effect on the Short Pulse Waves, yet another peer liked it. To do this, I have changed the controls of the Short Pulse Waves by opening up the ES2 built-in and do something with the modules of this sound. This means I have to either turn one of them left or right and up or down to decide if that synthesizer would alter the accents because when I recorded that instrument, it had little to no effect added in here and I had to switch-up that sound in order to make it sound fuzzy, yet intelligble.

Today, I have been recording my vocal parts of At My Last Breath in Confetti during DAW Skills. The reason for that is I have already written my lyrics and vocal melodies for its production; I have been recording my lead and backing vocals using a studio microphone and a Scarlett Focusrite 212. It took 45 minutes for me to sing the vocal lines in this song because I have been recording the lead vocals first before doing the backings on three separate layers.

After I did some vocal recording, I moved on to mixing and mastering the song using Logic Pro before the lesson ended.

On Logic Pro, I have been updating my music composition At My Last Breath because I've sorted out the volume balance of the instruments and vocals to not interfere with the low frequencies. In addition to the music programming, I've also made a track stack to pile up the instruments and vocal production due to them being built as a set rather than leaving them as they are.

Another example is the use of equalisation in the electric pianos and synthesizers because I need them to balance the EQ, affecting the sounds when I turn the Hz up or down on one of them. According to the EQ, both of them were turned up slightly so that they sound hefty and powerful to the listener's ears. In terms of electric pianos, two of the Hz gains are up and down altering the sound due to filtering out the hisses which clash with the bad frequencies in them.

Meanwhile, synthesizers, are amped to 1060 Hz (4.5 dB) once again switching up the sound because I have been controlling the high frequencies and omitted the hisses on all of them, again reducing the low frequencies that are holding them back.

Last Friday, I've been working on my next song Froze Up from Being Selfish from my next EP, In Teknikolour, on Logic Pro. This is different from what I usually do at college because this song is recorded, produced, written and performed by myself at home on a digital audio workstation like Logic Pro at the time when I was self-isolated in the household.

In its music production, I have been mixing classical instruments with electronic instruments because for this track, I want to incorporate string ensembles, electric guitar and pianos with synths giving it a tense and dark sound in some modes. In addition to the equalisation which affects the sound of almost all the musical instruments by filtering out the hisses in each of them, the compression has also been increased so that every single instrument will sound coherent to the listener. Also, the velocity levels on all the instruments range from 82 to 95 (Piano roll, P) because I want to make them look steady as possible without crashing the low frequencies, making the instruments sound balanced for the listener to hear which instrument he/she is listening to alongside the vocal production (see the Solid Soul Electric Bass for instance).

To give an example, when I added the Way To Live Strings synthesizer and recorded the chord arrangements on an AKAI MIDI synthesizer, the original sound of the instrument appear to be a little off and it had to be altered by changing its oscillator. As you can see, both Shape 1 and 2 had to be turned up slightly because I wanted the Way To Live Strings to sound wobbly with phaser effects added in there.

There's also a change with the LFO by switching the original rate of the music instrument to 3.80 Hz with the lines going up and down alternating the rickety effect.

As another example, I made a track stack (Command+Shift+D) for my vocals because I want them to make one set of it by manually setting up the equalisation, getting rid of the hiss filters and changing up the sound of the vocal effects. I have been sorting out the compression because all of them will resonate intelligibly with the listener and not to mention the usage of the DeEsser 2. After all, I don't want to have those low frequencies interfere with the hissing noises of my voice, both lead and backup. Therefore I have been changing the threshold, max reduction and frequency so that they can sound clear for the listeners to hear.

As I did well with my panning on the vocals, my area of improvement should've been to use panning on some of the instruments included in the production of Froze Up From Being Selfish. The reason why is that I want to blend in both stereo and mono panning with each of them because the listener would want to hear one instrument on the left and the other on the right ear, just like what I did with the vocal production of this track.

Another thing that needs doing is the ability to create more track stacks with the instruments because I think that one track stack isn't enough in the production, thus they needed to be added in with equalisation, compressor and an additional built-in due to giving them new life into the final mix of the song.

UPDATE - 22/01/2022:

I have added in the track stacks with different EQs and compressors for some of the instruments such as the synthesizers, pianos and my vocal parts because I want to make a set for each of them on my final mix. According to the EQ set for every track stack, notice how they look and sound different to one another due to a few alterations I've done manually sound-wise; three of them have the filter hiss omitted from the final cut of Froze Up.

For instance, look at the pianos and synthesizers. This is because their frequency volumes had to be turned up or down to not interfere with their low frequencies in them. In the controls of the pianos, the Hz is set at 346 (+4.1 dB), 1110 Hz (-4.1 dB) and 2420 Hz (-0.1 dB). This had to be done because I have managed to make cutoff frequencies for the waves to be reduced. As for the synthesizers, the controls are set at 143 Hz (+4.4 dB) and 3800 Hz (-6.3 dB) respectively because, in comparison to the pianos, they have low-pass filters or high-pass filters implying that both of them either eliminate the low or high frequencies so that they don't clash with each other.

The same can be done for the vocals, only this time, the majority of the frequencies are turned up to 950 Hz (+3.9 dB) and 6000 Hz (+3.7 dB) consecutively whereas the other frequency is turned down at 244 Hz (-3.9 dB). The reason why is that both of those frequencies contain a high-pass filter, omitting the low frequencies together, whereas the last one also has a low-pass filter removing the high frequencies meaning that those consecutive cycles should be steady enough to not interfere with either frequency, high or low.

This week, I've started working on music editing of my next track Happy from my next EP In Teknikolour on Logic Pro. In the process of my music editing, I have begun adjusting the velocity in the instruments, presumably the Liverpool Bass guitar, because I want to change the volume between 80 and 95 respectively.

As an example, the volume of the Liverpool Bass guitar is set at 82 because I need the velocity to be steady throughout the structure without said volume overpowering the instruments, either quiet or loud.

Because that Happy is a work in progress and it is not finished, I have added the EQ setting in both the Liverpool Bass guitar and Broome Street Significant Synth keyboard. The reason why I did it is that I want to switch up the high-pass and low-pass frequencies without interfering with the low or high frequencies.

Being that the song is a demo, I tried hard to eliminate the filter hiss so that it won't contain any white noise in both the music instruments, implying that I have been changing up the controls of the two channels accordingly. The Liverpool Bass guitar's volume control is set at 105 Hz (+4.2 dB), 244 Hz (-5.7dB) and 1290 Hz (+1.4 dB) while the Broome Street Significant Synth synthesizer is at 48.8 Hz (12 dB/oct) and 975 Hz (-2.7 dB).

Thirdly, I have added a Modifier built-in on the Cute Crush Synth synthesizer because it helps me divert the effect of the instrument allowing me to restructure its sound once the parameter of the MIDI instrument has changed. In this case, I have been commuting the Modifier controls by turning up the Scale control to 46% and then slightly turning down the Add control to 34%, culminating in changing up the event and filter to a 1 Mod Wheel input and 64 Sustain reassignment simultaneously.

It has to be done because I don't want the Cute Crush Synth instrument to sound at its original state, switching up the input event and reassigned the levels to make it sound haunting but energetic, interpolating East-coast hip-hop music in its production.

Finally, I have been putting together different bar measures and automation features for the execution of Happy. This is because I like to do something with the volume and panning with the instruments and vocals whilst trying to alternate from one bar measure to another in each section without doing a single bar measure throughout.

For instance, Happy is under construction and I have been setting the instruments and drummer mix to 0.0 dB. This is due to the volume being placed at its original level of control and once I edit the instruments and vocals over time, it would take a few days or the next two weeks to get the velocity volume, equalisation, compressor and other built-in effects sorted out amongst a few track stacks I'm willing to create when I finish adapting them.

This week at Metronome, I was finishing up the next song Fine by You using Logic Pro in the recording studios with a tutor. I started working on the song at home because the instrumentation consists of classical music instruments (like the strings and Daylight Piano), an acoustic guitar and electronic synthesizers which include the Emotive Pulse, Outer Lands and Unlikely Brass synths. Later on, I edited the music instruments by changing the velocity to 80 and 95 one at a time along with the ability to turn down the volume level of each instrument and making track stacks for the bass guitar, lead guitar and synthesizers.

The reason why I did this is I want to pay attention to the mixing and mastering of the song in terms of balancing the velocity volume to 80 and 95 on an individual musical instrument whilst I was changing up the volume level of the track stacks adding in equalisation and compressor simultaneously.

In one example, the bass guitar and lead guitar both have equalisation and compressor built-ins onto the track stack. However, I have also put in a Clip Distortion built-in because I want to switch up the levels of those instruments controlling the mix, drive, input and output gains and low-pass filter. This will allow me to change the sound of the bass and lead guitars from their original state due to them sounding twisted but more distinctive than what they sounded like originally before adding this built-in track stack.

Amongst those controls are the low-pass filter and high shelving filter because with each of them, I had to turn them up and adapt the boost of the filter while trying to omit the high filters in there, reducing their cutoff levels. However, my area of improvement is to attempt turning one of those controls down because it will create a contorted sound distinguishing me from the rest of the musical instruments I've recorded whenever I turn down the mix, gain, low-pass filter and drive.

Another example is the Emotive Pulse synthesizer coinciding with its Retro Synth built-in. I have to bring up the built-in and fiddle around with the controls because I need to have the Oscillator turned up or down in Shape 1 and Shape 2, thus setting them at 25% and 45% respectively. I also had to turn the Vibrato modulation slightly up because it will give me a chance to alternate the sound of this synthesizer by giving it a wonky effect at 1.25 semi.

What needs improving is the changes to the LFO Vibrato controls because the wonkiness of the Emotive Pulse synthesizer isn't distinctive enough and I need to adjust the volume of the LFO setting to make it feel a bit contorted. What I also need to do is to explore the Table and FM settings of the Retro Synth add-in as well as sort out the filtered ensemble differently because I can't have the Emotive Pulse synthesizer always stay at a low-pass filter control eliminating the high-pass frequencies while fiddling around with the Oscillator modulation to make sure it has a twisted sound. I have to look into the Table and FM controls and try to add on some high-pass filters or band filters with the Retro Synth built-in at some point in the next track I write and produce on Logic.

Third of all, the Daylight Piano uses the Sampler built-in in conjunction with the Steinway Grand Piano because I have to sort out the velocity, enveloper, filter and reverb controls in this lead melody. In this case, I have been changing the enveloper and stretched it to 10,000 ms (mano sinistra) while the velocity is set at 24.5 dB on the volume level. The reason why is I want the Daylight Piano to incorporate a sustained effect creating a reverb standard here and there. Setting the envelope at 10,000 ms affects the sound of the piano adding in a sustain whenever a single note is being played.

The thing with samplers is that I need to concentrate on the other controls of the Daylight Piano because taking the low pass filter for instance; switches up the rate of said music instrument and the controls of the waves (i.e. if I want to pick sine, if I want to pick triangle, if I want to pick saw, etc.) by dragging it to the left or right, reducing the cutoff frequencies on top of them depending on the rate control I want to go for.

Penultimately, the Brooklyn drum kits have an EQ and two dynamics, a compressor and a multiprocessor. I opted for a change in the multiprocessor controls because when I put in this drummer track, it seemed a bit quiet and I have the option to change the equalisation and compressor up a bit to make them sound intelligible in the music production. On the multiprocessor, I have been altering the gain, turning the second gain slightly up and I have also been turning up the output gain of the drum kit.

This had to be done because was when it was originally added there, it has one EQ and two compressors, but they do not seem to match the standards in terms of volume control and therefore it is my job to fix all three of the built-ins by switching up the controls of each gain and filter, either high-pass or low-pass so that they will not have some white noise on each of them. Whereas Gain 2 has 8.5 dB in the noise pollution level, the amount of Hz is set at 520 with the output gain being at 5.6 dB. This was altered due to a decision to make the drum kit sound coherent amongst the volume level in the music production, only for it (the volume level in the project) to be turned down rather than it being at a steady one because it will sometimes overpower the frequencies of all the instruments and singing halfway in.

Speaking of vocals, I have been recording them at Metronome today with a tutor because I have been using an Aston Spirit microphone with a pop shield meaning that it will cover up the consonant letter sounds whenever I sing in one section of the track. Before I recorded the vocals for it, I had to plug it in via the XLR cable (the male and female cables) because it will have enough phantom power for me to strengthen the gain of my singing. Next, I have been creating a track stack of the backing vocals with the lead vocals being on their own amongst panning them to the left and right because I want those parts to sing on one side while also singing on the other one before adjusting the EQ and compressor levels on each of them accordingly.

For example, the EQ levels have been changed because with the orange and purple frequencies, they have been removing the filter hiss because the white noise will interfere with the music production of this song. This is the reason that the orange and purple frequencies had to be balanced without the sound of static; the orange frequency is set at 104 Hz on the rate level (-15.2 dB in noise pollution, stretched at 1.00 in the display level) in a low-pass filter while the purple frequency is set at 1700 Hz in the rate level (+5.1 dB in noise pollution, also stretched at 1.00 in the display level) in a high-pass filter.

Exhibit A: the Mystic Timepiece synthesizer has a channel EQ and compressor because what I did with the EQ is alternate the controls for them to be balanced between high-pass frequencies and low-pass frequencies together implying that either one would be reduced in the frequency cutoff. In terms of frequencies, the orange one is set at 73.5 Hz in its rate level with its noise pollution at +4.9 dB, stretching it tight to 1.00 on the display level. Meanwhile, the pink frequency is set at 5750 Hz on the rate level whilst the decay level is at 24 dB/Oct, narrowing it to 0.64.

Moving on to the track stacks, the synthesizers have a channel EQ and compressor alongside the vocals that also have the same built-ins. With the synth track stack, I took control of the frequency gain and did something with the red, orange and pink frequencies because I had to fiddle about with the controls for them to have a balanced level without masking themselves, causing ear damage to the listener in the process.

In the red frequency, the rate is set at 39.8 Hz with the gain level at 24 dB, narrowing it to 0.63 in the display level. On the orange one, it is set at 132 Hz and the gain level is at -2.7 dB, stretching it at 0.24 on the display level. In the blue frequency, it is at 2700 Hz whereas the gain level is at +2.8 dB, this time stretching to 1.20. This must be done because I need to keep the levels steady for me to remove the low and high frequencies that are interfering with themselves and remove a hissing effect.

The inclusion of a track stack adding my vocal parts has equalisation and compressor built-ins because I have been adjusting the controls of the EQ and compressor into my lead, backing and ad-libbed vocals into one track stack. In this example, the vocals track stack mixes between the low-pass and high-pass frequencies because, with the synthesizers, I had to switch up the controls of the noise pollution and reduce either the low or high frequencies for them to not clash against other.

Amongst the option to reduce the filter hiss of the track stack, the orange and green frequencies had to be stretched to the right and slightly up to the point where the vocals will make it sound clear enough for the listener to hear. According to the frequencies, the orange one has a rate level of 186 Hz and the decay level at -6.5 dB with a display level of 1.00 whereas the green frequency is set at 1070 Hz and the decay level is at +5.6 dB narrowing it down to 0.93 on the display.

This week, I am working on the production of my new track In Her Shoes from my EP In Teknikolour. Using Logic Pro X at home and college, the instrumentation includes a blend of electronic and classical music instruments in its production such as the bass synthesizers (Dark Secrets Bass and Frozen Bass Waves), the synthesizer pad Night Fall, the Dark Space Pluck synth that performs the main riff the track, a string ensemble and an Oak Piano Dream Synth processed through the grand piano instrument.

For this project, I have been adding the bar measures 3/4 and 12/8 because I want to incorporate them in different sections of the song's structure e.g. in the intro and outro where it is set at 12/8. To do this, I bought up the global tracks by pressing G on the keyboard where it will alternate the time measure and key signature, along with adding markers to identify where the part of the section will be and the addition of an arrangement to create a structure of the song according to chords and melodies. This had to be done because I have put in 3/4 and 12/8 bar measures on two of the sections for them to distinguish from the usual 4/4 bar measure. I also had to lower the tempo from 155 to 115 BPM due to the ability to focus on my timing by practising with my hands slowly before gradually going faster.

While working on the song, I have been changing up the instruments because it will allow me to alternate the sound of said instrument from what it originally sounded like as well as the ability to do some equalising and compressing while putting in a few track stacks along the way. For instance, the bass synthesizers have a channel EQ in them because I have been adjusting the controls of the equaliser mixing between a low-pass filter and a high-pass filter, either eliminating the low or high frequencies in them.

It also has the capability of removing the white noise since some frequencies will not clash with the low frequencies, ultimately fabricating a filter hiss in the process so I have to move one frequency together with the other frequency for it to be omitted from the track's production.

In addition to an ordinary channel EQ, I have also been adding a band EQ that will allow me to control the levels of the frequency. The reason why is because I have incorporated a low-pass filter, reducing the high frequencies and boosting the low frequencies to their extent. Amongst the EQs is the Adaptive Limiter because it is a compressor built-in that can substitute the controls in terms of gain, output ceiling and lookahead. Whereas the gain is dropped down to 4.0 dB, the output ceiling is set at 0.7 dB with its lookahead setting at 115 ms (mass Sinestro) due to being careful about masking the dynamics with the listener, even when the levels are steady causing the music volume to damage the eardrums of someone who listens to this track.

Next, I have been adding the equalisation and compression of the synthesizer pads. In another example, I used the Expander compressor built-in because I need to concentrate on the control levels turning down the threshold and changing the attack and release modes for them to give them a lot of coherence towards the listener.

The ratio and knee levels are alright, but having them at a steady level with the gain is something that needs to be worked on. This is due to a warning shot that the masked frequencies will hurt the listener's eardrums with them being at a steady balance rather than doing a mix-match of turning them up and down respectively.

For the equaliser, I have been putting in a high-pass frequency in the synthesizers amongst the Night Fall synth pad which also has a similar setting to the track stack I've created. The reason why is that they (including the Night Fall pad) have minimized the low frequencies making way for a boost in the higher frequencies, thus I had to slightly turn up the blue frequency and switch up the sound of the instrument amongst a red frequency that narrows the level of the gain slightly down.

As for the Dark Space Pluck, they again have a similar aspect to the synth pad track stack and the Night Fall pad that was included in the track stack. This time, the red frequency (high-pass filter) is minimized down a little more whereas the purple frequency is maximizing the high shelving filter. The reason why is because both the high-pass filter and high-shelving filter will narrow down the low frequencies and make way for the high frequencies in the former while putting in a cutoff effect in the latter.

Afterwards, I have been alternating the track stack for the strings in the equalisation and compressor side of things because, in those two examples, the EQ of the track stack blends between a parametric filter and a low-pass filter. This implies that the former will adjust the frequency levels in terms of gain and bandwidth and the latter will shorten the high frequencies and boost the low frequencies.

The studio violins are also different to the track stack for the string ensemble because the frequencies mix in between the high-pass filter, the low-shelving filter and the parametric filter. This means that the high-pass filter will diminish the low frequencies and amplify the high frequencies while the low-shelving filter will add a cutoff to those low-frequency levels.

Meanwhile, the parametric filter will again change up the gain, levels and bandwidth of the frequency because it will give them the ability to reduce the frequencies and boost the rest of the frequencies that are in the EQ control.

Those next two examples showcase the Sampler and Retro Synth built-ins on the Oak Piano Dream Synth and the Evolving Shades lead synthesizer. For the Sampler built-in, I want the grand piano to create a sustained effect via the Enveloper levels. Because the grand piano is already processed, I still want that sustain to appear on the Oak Piano Dream Synth on the envelope due to its consistency in having to hold down a note for as long as I can.

In addition to the envelopers, I also have the advantage to move the fine-tuning slightly up while turning down the resolution in the filter control. The low-pass filter on the other hand has been changed to LP 24dB Edgy because the low-pass filter will minimize the high frequencies and increase the levels of the low frequencies, passing them by.

The Retro Synth built-in on the Evolving Shades synthesizer is similar to the Sampler built-in on a processed grand piano, but with a few changes. First, the original low-pass filter setting is altered to its new setting, BP 6dB Gritty. This is because the bandpass filter will move the parametric frequencies while also muffling the other frequencies outside of the controls. Also, the oscillator controls have altered the sound of the instrument by adjusting the shape modulation, vibrato and oscillator volume level for it to sound powerful.

Although the new sound suits the music production of this track, it hasn't been making changes to the Evolving Shades synth from what it originally intended. I could've mixed the controls in the instrument because if I can change up the sound of the synthesizer, I should've gone with a fuzzy effect or a distorted effect so that it will have a twisted but muffled tone instead of sounding how it is right now.

After sorting out the built-ins in each instrument, I have been adding a drummer track in the production under the name Tight Trap. On that track, I was able to change up the settings and go from one drum variation to another in the song structure. Following the addition of a drummer track, I started using the compressor for the electronic drum set because upon sorting out the dynamic controls, it will make the set sound hefty for the listener in terms of input and output gain, threshold, make-up, ratio and limiter.

Then, I started mixing and mastering the Tight Trap drums because I am controlling the volume level, turning each part up or down while learning how to not keep the volume steadily and not include frequency masking in all of the equalisers that I've modified. The same can be said for the rest of the music production because I have been amending the volume levels of those instruments and electronic drum kit independently turning them up and down without one of them being at a steady level.

UPDATE - 11/02/2022:

Today, I have been working on the vocals to In Her Shoes on Logic Pro and I've made a track stack for the back-ups and ad-libs. My lead vocals and spoken vocals were recorded separately because I like to blend in-between singing and speaking in a part of the song's structure, especially in its intro where I can address what's going on with the boyfriend's failed relationship with his now-ex girlfriend.

I have been doing the equalisation for my track stack adding a low-shelving filter and a parametric filter into the controls. This is because the low-shelving one will amplify the amplitudes of the low frequencies whilst a parametric filter will boost the frequencies and modify the gain, centre frequency and bandwidth in the hopes that it will switch up the sound of my vocal parts in the music production.

Sometimes, one of the vocals with a control EQ will differ from the track stack included in there because my fourth backing vocal, for example, has a low-shelving filter and a parametric filter, but I've been putting in a high-pass filter also. The inclusion of a high-pass filter means that it will boost the high frequencies in my voice, but it will minimize the low frequencies they're going to flow through.

In addition to the EQ and compressor in my lead vocal melody, I have been adding in a ChromaVerb built-in and changed up the controls of the setting because my main vocal part will be sustained, differentiating from the rest of my vocals. I had to amplify the EQ setting and turn up the size to 72% while leaving the Attack level to 32%. This needs to be done because as it is combined with the EQ and dynamic built-ins, I also need to try and add in a bit of an echo in my voice. This implies that the amount of decay in the reverb setting will reflect my vocals into the verses to make the production sound powerful with the two built-in settings, showing a bit of coherence with the listener.

At last, I have been attaching the bus sends into the vocals track stack along with the synth bass, synth pads and strings. Set at Bus 3, those sends will amplify the sounds of the instruments and vocals in this production by creating a reverberation effect in the amount of time the decay will last.

When I bounced the track on Logic, I forgot that I had to put in the bus sends because they are important for me to sort out the reverberation sound. I had to make sure that I need to add in the bus sends and turn the resonance slightly up to reflect the instruments and vocals throughout the composition. Without those sends, the listener won't hear what's going on in the background so I need to be careful when putting in the final touches of my proper mix.

Today, I have been working on the music editing process of The Way They Are on Logic Pro. A hip-hop and trap protest anthem that dealt with the issues of black culture and the oppression of the civil rights movement, I have put the classical instruments (Stinger Bass guitar, piano, brass section) and electronic instruments (Buzzy Pluck, Crimson Horizon, Adrift in the Void synthesizers) together into the music production because I want them to incorporate a powerful, yet darker feel into the chord and melody structures while also trying to explore into a different music genre, world music, by adding in a Pipa guitar and African drums through the majority of the track.

Supposedly, the idea of the music production was to loop the musical instruments into the verses and main chorus of the song. However, the instruments were looped four times on each verse because it leaves me open to a silent gap after the vocals were being recorded. Due to a music production error, I had to narrow said music instruments down to a double verse because I cannot have muted gaps in the section before leading up to the song's chorus.

On the music editing side of things, the Stinger Bass guitar has a channel EQ, compressor, amp and chorus modulation effects. For this instrument, I have been moving the parametric frequency with the high-shelving filter because the parametric one can change the course of the sound in terms of gain, level and bandwidth. As for the high-shelving frequency, it gives me the chance to let the high frequencies pass through and boost them, reducing the low frequencies at the high end underneath the cutoff.

Aside from that, the two synthesizers, Buzzy Pluck and Crimson Horizon Synth Pad have two different frequencies in terms of channel EQ. According to the channel EQ controls, the Buzzy Pluck has a high-shelving filter, a parametric filter and a low-shelving filter. Both high-shelving and low-shelving filters have the opportunity to reduce and boost either the high end or the low end of the frequency control implying that either the high frequencies or low frequencies can attenuate between the two.

In the Crimson Horizon Synth Pad, I have also used the high-shelving filter and the parametric filter but I have added in a high-pass filter because it will boost the high frequencies whilst shrinking the low frequencies of the synth pad instrument. I had to be careful trying to control the noise pollution levels because I have to omit the white noise from the instrument and fabricate a coherent sound that the listener will hear in their earworms.

In future, I must always be aware of the noise pollution level and remove the filter hiss carefully so that it will not clash with the other frequencies in either instrument.

Moving on from the equalisation built-in, I have been changing the sound of the Shelburne Road Attention lead synthesizer by using the Flanger built-in. I have increased the rate, intensity, feedback and mix controls due to it having a phaser sound-absorbing into another built-in, the Space Designer reverb. I like the new sound of the Shelburne Road Attention synth because the phaser effect gives it that sci-fi sound with its fuzzy reverberations interposed into the control levels of the Flanger.

Combined with the Space Designer, the sound of the Shelburne Road Attention instrument was an upshot for the Flanger built-in, allowing me to adjust the controls and interpolate a phaser element within the track's production.

Talking of synthesizers, I have been putting together a track stack that contained the Buzzy Pluck, Crimson Horizon Synth Pad and Adrift in the Void synthesizers while alternating the channel strip to Lime Drops Synth Pluck in the keyboard setting. The reason why is because I can't have a track stack that has no channel strip and instead I had to do it manually by modifying its settings, ultimately deciding on the Lime Drops Synth Pluck strip that features equalisation and dynamics, amongst tape delay and chorus effects.

Going back to its equalisation control, I have been mixing a high-pass filter, a high shelving filter, a parametric filter and a low-pass filter because I tried my hardest to turn the noise pollution up or down on all of the controls (low-pass, parametric, high-shelving, high-pass) without them creating a filter hiss in the background. Along with the channel EQ, I have been setting up the Chorus controls and turned the rate, intensity, and mix levels up a bit due to modulating the sound of this track stack switching between a dry signal and the high-frequency LFO respectively.

Finally, in addition to the built-in effects of the equaliser and distortion, the Deep Down Riser sound effect has been manually controlled by myself because while I was using both built-in effects to the sound, the idea was to make the Deep Down Riser sound out of context while adjusting the parameter and low-pass frequencies together. I like what it came up with as a result because it originally had no built-in on the Apple Loop sound and thanks to the manual controls, I took it one step in a different direction where it will operate a warped and contorted effect instead of leaving it the way it is.

Amalgamating with its equalisation control, this fuzzy and twisted effect and the intelligible equalisation controls gave it new life into the music production of this song building up to its intro and the first verse.

Following on from the music editing of the instruments and the recording of my vocal parts, I have been editing my backing vocals and putting them into a track stack, leaving out my main vocal melody on the verse and chorus and my outro part towards the end of the track. For instance, the equalisation controls of the backing vocal track stack have a high-shelf filter and a parametric filter, again boosting the high-end of the frequencies beneath the cutoff frequency and changing up the bandwidth, gain and centre frequency. This had to be done because the noise pollution is set at -2.4 dB with the rate setting at 212 Hz on the high-shelving filter and the parametric filter is at +4.3 dB with its rate clocking in at 1060 Hz.

In the vocal production of The Way They Are, the vocals were laid out together under a track stack that features both an EQ and a compressor. However, I have been adding on some other built-ins in the backing vocals because I want them to sound distinguishable from the lead vocals, experimenting with them in a different plugin manually. For example, the stereo spread will change the width of the stereo track due to its inclusion in my second lead vocal melody line. I have to turn up the intensity levels so that the low and high-frequency levels don't clash together but that will also mean that the low-intensity controls will go below a minimum of 300 Hz, making it hard for listeners to hear my vocals in the chorus part.

What I should've done is to adjust the stereo spread plugin a little more because if I try to change the controls of the low and high-intensity levels, it will be placed above 300 Hz at a minimum so that someone will be able to listen to it better than what I originally intended.

Next, the Spectral Gate built-in on my fourth backing vocal part will adjust the filter of this sound because it will interpolate a fuzzy effect into my vocals, switching up the controls of that plugin in terms of bandwidth, centre frequency, threshold and intensity. Due to this strategy, my voice sounded out of focus and inconsistent in the production, but what I could be doing is attempting to change up the modulation of my vocals for them to make them interpose a distortion effect.

The bandwidth could've been shrunken down differentiating from my original idea, but other than that, my second backing vocals sound very indistinct and a bit comprehensible for someone to hear in his or her left ear.

My main lead vocal melody doesn't have additional built-ins but I have manually done the equalisation controls by adding in a high-pass filter, a high shelving filter and a parametric filter. The reason why I've done this is I have mixed the noise pollution levels between low and high frequencies, meaning that the three frequencies will not contain a filter his sound, omitting from the music production.

According to the equalisation control of my lead vocal, the noise pollution is set at -24 dB where the rate is set at 152 Hz in the high-pass filter level. The high-shelving filter has noise pollution set at -4.7 dB whereas its rate is 364 Hz. On the other hand, the parametric filter is higher with its noise pollution at +6.0 dB and its rate at 1210 Hz.

In the ad-lib part of my song, I have been controlling the settings of the Exciter plugin because I want to interpolate a much clearer sound to my backing vocal so that somebody will hear my vocals more coherently with little to no falters halfway in. To do this, I have been adjusting the harmonics controls and the level of the frequency by turning them up a lot, implying that the frequency rate is set at 9400 Hz and the harmonics rate is at 79.4 with the inclusion of its dry signal.

However, I could've paid attention to the filter hiss in the background because, at one point, the listener will hear the ad-libs of the song and damage his or her eardrums due to the low frequencies clashing against one another. I could've gone and turned the frequency rate slightly down along with the Harmonics level and then sort out its DeEsser 2 and EQ levels because they could cause the person hearing loss while listening to this track for the first time.

Finally, the last thing I need to do in my third lead vocal melody is to make adjustments to the Amp Designer plugin. The reason why I did this is I want to make the vocals sound distorted by changing up the levels of the built-in in terms of EQ, reverb and effects. This suggests that I need to turn each of the knobs up or down so that it doesn't go off the beaten track with my distortion effect.

In the end, my manual controls on the vocals with the Amp Designer sounded broken but also translucent because it sounds a lot heftier for the listener to hear combined with its EQ, compressor and distortion plugins for the remainder of this song.

The editing process went well for me because I have been controlling the main volume levels of the instruments and vocals with each plugin I could adjust. The result was okay, though it did have a few flaws in the production e.g. the ad-libbed vocal with a filter hiss. Apart from the cons, it was fun editing the music production of The Way They Are independently without having to let it go overboard musically and lyrically.

Today, I have been producing my next song Sea of Storms (Rainbows Will Appear) on Logic Pro. The music production features a blend of electronic and classical music instruments like the Cortlandt Alley River Bass synth, the Pop Strings, a Psychic Energy grand piano, the Something Human synth pad, the Martian Lounge lead synth and the Autofocus lead synth. For this song, the synthesizers are the main focus of the production because I have been adding two-track stacks that contain these instruments featuring the lead and backing synths, leaving the Cortlandt Alley River Bass synth on its own as a separate track.

Speaking of which, the bass synth (Cortlandt Alley River Bass) has an overdrive effect hinting at its twisted sound interpolated into the instrument. But upon changing its sound, I have been adding an EQ built-in and a dynamic plugin because it will sound intelligible for the listener to hear this instrument in the track's production. I have been adding a high-shelving filter, boosting the high-end of the frequencies and reducing its cutoff.

In addition to a channel EQ, I have been putting in an Expander built-in and turned up the volume gain of the Cortlandt Alley River Bass synth. The reason why is I want to try and make the sound more lucid by adjusting the EQ controls, mainly its volume gain going up to +4.5 dB. What I should've done is to change up the controls of the river bass a little more because even with the volume gain, I must experiment on this instrument by switching up its threshold, knee, ratio, attack and release instead of the gain alone, either turning one of them up or down to make it sound more precise to the listener.

In the synth pad track stack that includes the Cosmic Ascent and Something Human pads (the Something Human pad shown below is a channel EQ that features a high-pass filter and low-shelving filter; the latter boosts the low ends of the low frequencies and shrinks the cutoffs of said frequencies), I have been appending EQ and dynamic plugins in the setting. Also, the channel EQ for this one attaches a high-pass filter and a parametric filter implying that the high-pass filter can only boost high frequencies and pass them through the low frequencies that are being reduced whilst the parametric filter can change the course of the other frequencies in terms of bandwidth, centre frequency and gain.

Even so, its Adaptive Limiter plugin should allow the synthesizer pads to give it some alterations upon fabricating a new sound. In this example, I have been turning the gain up to +4.0 dB whereas the lookahead setting is slightly turned up to 38 ms (mass Finestra for short). What I could be doing with the synth pads is to add in some new built-ins because it will have a different sound distinguishing from the instruments along with the synth leads. It could've been better if I can make the adjustments to the Adaptive Limiter plugin because I wanted to turn the output ceiling slightly along with the instrument's gain and leave the lookahead as it is, determining the additional built-ins that will give it a new sound, whether or not it will be twisted and fuzzy, or phased with a reverb.

Moving on from the pads is the lead synthesizer track stack that contains the Martian Lounge riff synth and the Autofocus synthesizer. In terms of changing up its channel EQ, I have been building on the controls of the instruments because it has high-pass, parametric and low-shelving filters.

In terms of noise pollution and gain, the high-pass filter is at 12 dB and its rate is at 57.0 Hz. In the parametric filter, the noise pollution is at -3.2 dB whereas its rate is at 202 Hz. Finally, on the low-shelving filter, the noise pollution level is +3.3 dB and its rate level is 640 Hz. This is to show that I want to get rid of the filter hiss due to disrupting the other frequencies by turning the noise pollution up or down a notch. It also has a Multipressor plugin, inferring that I have changed up the gain of the lead synths for it to interpolate a coherent sound for the listener to hear.

On the Psychic Energy grand piano, I have been changing up its sound using the Amp Designer because I want to give it a twisted and broken effect differentiating from its original, processed setting. As you can see, some of the controls I've used have either been turned up or down due to the fact I need a different sound with the grand piano itself in terms of channel EQ and effects.

In this case, a few of the EQ controls have been turned up or down, whereas a couple of the effects controls are a mixture in-between maximizing and minimizing the control in the hopes that the grand piano will give it a new sound with a bit more reverberation.

Penultimately, the pop strings have an EQ setting and compressor. But I have managed to add on an Exciter as well because I want to make them sound stronger and more understandable for the listener's eardrums. In its EQ controls, I have been adding two parametric filters adjusting the bandwidth and centre frequency. This implies that both filters have similar noise pollution levels at +5.0 dB but the rate settings differ at 270 Hz and 3100 Hz respectively.

For my area of improvement, I would've been adjusting the noise pollution of the strings due to the same levels that will cause turmoil with the low frequencies, otherwise, it could generate white noise in the background of the ensemble. According to its Exciter built-in, the frequency rate is set at 1500 Hz and the Harmonics level is slightly turned up to +27.4 per cent. The reason why I did this is to regenerate the high-pass filter and change up the harmonisation levels of the string ensemble, therefore warping the harmonics to give it a hefty sound in the eardrums of a listener.

Finally, the vocal track stack is added on implying that the backing vocals are on here, with my lead vocals on the track separating from the set. For this track stack, I have been attaching a few built-ins including the Expander dynamics and channel EQ meaning that both those plugins can incorporate an understandable sound for the listener to hear, even with the panning on each of them together. For example, the EQ has a parametric filter and a low-shelving filter. This is because the parametric filter can alternate the bandwidth, gain and centre frequency and a low-shelving filter can raise the high-ends of the high frequencies and shrink the cutoffs of said frequency. As for its Expander built-in, the threshold, ratio and gain controls are turned up a bit along with a knee control that's slightly turned up.

What I could've done is to modify the threshold, gain and ratio controls because it will have that cogent sound for the listener to pay attention to the backing vocals of the song, meaning that the lead vocals in the chorus will generate a comprehensible sound and the backing vocals will be lucid with the inclusion of stereo and mono panning through the remainder of the music production.

Today, I have been working on a music production of my next song Kibo ga Ari, Kaka rete Inai, which translates to English as The Hopeful and Unwritten, on Logic Pro. An uptempo J-pop and punk rock track that talks about searching for your spark into creative writing through song, I started this project last week by recording a handful of classical instruments and electronic instruments into the production before doing some music editing afterwards. Among them were the Liverpool bass guitar, the Make it Musical Bass synthesizer, the Aurora Waves synth pad, the Sunburst Power Chords electric guitar and orchestral brass and string ensembles.

After getting the velocity level down to 80 and 95 respectively, I have started editing the Liverpool Bass guitar by adjusting its sampler control and its distortion effect. I did this because I want that instrument to sound broken and twisted to give it a synth-based sound in the process. However, I didn't think that the distortion sound would suit the Liverpool Bass guitar due to the way it's been edited in terms of drive, output and tonality. Also, I forgot to add a channel EQ to the instrument because I didn't take the time to handle the frequency controls so that it will have a new comprehensible sound for the listener to hear in terms of the pass, shelf and parametric.

In my area of improvement, I could've been changing the distortion sound of that instrument because it'll have a new sound to make it look warped, distinguishing it from the rest of the musical instruments I've recorded. In addition to the distortion enhancements, it'd be better if I can also put in a channel EQ so that I can take control of the frequency levels and make some adjustments to its sound using either the low-pass and high-pass filters, the low-shelf and high-shelf filters, or the parametric filters.

Following on from the bass guitar is the Make it Musical bass synthesizer in which its Retro Synthesizer control has been switched up from what it originally did. To do that, I clicked on the Table setting because I began taking control of the oscillator levels before changing the Vibrato setting, therefore modulating its sound into a buzzy feel. Even though it didn't have a channel EQ plugged into the instrument itself, I have been inserting a single band EQ because I want to adjust the sound of the Make it Musical bass synth by using the pass, parametric and shelf filters without it creating a filter hiss.

This can be expanded upon, however, as some of the filters will make white noise in the background will cause the earworms of the listener to take damage. Another thing I did was add on an Expander built-in because I want to adapt its threshold, gain, ratio and attack and release controls in the hopes that the Make it Musical bass synthesizer will incorporate a coherent sound upon the listener. Again, I could've done it better by exploring it further with the controls because a few of them needs to be turned up or down to get an intelligible new sound of the instrument. Without that adjustment, the listener will not hear what's going on with the Make it Musical synth being heard in its final mix.

The Aurora Waves synth pad has a channel EQ, a filter built-in, an Enveloper plugin and its adjustments with the Alchemy plugin. First up, its EQ has a high-shelf filter and a low-pass filter meaning that the shelf frequency would boost the high frequencies and minimize the cutoff, whereas the low-pass filter will bypass the low frequencies, increasing them to the brim while also shrinking the high pass frequencies. This had to be done because I want to be careful not to get the white noise in there while I'm not making similar frequencies in the said instrument.

Aside from the EQ is the Alchemy plugin where I have made a few modifications to it because I have been putting in a Warm Sun effect into the Aurora Waves synth making it sound otherworldly and mysterious what it was originally going for. In addition to the modified sound, I have also been trying to change the frequencies up a bit in regards to the delay, attack, sustain, cutoff and reverb so that it will sound different from the other musical instruments in this production, giving it new life.

Among the EQ and Alchemy plugins are the Filterbank and Enveloper built-ins included manually in the Aurora Waves synth pad, meaning that the filter effect will create an indistinct sound whilst also adapting to its comprehensiveness through the ears of the listener. This is because the two built-ins will allow me to change the course of its sound by incorporating blurry and lucid effects throughout the composition in terms of having an enigmatic and understandable feel in the instrument itself.

However, what I should've done is to change up the sounds of one of those built-ins because while the Enveloper effect sounds alright, the Filterbank needs a little work. After all, I can't hear the instrument properly in the ears of the listener and thus, some controls need to be altered to make it sound crystal clear with the Enveloper like the rest of the instruments in this composition.

The electric guitars are the first three music instruments to be created under a track stack because they feature a processed electric guitar called the Mosh Pit that is interpolated into the Sunburst Power Chords electric guitar, a Room Rock electric guitar and a processed Heavy Metal guitar put into the clean electric guitar. I did this because I want to create an indistinct effect into the sound of those guitars using a distortion or amp plugin that will allow them to give them a new sound in this production.

For instance, the Sunburst Power Chords guitar under the processed Mosh Pit has a Guitar Amp Pro plugin. This was included manually because I want to change up the amp, EQ, effects, reverb and the position of the microphone if it's in a condenser or dynamic setting. I have been turning the gain and master levels of the Sunburst Power Chords because I need them to make them sound twisted and coherent. Talking of the gain and master levels, the mid and treble volume levels had to be turned up and down respectively because they need to change the course of the new sound without letting it go overboard.

The heavy metal guitar on the other hand has a channel EQ and a Flanger plugin effect because the first thing I do is to take control of the EQ levels before I sort out the Flanger effect. In this example, the channel EQ contains a parametric filter and a low-shelf filter implying that a parametric one can modify the frequency of this sound through gain, centre frequency and bandwidth whereas the low-shelf filter can increase those low frequencies and minimize its cutoff levels. As you can see, the noise pollution volume levels are mixed in the parametric and low-shelf filters due to them being at -5.6 dB and +2.0 dB.

Again, I had to be aware of fabricating a white noise in the guitar because if I'm not careful with the frequency interference, it will produce a hearing loss upon the listener and somebody else who hears The Hopeful and Unwritten. The Flanger effect switches up a phaser sound incorporated into the guitar because I have been enhancing the phaser levels in regards to rate, feedback and intensity. As an example, the rate level has been turned up along with the intensity and mix levels. However, the feedback needs to be turned down slightly due to it not being at a similar volume level to the rest of the controls.

In the track stack of the electric guitars, it has a channel EQ and an overdrive plugin effect. In the channel EQ, it has a high-pass filter and a low-shelf filter because the high-pass filter will increase the high frequencies and reduce the low frequencies whereas the low-shelf filter will boost the low-ends of the frequencies and minimize its cutoff. Again, the noise pollution levels on the filters are mixed in terms of volume and bandwidth settings at 12 dB and -3.8 dB. This is because I need to maximize the amplitude of the high frequencies and reduce the low frequencies along with levelling off the high-ends of the low-shelf filter, making sure the noise pollution, rate levels and display levels aren't interfering with both frequencies.

Aside from the EQ, this track stack also has an overdrive plugin where the guitars can generate an amplifier effect. To do this, I had to turn up the drive and turn down the tonality because I don't want the guitars to have a lot of distortion in the amp and they had to be adjusted slightly to make them sound broken and warped. What I should've done is turn the tone up a bit because even if they have a twisted sound, I still want the tone level to go over 520 Hz without having too much amplitude.

I have been making another track stack that has a brass section in the production which includes a full brass section, trombones and trumpets. Aside from the EQ plugin, it also has a compressor where it can minimize the dynamics and bring the quiet and louder sounds closer through the volume level. According to the plugins, I have been altering the channel EQs and the Sampler levels because the brass section needs to have a new sound from what it originally intended.

For instance, I had to be careful with the channel EQ due to adding in a high-shelf filter and a parametric filter on the brass ensemble; both of them have noise pollution levels turned up and down to avoid similarity. The high-shelf filter boosts the high-ends of the frequencies and it shrinks the cutoff the parametric filter will switch up the frequencies to give it a different sound via gain, centre frequency and bandwidth.

Meanwhile, the trombones and trumpets both have different frequencies in the EQ. Whereas the trombones have a similar tactic with the full brass section in the high-shelf frequency and parametric filter and the noise pollution levels, the trumpets are different to that of the two instruments as they have the noise pollution controls turned down to -4.0 dB and -5.2 dB. Because I haven't been concentrating on the noise pollution levels, chances are the frequencies will clash against one another and they will harm the earworms of the listener. As an area of improvement, I want to prevent them from doing similarities in the levels by turning one of them up alongside the adjustments of the Hz and the display levels the same way I did with the trombones and full brass ensemble. The reason why is I need to avoid the frequency interferences and not create white noise in the background of the instrument and have the listener's hearing take damage.

In the Sampler built-ins, I have been changing the controls of the brass ensemble and the trombones and trumpets on their own. This is because I want to put in a filter set, amplifier, modulation, enveloper and LFO so that it will change the course of its sound in the velocity levels of the Sampler built-ins simultaneously. As an example, the trombones have different enveloper controls and settings in there whilst the trumpets have a slight change in the fine-tuning of the pitch. However, the Sampler built-ins still need some adjustments because judging from the filter levels, they are very similar to what I originally intended them to sound like, therefore I must change the filter levels to avoid sounding alike to one another to make them distinguishable.

In terms of the track stack that was packed with the brass instruments, the channel EQ contains a high-shelf filter and a parametric filter implying that it will boost the high-ends of the frequencies and minimize its cutoff along with generating a new sound through gain, centre frequency and bandwidth. This suggests that I have been dodging a bullet into producing a filter hiss in all of the musical brass instruments featured in the track stack and that I have been making different noise pollution levels and rate levels into both of those filters accordingly.

But again, the display levels can cause a similarity with one another because they are likely to generate white noise in the instruments that will damage the hearing of someone who listens to the song, so the rate levels need to be changed so that it will prohibit a filter hiss in the instruments altogether.

Moving along, I have been adding in some cellos, violas and violins on a track stack in three different music phrases: tremolo, staccato and legato. They have an EQ plugin but I have also been putting in a compressor because it will lower the sound of the dynamics and join the louder and quieter volumes together.

The tremolo is a modulated enhancement that will adjust a rhythmic effect implying that each section of the strings will modulate the notes through long phrases to bring up tension. It is also similar to a trill where the notes are being played rapidly. Staccato is a music term where the strings can create very short music phrases because the notes can be separated from each other when the notes are being played for a brief duration. The legato is a music articulation where the notes can play out in a smoother tone without leaving a gap in-between.

The cellos and the violas in each channel EQ (except the violin) differ with the frequency levels because I want them to sound distinguishable and not interfere with the frequencies if they sound similar. For instance, the cellos and violins being played in a tremolo phrase have a parametric filter and a low-shelf filter because the parametric filter can switch up the sound of the instrument through centre frequency and bandwidth and a low-shelf filter will boost the low-ends of the frequencies and reduce its cutoff completely. In the noise pollution levels, the cellos are set at -5.5 dB and +9.6 dB; on the violins, they are set at -4.2 dB and +10.8 dB. The amount of Hz is set at 655 and 4500 Hz on the cellos and in the violin section, they are at 660 and 2440 Hz.

According to the EQ levels, the yellow parametric filter has a similar Hz level on the cellos and violins because there is a likely chance that the frequencies will clash with one another and they would damage the listener's hearing, not to mention a similar rate level that also came with the staccato and the legato phrases of the strings section aside from the tremolo articulation. I could've done something with the display level so that it will go over or below 1.40 to prevent the frequencies from sounding alike.

Speaking of staccato, the cello and violas have a channel EQ which again has a parametric filter and a low-shelf filter adjusting the sound of the instruments in terms of gain and bandwidth and maximizing the low-ends of the frequencies. On the noise pollution levels, the cellos are set at -4.5 dB on the parametric filter and +5.2 dB on the low-shelf filter because I want the gain on the noise pollution levels to be turned up and down and to avoid the similarities between the two frequencies together. The same can be done for the violas which have a noise pollution level of -8.1 dB on the parametric filter and +6.9 dB on the low-shelf filter; rate levels for the violas are at 4.50 and 0.50 respectively. The display levels for the cellos are changed to 3.40 on the parametric filter and the rate levels on the low-shelf filter remain unchanged. The levels in the Hz on the cellos are set at 182 and 1350 while the violas are at 630 and 2800 Hz, so I'm getting there without creating a filter hiss in the section.

In the legato section of the cello and violas, it too has a parametric filter and a low-shelf filter, but it also has a falter where the Hz levels on the cellos are at 655 and 2700 and the violas are set at 680 and 2880. In the noise pollution levels, the cellos are set at -5.1 dB and +3.9 dB whilst the violas are at -4.7 dB and +7.2 dB. However, I wasn't careful with the rate levels on the cello and violas because they are at 2.60 and 2.90 respectively on the parametric filter. In an area of improvement, I want to shrink the display level down a bit on the parametric filter so that it will not interdict with the frequencies and also to do something about the rate level of the low-shelf filter, not just in the legato section, but in the other sections like the staccato and tremolo.

Altogether in the track stack itself which featured the string instruments, the channel EQ featured a yellow parametric filter and a low-pass filter because a parametric filter can modify the sound of all the instruments in regards to gain, centre frequency and bandwidth and a low-pass filter can speed up the low frequencies and reduce its high frequencies. The amount of Hz featured in the track stack are at 252 and 3440 and the noise pollution levels are at +1.5 dB and 12 dB.

However, I could've been paying attention to its display levels because they are set at 0.10 and 0.30 individually and they are likely to create a filter hiss on the strings that were included in the track stack. For my area of improvement, I need to increase the display levels of the parametric filter and the low-pass filter because this will help me prohibit the interference of the frequencies from taking damage to the listener.

Last but not least, the vocals have been recorded and they were included on the last track stack in the music production of The Hopeful and Unwritten. I recorded the lead vocals to the verses and choruses first before I did some backing vocals because the lead melody comes first in regards to lyrical content before it includes the backup parts and harmonization. Originally, I did the lead chorus melody and backup vocals to set them under a Compressed Vocal channel setting. But due to a defect in the vocal production, they had to be altered to Dance Vocal and Classic Vocal because they were sounding distorted along with a filter hiss in the majority of this music production.

The lead vocals in the verses have a reverb effect (Space Designer) along with an EQ, compressor and DeEsser 2. According to the controls, I have been experimenting on the Space Designer built-in by dragging the circle across, lowering the decay level to 4.59. Although I did something with the decay in its plugin, I could've gone and adjusted the predelay, the spread and the dry and wet signal because they will affect the sound of my vocals when they are attached to a reverb setting. Even if I turn the dry signal down a bit, the listener will not hear my lead vocals in the verses of the song and an adjustment has to be called for if it does happen.

Up next are the lead vocals in the choruses where it has a Dance Vocal setting, implying that this one has a compressor, a channel EQ, an Exciter, a pedalboard and a DeEsser 2. In the channel EQ of the chorus's lead vocals, it has a parametric filter and a low-shelf filter where it can change the sound of the vocals through gain, centre frequency and bandwidth and the low-shelf filter can increase the low-ends and shrink the cutoff of the low frequencies. I was aware of controlling the levels of the channel EQ in terms of noise pollution, Hz and rate level for one reason: the levels of the EQ can sound different to one another, allowing me to rule out the interference with the frequencies completely. Surprisingly, the white noise isn't there and the different levels in the EQ did not clash with either frequency in the control.

Finally, there are the backing vocals under a Classic Vocal channel setting. This means that it has a channel EQ, compressor, pedalboard, tape delay and DeEsser 2, but instead of only focusing on the EQ of those backup parts, I had to modify the pedalboard effects on both of them to make overdrive and reverb effects in the vocal production. Case in point: the Spring Box where I need to adjust the time, tonality, vocal setting and mix of the effect. This is because I want the backup vocals to establish a little drive into the mix while also incorporating a reverb sound on both of them simultaneously rather than doing them individually. Both of them have the same set of vocals under the Bright Vocal and different gain levels and tonality because it needs to be slightly warped into my vocals to create a newer and distinguishable sound. Supposedly, it was going to feature the inclusion of the tape delay effect but I turned the plugin off because I already had enough reverb onto the pedalboard and I don't want the tape delay to interfere with the pedalboard built-in.

In addition, we get to the track stack itself which consists of a DeEsser 2, a compressor and channel EQ. According to the EQ, I have been adding in a high-pass filter and a parametric filter where it can boost the high frequencies and reduce the low frequencies whereas it will change the course of the vocals' sound in regards to gain, centre frequency and bandwidth. In the noise pollution levels, the high-pass filter is set at 6 dB and the parametric filter is set at +1.5 dB. In the amount of Hz in the channel EQ, it is set at 46.2 and 2320 respectively. However, I couldn't forget about the similarity of the rate levels I wasn't concentrating on because once again, it will clash with the other frequencies and do harm to the listener's eardrums. As an area of improvement, I want to expand the rate level of the high-pass filter and slightly increase the parametric filter because if I'm going to remove the filter hiss, I should make a few modifications to the rate level by turning either of them up so that it will prevent itself from fabricating a white noise in the vocal production without doing damage to the listener and his/her hearing.

All in all, I have been spending a week trying to get the music editing done and this is the result of the music production process of The Hopeful and Unwritten. There had been a flaw with the volume levels of the instruments I need to correct such as having some volume similarities in the Liverpool Bass guitar alongside the volume of a track stack that includes a brass ensemble, again facing mixing likeness to that of the bass guitar.

Originally, the vocal production is mixed between good and bad. The lead vocals in the verses are good but the chorus lead melody and backing vocals can be hard to listen to under the Compressed Vocal setting; I have fixed them under Dance Vocal and Classic Vocal settings amongst the volume level. Also, the volume levels in the backing vocals can overpower the mixing levels so they had to be altered in the final mix.

In conclusion, I have been making the music production of The Hopeful and Unwritten on my own without support. It did face a dud with the bass guitar and the brass ensemble in a track stack on the volume mixing level and they could've been enhanced midway in. But aside from a minor flaw, I did the music production of this track independently because my mixing and mastering are improving as a music producer without needing any help from other people who can mix and master the sound quality of this production.

DANGER! WE RAN INTO TECHNICAL PROBLEMS!

I'm doing everything I can to get it done...

Today, I have been editing my next song from In Teknikolour called Xcuse my French (Drama Queen), a hip-hop and grime track about a celebration of a break-up. The music production of the song features a prominent role in the electronic music instruments and it has influences of a Steinway Grand Piano at the end.

Supposedly, I was going to continue making the song in the Metronome recording studios recording my vocal ad-libs, editing the vocal production, creating a couple of track stacks with the instruments and vocals and mixing and mastering the track to get a final version. However, the track got abandoned when I tried transferring it from my memory stick to the Data folder under my full name and group cohort. This is because the name of the song is made in an older DAW program which implies that the song I've done is created on an outdated version of Logic Pro, formerly titled Logic Pro X when it should've been in its recent version.

When I was trying to open up the song at its halfway point, I came across an error message reminding me that the project is corrupted and it cannot be done in the proper format:

In future, I must be careful about which version of Logic Pro I'm using while making Xcuse my French. The reason why is I'm using the latest version of this DAW program at home at the time when it was halfway done with the music editing and the recordings of my vocals were almost finished in preparation for the mixing and mastering of the whole production.

I'm doing what I can to get the pictures up on the music production of Xcuse my French and also get constructive criticism on my latest song through the technological side in terms of pros, cons and what needs improving. Apologies for the technical defect while attempting to bring up the project - stand by for the real breakdown...

Let's go through it again. *Ahem!* As I was saying...

The Breaking Bass synthesizer has an Alchemy setting and because it doesn't have a plugin put into the instrument, I have done it manually using a channel EQ, compressor and distortion. In the channel EQ, I have been putting in a high-shelf filter and a parametric filter because the high-shelf filter will increase the high ends of the frequencies and shrink its cutoff whereas the parametric filter will change the sound differently with the gain, centre frequency and bandwidth.

As you can see, the noise pollution levels are mixed between the low and high volumes because I don't want to create a filter hiss in the instrument and do damage to the hearing of the listener. As for the rate levels in the amount of Hz, they range from 103 to 484 on the high-shelf and parametric filters respectively avoiding the similarities halfway in. In the display level, the high filter is set at 1.00 and the parametric filter is set at 0.41 because I wanted to shrink or increase the display level of this sound without having a likeness between the two and that's why I decided to minimize it on the parametric filter to not have an equivalence between the same rate levels simultaneously.

Next, I have been experimenting with the sound of the Breaking Bass synthesizer by adding a distortion plug-in because I wanted to make this sound broken and twisted, differentiating it from the other instruments that were featured in the music production. I have been modifying the drive and output gain into the distortion setting, however, I need to think about doing something with the tone as my area of improvement due to changing its level by turning it up or down to make it sound a little distorted or even more twisted. Not a lot of distortion, but it's something that needs expanding.

After the Breaking Bass, I move on to the other synthesizers which have a track stack built in there including the Ambient Modwheel Morpher synth pad and the rhythmic Future Strings. I have also been putting in a Dystopian Soundscape synthesizer because I want to incorporate a mystical and mysterious sound into the instrument changing up its notes in a different mode adding in a bright and enigmatic tone.

With the Ambient Modwheel Morpher, I want to do something about the ES2 built-in because a lot of the polyphonic sounds need adjusting in terms of their filter, enveloper, sine waves, modulation and tonality. Most of them are either turned up or down to give it a different sound that'll be distinguishable from the other musical instruments, but I could've gone and done some enhancements with the rest of the controls in the bottom corner due to changing them up or down slightly for the Ambient Modwheel Morpher to create a new sound from what it originally did, to begin with.

Aside from the ES2 built-in in the channel setting, the Ambient Modwheel Morpher also has an Autofilter, a Limiter, two reverb settings such as the Delay Designer and SilverVerb and a channel EQ. In the channel EQ of this instrument, I built on the high-shelf filter and the parametric filter while also trying to turn up its gain level in the slightest way possible. The mixed rate levels, noise pollution levels and display levels are alright because they did not clash together with the other frequencies along with their gain level making them sound comprehensible to the listener.

In the Autofilter plugin, I have been modifying the controls of the filter, distortion, LFO and enveloper because I can fabricate this sound of the instrument by putting in an exuding element whenever I change up the volume of the controls. Although I tried to give it an indistinct sound that differentiates from the rest of the instruments, I could've gone and done the resonance level by turning it down a bit more and I need to add in an enveloper to interpolate a lucid sound into the Ambient Modwheel Morpher. I might also need to think about doing some modifications to the distortion levels because the instrument can sound broken and twisted adding to its filter refinements and the output level and dry signals need some enhancements as well.

The Future Strings also has an Alchemy setting implying that I have to add on a channel EQ, a compressor and an Autofilter. In the channel EQ of the instrument, I have been putting in a high-pass filter and a low-shelf filter because the high-pass can boost the high frequencies and tone down the low frequencies whereas the low-shelf can maximize the low-ends of the frequencies and shrink its cutoff level. Once again, I have been doing something with the rate levels, noise pollution levels and display levels by mixing the decay set to stop interfering with the other frequencies that are producing a white noise in the Future Strings themselves.

What I need to do is also change the gain levels of the EQ because I can join the high-pass and low-shelf filters together while also keeping one of them at a minimum display level. I can either turn the gain up or down to affect a new and different sound and make them understandable for the listener to hear for the remainder of the production.

Penultimately, the track stack of the synthesizers altogether has channel EQ and compressor plugins while also including imagery and modulation built-ins like the Binaural Post-Processing built-in and the Scanner Vibrato. As you can see, the channel EQ features a high-pass filter and a parametric filter and I was trying to mix in the noise pollution levels, the rate levels and display levels without them creating a white noise into all of those instruments accordingly, making them intelligible for the listener. As an area of improvement, I wanted to amp up the gain levels and do something with the display levels on the high-pass or parametric filters so that they can affect the sound of the instrument whilst keeping it crystal clear for the ears of the listener every once in a while.

In the imaging setting which is the Binaural Post-Processing plugin, I have been changing its compensation effect in the sound module because I have been choosing the Headphone PDF mode where it can go over all directions of the instrument in terms of panning them into stereo or mono. The speaker angle is unavailable at this time, though I would prefer to adjust the level of the angle so that it will either be at mono or stereo depending on whether the listener will hear something in his or her ears on the left or the right.

The Scanner Vibrato is next and it is part of the modulation set of plugins implying that I can change the course of the sound by amending its vibrato effects and rate levels while putting in a vibrato sound into the instruments of the track stack. The vibrato levels are turned up in the depth and stereo phase controls because I can incorporate a vibrato effect into all of those synthesizers without having too much of it put in there. Also, the type level is turned up to C2 affecting its change of pitch into the vibrato sound while the rate level is turned up slightly on the left-hand side. What I could be doing is to make adjustments with the type level because I want the right rate level to be available and do something with the enhancements of panning those synthesizers in mono or stereo, otherwise, it wouldn't make a difference to the new sound that I've been producing with those synthesizers in the track stack.

To top it off, the Dystopian Soundscape is the only synthesizer not to be included in the track stack because it is left on its own as a solo chord piece to this song. This instrument has channel EQ and compressor plugins into the instrument; the channel EQ features a parametric filter and a low-pass filter. This is because the parametric filter can modify the gain, centre frequency and bandwidth while the low-pass filter increases the low frequencies and minimizes the high frequencies. With them, I also included the modification of their gain level because I have been turning it up to amend their new sound in the process. However, it would be better if I can adjoin those two filters together in the hopes that they will adapt to their new sound and do something with the display levels by minimizing or maximizing them in the slightest.

The strings ensemble includes a cello, viola and violin and it appears in the third verse and bridge of Xcuse my French. All of the strings feature a channel EQ, compressor, Phat FX and gain due to them changing the bandpass, distortion and enveloper while turning the gain up or down to adapt to its new sound. All of the channel EQs in the strings ensemble are different to each other because I don't want to create a similarity with each of them as they can produce a white noise in the instrument, causing harm to the listener's ears.

For example, the cellos have a high-pass filter, a high-shelf filter, a parametric filter and a low-shelf filter. This is because the high-shelf and low-shelf filters can increase the ends of the frequencies and minimize their cutoff levels whereas the high-pass filter can only boost the high frequencies and decrease the low frequencies. Meanwhile, with the parametric filter, it can affect the sound of the cellos in terms of gain, centre frequency and gain. Once again, the rest of the instruments have mixed rate levels, noise pollution levels and display levels avoiding me having to make a similar nature with the rest of the frequencies and restraining them from taking damage to the listener's hearing. What I must do in future is to turn the gain up and see what happens to the sound of the instrument. This is because the gain will affect the cellos if the level is increasing or decreasing, depending on how loud they will be. The same thing will also apply to the violas and violins too.

In another example, the violas have a high-pass filter, a high-shelf filter, a parametric filter and a low-shelf filter as well. But what I didn't realize is that the noise pollution levels look similar on the high-shelf filter and the low-shelf filter implying that if the frequencies tamper with each other, it is more likely that it can lose the hearing of the listener if it produces a white noise in the viola section. Because of that, I need to improve the controls of the channel EQ and make the noise pollution levels differ from one another so they will prevent themselves from bearing a resemblance to the other filters.

Third of all, the violin section also has a high-pass filter, a high-shelf filter, two parametric filters and a low-shelf filter. What I didn't get is the similar pattern of the high-pass filter because it remained unchanged for the remainder of the mixing process and I should've done it differently with the rate level, noise pollution and display level, as with the other strings sections including the cello and the viola. In the parametric filter, the noise pollution level isn't modified on the decay pollution level because it could've been changed into an increased level making the EQ controls equal and stable in regards to rate, decay and display.

Lastly, the strings are all included in the track stack where it has a channel EQ and compressor built into said instruments. Differing from the separate instruments in their channel EQs, this one has a parametric filter and a low-shelf filter implying that it could take effect with its new sound through gain, centre frequency and bandwidth and it can increase the low-ends of the frequencies and shrink their cutoff levels entirely. I don't see a problem with the noise pollution levels because they both have a mix in the gain level being at +1.4 and -3.6 dB respectively amongst their display rate levels. In contrast to the individual strings in the EQ controls, the track stack features an increase in the gain level meaning that the sound will be a bit loud and comprehensible to the ears of the listener. To make its conclusion, some of the controls in the strings need a bit of enhancement that could be done alongside experimenting with the Phat FX and gaining levels because I want to see what the latter can do with the improved EQ controls amongst doing a few bits-and-bobs with the EQ controls that can interfere with the frequency levels on the cello, viola and violin.

Next, we get to the solo music instruments where there are two synthesizers and one grand piano entitled the Fast Talker, the processed Giant's Doorbell and a Steinway grand piano. The Fast Talker acts as the main riff to Xcuse my French whilst the Giant's Doorbell and Steinway piano are being featured in the last chorus. I have been adding in the Fast Talker in the bridge section, though it should've been in the majority of the song's production due to it originally appearing in the second verse until its outro.

Talking of the Fast Talker since this is under an Alchemy setting, I had to manually put in some plugins of my own featuring a channel EQ and a compressor. In the EQ, I have been attaching a high-shelf filter and a low-pass filter implying that the high-shelf can boost the high-ends of the frequencies whereas a low-pass filter can increase the low frequencies and reduce the high frequencies. Of course, I need to do something with the low-pass filter as my area of improvement because it needs to shrink its noise pollution level down a bit all the while joining it together with the high-shelf frequencies. Plus, the gain needs to be lowered slightly to make the sound of the instrument quiet. I could've been inserting some more plug-ins with the Fast Talker synth because I can add in a distortion plugin, a filter plugin or a reverb plugin to make it sound different while adapting to its understandable EQ control.

The Giant's Doorbell is the next instrument to have a solo melody line because this one has channel EQ, compressor, distortion, tape delay and reverb effects. According to the channel EQ of the instrument, I have been adding in a parametric filter and a low-shelf filter because I have mixed them with the decay level, the rate level and the display setting hinting that I am being aware of making a filter hiss in the instrument when I am increasing the parametric filter and decreasing the low-shelf filter on the decay setting. Also, the gain level is increased slightly for the sound to be louder for the listener to hear with its intelligible controls. I could've gone and done some modifications with the distortion, reverb and delay effects because the sound can be different from what it was before rather than only using the channel EQ and compressor on their own. In addition to the adjustments of the plug-ins, I should've been adapting the instrument's Q-Sampler in there due to switching up the sound differently in the modulation, amp, filter and enveloper controls if I have to.

Lastly, it's the Steinway grand piano and it has a channel EQ, compressor and tape delay built into the instrument. In its EQ, I have been adding in two parametric filters and joined them all together while trying to mix the noise pollution levels, rate levels and display stabilities without having to use white noise in the instrument. I have also been increasing the gain so that the sound will be louder and understandable for the listener to hear, but I need to have some more adjustments with the new sound of the grand piano like the ability to change the course of the tape delay effect or create a reverb effect with a bit of reverberation added in here instead of mainly focusing on the channel EQ and compressor.

Moving on to the drumbeat of the song, I chose The Blazing Hot drum machine because it has two compressors, two distortions, a pedalboard and two reverb plugins. This drum machine has an R&B vibe to it because it will fit the aggressive tone of my lyric writing and music production by modifying each of the plugins to enhance a comprehensible and grittier sound. For example, the Blazing Hot drum machine has an Enveloper plugin because I needed to switch up the gain, threshold, attack and release levels and the time controls to reduce its volume level. I have been amplifying the gain and increasing the output level a bit due to getting it loud and powerful for its new sound amongst the listener. But for my area of improvement, I needed to work on the Enveloper a little more by slightly maximizing the level of the Mass Finestra. This is because I want to let it go up to the desired amount of Mass Finestra deciding on how far the sound will go in the future. Also, the time controls need a little adjustment because the first one needs to have its gain increased a little more to match the second one going at 200.0 ms or below that level without getting a similarity.

On the channel EQ of the drum machine, I have been putting in a high-pass filter, a high-shelf filter, a parametric filter and a low-pass filter. The reason why is the high-pass and low-pass filter can increase the frequencies and reduce the others whilst a high-shelf filter would boost the high-ends of the frequencies and shrink their cutoff levels. The parametric filter on the other hand has the opportunity to change the sound of the drum machine with the gain, centre frequency and bandwidth too. In the noise pollution levels, I wanted the parametric filter levels to go up a bit because it will affect the gain, bandwidth and centre frequency of its sound whereas with the low-pass filter, I feel that the rate levels need to be lowered a bit so that it will join together with the rest of the frequency levels. On the horizon, the high-pass filter could've used some amendments in the display level because it is at 1.20, giving it a resemblance to the high-shelf filter setting at 1.00. It was then I have to change the display level gain next time and minimize it to prevent an equivalence between the two frequencies that are clashing together with the other frequency levels entirely.

At last, we come to the vocals and I have been recording them at Confetti and home before doing some editing on each of them. Each of the vocals has different settings in the lead and backup sections and I have been experimenting with the new sounds on every plugin following the recordings at home and college respectively.

In this example, my lead vocals in the verses are set in the Female Ambient Lead Vocal channel setting and it featured two compressors, a channel EQ, two reverbs and a DeEsser 2 plugin. I have been using the Limiter plugin because I want to minimize the levels of the volume by enhancing the gain level, release level, output level and Mass Finestra. This means that the levels need to be louder than an ordinary compressor because if I wanted to change one of the controls and produce a hefty one, I would have to work on that control and see if the sound is powerful and crystal clear enough for the listener to hear, otherwise, he or she will fall on deaf ears if my lead vocals sound quiet for the entire track. The mixed levels on the gain, Mass Finestra and output level are alright but as for the release, I could've gone and increased the levels slightly to try and keep my new sound lucid and comprehensible. This is because the Limiter is capable of lowering the volume levels of the track and I must have a slight increase with the release level to see if it makes a difference from what it originally sounds like.

Following from the verses are my lead vocals in the choruses because it is set in the Epic Diva channel setting, putting in a high-pass plugin, a channel EQ, a DeEsser 2 and a compressor. In the EQ, I have been attaching a high-shelf filter, a parametric filter and a low-shelf filter implying that either shelf can maximize the ends of the frequencies and decrease its cutoff levels in the process. The display levels in the EQ look similar and they're something I need to expand on because the high-shelf and low-shelf filters can be adjusted by decreasing the rate level in the former while also doing the same with the latter, albeit slightly to prevent the frequencies from tampering with each other. In terms of the gain, I have been turning the decay up to +3.0 because I wanted it to be louder and more understandable to the listener while trying to boost the frequency levels up a bit, affecting the sound of my lead vocals.

Next comes the backing vocals which all have a Classic Vocal setting added in there. This means that both of the same channels have a channel EQ, a compressor, a delay and a pedalboard. Both of the channel EQ controls are similar in the parametric filter and the low-shelf filter, so much so that the noise pollution levels, rate levels and display levels all familiarize with the tampered frequencies and they would cause the listener to lose his or her hearing whenever he or she listens to my backing vocals through the majority of Xcuse My French. What I should've done in the future is differentiate the channel EQ controls of the second backing vocal because each of the levels can be modified by lowering the display levels a bit on the low-shelf filter and increasing the rate levels slightly in the parametric filter.

Talking of backing vocals, they are featured in my Vocals track stack which contains a channel EQ and a compressor. In this channel EQ, I have added a low-shelf filter and a parametric filter and I have been sorting out the controls in the noise pollution levels, rate levels and display levels for a new and better sound. In addition to that, there's also the increase of the gain level where it can maximize both of the frequencies and make them louder for the listener to hear while adapting to its intelligible sound. Amongst all of that, I wish I could expand some more into the backing vocals with an extra plugin and a channel setting for each of them because it would make a difference if I can add in a filter, distortion, reverb, modulation, multi-effect or an amplifier while making use of its new channel setting. It would be nice if I like to add a channel setting in future for the next song on this album if I were to add in a track stack filled with vocals again, otherwise, it will never be attached to the vocals for a different and better sound.

Finally, we got the adlib vocals that appear in the final chorus of the song. This one has a Live Performance channel setting which contains a high-pass effect, channel EQ, compressor and DeEsser 2 plugins. In the EQ, it has high-shelf and low-shelf filters while also putting in a parametric filter changing the sound of the gain, bandwidth and centre frequency. The noise pollution levels are mixed well among the rate levels, however, it comes down to a similarity with both the high-shelf filter and the low-shelf filter. For my area of improvement, what I want to do is lower the display levels a bit so that I can prevent myself from bearing indistinguishability to the rest of the frequencies through the course of the vocal production. Plus, I need to increase the gain level slightly because I want it to be a little loud for someone to hear my vocals properly. Even if I can make adjustments with the frequencies in this EQ in terms of the noise pollution level, display levels and rate settings, it will still sound better with those things when the increased gain level is there, or else they will sound the same without it.

In the mixing process on Logic Pro, I have been spending a few days getting the editing done independently by controlling the mix levels on the instruments and vocals. This is because I wanted them to be stable in hopes that I will get the final mix of Xcuse My French done for the In Teknikolour album. There are some bits and pieces that need a few modifications with the mixing levels such as the strings track stack that are clashing together with the frequencies of the Fast Talker (some of the strings also have equivalent volume levels) and the Blazing Hot drum machine interfering with the frequencies together alongside my vocal track stack. Those two things need to be improved by changing the sound of the plugins included in the instruments and the vocals because I cannot let those frequencies take damage to the ears of the listener if it's not done the way I wanted to be.

For this music production, I want to attach an automation feature because I can fade out the instruments and vocals without the chorus repeating four times and ending the song here. The automation feature took a couple of minutes for me to sort out the volume mixing levels of the instruments and vocals that were recorded and edited in the production due to a decision to not finish it there in the fourth and final chorus of this song, therefore putting in a fade-out as it gets in the fourth one.

In closing, I have finished the mixing process of Xcuse My French on my own with little to no support needed. The reason why is in most of the instruments and vocals, I was fully aware of the frequencies and white noise on every single one of them when I'm sorting out the plugins that came with those musical instruments and vocals throughout. A few of them have experienced some falters along the way, but above all that, I did the music production, editing, mixing and mastering by myself without help from other people.

Today, I have been producing and editing my final track from In Teknikolour called Such Vibrant Colours I See. Using Logic Pro, I have compiled a series of electronic and classical instruments including the Auten Road Interaction Bass, some harpsichords and the Chime lead synthesizer. The reason why I chose them is I want to make a different sound in each of the instruments using multiple plugins to differ from what it sounded originally.

The Auten Road Interaction Bass synthesizer has a flanger effect, an overdrive effect, a channel EQ and a compressor. In its channel EQ, I have been sorting out the EQ controls and added in a high-shelf filter and parametric filter because they can boost the high-ends of the frequencies and reduce its cutoff levels while differentiating the sound by changing its gain, centre frequency and bandwidth. As you can see, the mixed noise pollution levels are mixed between -4.0 dB and +2.2 dB because I don't want to create a similarity that'll damage the ears of the listener. The different display rates are also there along with the rate levels (Hz) that join together with the high-shelf and parametric filter. The gain is turned down to -1.3 dB because I need the decay to lower itself and prevent it from getting distorted, letting the compressor come in when it reduces the sound level.

The bass synthesizer also includes a flanger effect because it can change the modulation of its sound by modifying the controls of the rate, intensity, feedback and rate settings in the plugin. To give an example, the rate level is slightly turned up at 1.233 Hz, the intensity level is raised at 47%, the feedback level is turned down to -29% and the mix level is increased to 57%. This is because the flanger plugin can pick up two identical signals simultaneously, therefore incorporating a chorus effect into the instrument itself. As an area of improvement, I need to double-check the mix levels because it could've been turned down at 45% to avoid overpowering the audio signals of the flanger plugin. The feedback level can also do the same except it'll be slightly turned up at -12% instead to prohibit the overcapacity of the signals.

Next, we move on to the Overdrive effect due to amplifying its distortion level on the bass synthesizer. In this example, I have been changing up the tone, drive and output level of the Auten Road Interaction Bass because I wanted it to create a warped and twisted sound that will differentiate from what it originally sounded like. However, I could've been checking out the drive in the overdrive controls as it has a similarity to the plugin. Because of this, I want it to be turned down at a slight pace to 12.50 dB due to affecting its distortion effect with its twisted and broken sound, giving me the chance to modify the drive levels and not have a lot of power in the distortion level.

Lastly, there is a Sampler channel plug-in where I can adjust the enveloper levels in the modulator section. This will allow me to enhance the new sound of the Auten Road Interaction Bass and sort out the velocity controls to incorporate a comprehensible sound for the listener. I have also been changing the LFO because I want the sound waves to stretch it out in the rate levels, going up at 11.0 Hz. In future, I need to think about changing up the levels of the envelopers because I couldn't stick with the ADSR setting on both of them. What I need to do is modify either one to a new setting so that it can differ the new sound of the instrument while keeping at its understandable EQ and compressor levels i.e. if I change it to AD, AR, AHDSR, DADSR or DAHDSR.

The Atmospheric Noise Pad has a reverb, compressor and channel EQ because while it can pick up an intelligible sound through the frequency levels and the compressor levels, it can also have a reverb effect, presumably the ChromaVerb plug-in. In the EQ, I have been putting in a high-pass filter and a parametric filter because the high-pass can increase the high frequencies and shrink the low frequencies whilst trying to adjust its sound using the gain, centre frequency and bandwidth. Both filter levels have a mixed decay setting, different rate levels and distinguishable display levels because I am aware of making them sound different to one another without the frequencies clashing against one another. In my area of improvement, I need to turn up the gain a little bit because it can maximize both the frequencies in hopes of increasing its intelligibility with its new sound e.g. +0.8 dB, +1.4 dB.

In the Q-Sampler built-in of the Atmospheric Noise Pad, I have been modifying the controls of the pitch, filter, modulator and amplifier. This is because I need the sound to be wobbly through the coarse and guide levels to make it sound distinguishable from the rest of the synthesizers. Meanwhile, the filter built-in blends between the increase of the cutoff and drive and the decrease of the resolution because it can also have an indistinct effect while incorporating the unsteadiness of the pitch levels midway in. On the flip side, the pan levels are in a slight mono setting due to it being on the left-hand side. Sadly, it didn't do as much as I wanted it to turn out and thus, I want the pan levels to turn it down a little more so that the Atmospheric Noise Pad will have a mono sound in its unstable pitch effects without doing too much on the panning.

The harpsichords are the first of two-track stacks and the only track stack full of musical instruments in the music production because they contained three processed harpsichords (Almost Harpsichords) with multiple different plugins on each of them aside from a channel EQ and compressor. This is because I wanted to try something different by experimenting with several plug-ins and making a different sound with every processed harpsichord I have to edit.

First of all, the first harpsichord has a channel EQ, compressor and step FX built into the instrument; notice how the EQs will look and sound different on the other two harpsichords. This one has a parametric filter and a low-shelf filter meaning that the sound can make adjustments by using the gain, centre frequency and bandwidth while it can maximize the low shelves of the frequency and reduce its cutoff levels. Meanwhile, the decay levels are mixed between +1.9 dB and -2.2 dB to prevent the frequencies from causing an interference with the listener's eardrums. The gain level also has a boost in the frequencies because I want them to be a bit louder while keeping at their comprehensible tone for the listener. However, the rate levels need some adjustments because I need to balance them out by joining the parametric and low-shelf filters together to incorporate a quiet and distorted effect. Also, the similarities with the display levels can interfere with the frequencies due to them taking damage to the listener. The same can be said for the other harpsichords which have a similar problem.

In the step FX of the harpsichord, I have been controlling the levels of the plug-in by expanding the modulator, filter, delay, reverb and master volume. This is because I need this built-in to affect its different sounds by alternating each control in terms of modulation, filter, delay and reverb. In the filter level, I need to change the low-pass setting from Edgy to something different because I want it to be at its Creamy setting to try and match up with the setting of the synth pad with some changes to the cutoff, resolution and mix level. The delay setting also needs to lay down some modifications by incorporating an echo effect into the instrument so that I want a bit of delay. The reverb, step modulator and master level all need sorting out because I need to create a little reverberation in the harpsichord while trying to adjust its depth and rate levels into the step modulation effect. The same can also apply to the other harpsichords with slight changes.

Next is the second processed harpsichord which has a channel EQ, compressor and limiter. The channel EQ has a mixed decay level and a decreased gain level, minimizing the frequencies for the listener's ears, but it also has a similar problem with the rate levels and display levels because the interference with the frequencies can take damage the listener as well.

The Limiter plugin can reduce the peaks of the sound because I have been doing something with the gain, release output and lookahead (mass Finestra) controls by turning the three of them up with a slight decay increase in the output level setting at -2.4 dB. What I could be doing in the future is turn one of them down, preferably the gain, because I can turn it down at +6.8 dB. This is because I can shrink the pinnacles of the instrument and make sure that it'll be powerful enough for the listener to hear. If not, I can turn it up to +8.0 dB and double-check the gain level to see if it's loud or not.

Finally, we have the third processed harpsichord and like before, it has a channel EQ and compressor, but it also has a different dynamic plugin. Once again, it has a parametric filter and low-shelf filter implying that the sound will change using the gain, centre frequency and bandwidth while also increasing the low shelves of the frequencies and reducing its cutoff levels. The noise pollution levels are stable for both of those frequencies and the boosted gain will maximize the frequencies at +0.8 dB, prohibiting them from getting a distorted sound. Additionally, the rate levels and display levels differ from the previous two harpsichords and their frequencies alone because according to the parametric filter, the rate level is set at 580 Hz whereas, with the low-shelf filter, it is at 1140 Hz. Meanwhile, the display levels are at 0.98 and 0.25 respectively. This means that for my area of improvement, I need the display level of the parametric filter to go up to 1.34, shrinking that filter in the hopes that it can affect the new sound of that instrument.

In the Expander built-in of the processed harpsichord, I have been sorting out the gain, attack and release, threshold, ratio and knee controls because the Expander will help me enlarge the range of dynamics, giving me time to expand on what I can do with a different sound comprehensibly without overpowering the levels of the instrument. According to the expander plugin, the threshold, ratio, gain and knee levels are turned up and they can produce an understandable sound for the listener. But, the gain and knee levels need to be modified because they are turned up to +8.0 and 0.8, spotting a likeness with both of them. I would have to go back and make some improvements with the gain and knee controls in the course of turning them down to +4.5 and 0.6 respectively. The reason why is that it will quieten the range for the listener to hear that instrument being played over the other ones in the music production.

Last but not least is a track stack that featured all of the three processed harpsichords together. It has a channel EQ, compressor and Chromaverb built-in meaning that while I improve this original sound of the instruments, I want to incorporate a reverb plugin as well due to putting in a reverberation effect that can create a delay effect under a different setting. In the channel EQ of the track stack, I have attached a high-shelf filter and parametric filter because the filter can enlarge the high shelves of the frequencies and decrease its cutoff levels whilst the parametric filter can change the course of this sound by adjusting the gain, centre frequency and bandwidth. The varied decay level, rate level and display level are stable enough due to forbidding white noise in the instrument if the frequencies clash with each other. As for the gain, the frequencies are getting smaller and they are slightly getting quiet across a different sound, setting at -1.5 dB.

In the Chromaverb built-in, I have been adjusting the controls of the reverberation so that I want those harpsichords to have an echo generated through the feedback. What I did is change the reverb setting to Smooth Space because I need to switch up this effect by sorting out the frequency, ratio and quality levels on the parametric and low-shelf filters with different varieties. The dry and wet signals are half and half respectively whilst the decay level is turned up at 0.63, however, I could've gone and sorted out the controls of the size, density and distance levels because in the size level, I want it to be set at 88 and the density level needs to lower at 32. The distance level also needs to be adjusted because I should've been setting this thing to 45, therefore alternating the sound of the reverb on all harpsichords without having too much of it.

The violin section has a tremolo effect because they can play rapid-fire notes to build up tension at some parts in the chorus and outro. In this section, they have a channel EQ and compressor with no other plug-ins. This is because I can control the frequency levels in the filters and I can reduce the dynamics of the compressor, producing a different and lucid sound in the process. What I need to do is add on a reverb plugin because I want them to have resonance in this reverberation, creating a bit of an echo through the feedback. Also, it needs to have an imaging built-in due to switching up the panning of this sound, deciding if I want them to be in stereo or mono e.g. Binaural Post-Processing, Direction Mixer or Stereo Spread.

Staying on topic with the plug-ins, I have been adding in a parametric filter and a low-shelf filter on the channel EQ insinuating that I will change up the sound of the filter using the gain, centre frequency and bandwidth controls whereas I can boost the low-shelves of the frequencies and lower its cutoff levels. In the EQ, I have been mixing the controls of the rate level, display level and decay level because I want the violin section to be stable by turning either level up or down, adjusting to the new and comprehensible sound for the listener. The gain is also there due to decreasing the frequencies on this EQ meaning that they can be cut out and get them removed. Considering that the high-shelf filter is there, I could've sorted this thing out as well in terms of rate level, display level and noise pollution level. I can picture myself doing it with a decreased display level, a maximized rate level and a slight increase in the decay level.

The Chime Synth lead synthesizer has a channel EQ, compressor and Chorus plugins allowing me to modify the frequency levels and adapt its dynamics in the compressor of this sound, while also incorporating a modulator in the instrument. With the Chorus effect, I can sort out the rate, intensity and mix levels so that the synthesizer can have a vibrato effect. I need to work on that plug-in next time because I want to modify the controls of the modulation effect by sorting out the rate, intensity and mix levels if one of them needs to be turned up or down to create a vibrato effect with this sound.

The channel EQ of the Chime Synth lead synthesizer has low-shelf and high-shelf filters while also attaching two parametric filters into the plugin. Again, the shelves of the filter will boost the end of the frequencies and omit their cutoff levels whereas the parametric filters can change the sound by sorting out the gain, centre frequency and bandwidth. According to the rate levels, display levels and decay levels, they are steady altogether implying I can turn each one of them up or down to avoid generating a white noise in the instrument and also to not tamper with the frequencies and do harm to the eardrums of the listener. The gain is set at -3.1 dB because it can remove the frequencies with the shelf filters and the parametric filters entirely, though it needs to be slightly increased to -1.4 dB due to not omitting them a lot in the mixing strategy.

Next up is the Digital Basic plug-in (or DgBasic for short) which came with the Chime Synth lead synthesizer. In this plug-in, I have been amending the controls of the Chime Synth and its sound by sorting the volume, timbre, harmonics, voices and attack and release levels by increasing or decreasing one of them. I chose to sort out the volume because I want it to be set at -9.5 dB and expand the rest of the controls to affect the sound of this instrument. Of course, I could've been experimenting with the Digital Basic plug-in more since I want to only enlarge the volume level of this sound.

The Below the Surface piano is a processed musical instrument that contains a tape delay, channel EQ and microphase plug-ins. For this substitution, I swapped out a tape delay effect for a compressor effect because it will reduce the levels of the dynamics when I am producing a new sound.

On the EQ of the Below the Surface piano, I have been attaching a high-pass filter, two parametric filters and a low-shelf filter respectively. The high-pass filter can boost the high frequencies and decrease the low frequencies whilst the parametric filters can change their sound because I can amend the gain, centre frequency and bandwidth there. Meanwhile, in the low-shelf filter, it can enlarge the low shelves of the frequencies while reducing their cutoff levels. The rate levels on the high-pass filter and the parametric filter are similar to each other because there is a chance that the frequencies would interfere with themselves and lose the hearing of the listener, fabricating a white noise into the instrument. I could've been adjusting either one by turning it down on the high-pass filter while the parametric filter needs to be turned up at the slightest. As for the display levels, all filters need modifying by either enlarging or shrinking them in hopes that it will not create a filter hiss in the instrument, taking effect on the hearing of the listener negatively. In the gain level, it is set at +5.0 dB because it will increase the frequencies and add them in there to build on its intelligible sound. However, it needs to be turned down slightly at the level of +2.5 dB because again, I can't have too many of those frequencies affecting the new sound when this instrument gets mixed and mastered.

In the Microphaser built-in, I have been sorting out the rate and intensity controls by turning them up to 0.86 Hz and 29%. The reason why is I want to create a phaser effect into the Below the Surface piano so that it will have a modulation element when the instrument is phased on this sound. Furthermore, I didn't do anything with the feedback because this is something that needs expanding when it comes to incorporating a phaser sound on a processed piano. For example, I could've gone and turned it up to 56% for a bit of phasing in the instrument or I have to turn it down to 37% if I want to have a little phase. I don't want it to have too much phasing in a different sound, otherwise, I'll have to make some adjustments to the controls for next time.

After recording and editing the musical instruments, I have been adding some sound effects to the music production. The reason why is they are used for building up to each section of the song, especially when they get to the intro, final chorus and outro as a way of putting in hype amongst the listeners. Sound effects consist of risers and boomers that occur throughout some of the sections featured in the song insinuating the listener's excitement when one part of the structure comes in. In the sound effects, I've been putting in a channel EQ and compressor because I can use this EQ to expand on its sound, making it perspicuous using a different filter while using the compressor to shrink the dynamics of it. In addition to the channel EQ and compressor, each sound effect has an extra plugin that includes distortion, filter, Exciter and Phat FX, experimenting with them in the mixing process of the song.

The first sound effect, the Altered Machinery Riser, has channel EQ and distortion effects meaning that I can control the EQ levels and make a crystal clear sound to the effect and while doing that, I can fabricate a broken and twisted element by adding in some distortion, aka the Bitcrusher. In the EQ itself, I have been inserting a parametric filter and a low-pass filter because a parametric filter can switch up its sound if I control the gain, centre frequency and bandwidth whilst the low-pass filter can grow the low frequencies and minimize the high frequencies. Both of them have stable levels via decay, rate and display because I have been controlling them to avoid getting a filter hiss in this sound effect. The gain also has a slight increase due to it enlarging the frequencies on both filters, turning up the volume of this sound.

Then, we get to the Bitcrusher distortion plug-in because this one has drive, resolution, downsampling and mixing controls to adjust the sound and produce a warped effect on it. In this plug-in, I have been turning up the drive and resolution levels to 17.0 dB and 8 bit respectively because I want the sound to have a little distortion in the Altered Machinery Riser effect. Although the downsampling and mix levels remain unchanged, they will be expanded upon if I can turn down the mix levels and turn up the downsampling controls. This is because I can amend this sound by incorporating a distortion effect into the controls while making it quiet at 5x on the downsampling level and 69% on the mixing level.

The next sound effect is the Downward Crash Riser that appears midway in the bridge, building up to the song's final chorus where all the instruments are omitted from the production before the repeat. This sound effect has a channel EQ, compressor and filter under the EVOC 20. In the channel EQ, I have been attaching the high-pass filter and the parametric filter because the high-pass filter can increase the high frequencies and shrink the low frequencies while the parametric filter can change the sound by amplifying its gain, centre frequency and bandwidth levels. Again, the display levels and decay levels are stable for me to prevent getting white noise from the sound effect as with the gain that can remove both frequencies in there, however, I need to think about changing up the rate level of the high-pass filter because it will affect the sound if I join it together with the parametric filter.

In the EVOC 20 Track Oscillator, this filter plug-in will let me alternate the sound by amplifying the controls of the formant as well as the sine waves, U/V detection and attack and release levels. This is because the filter will generate a twisted effect in the Riser FX, therefore adjusting the controls of the rate levels by increasing the filter levels from 120 Hz to 6100 Hz in-between before I do something about the sensitivity levels and the LFO. In the Mass Finestra which is set at 25dB, I want to give it a slight increase in the stereo width as my area of improvement because judging from the setting itself, I need to have a bit of filtering in this sound and not all of it by boosting that level at 0.76. This will give me a good time for this filter to slightly amp up the mixing levels of the sound effect once I turn the stereo width to 0.76 without it being too loud.

Next up is the Deep Space Boomer sound effect inserting channel EQ and distortion plugins. This insinuates that I can enhance this sound effect by incorporating a coherent sound without having to make those filter hisses in the effect whereas I could add in a warped and broken effect, distorting the sound by sorting out its drive and tone controls midway in. Appearing in the final chorus following the Downward Crash Riser build-up, I have been inserting the high-shelf and parametric filters in the channel EQ because the high-shelf frequencies can raise the high shelves of the frequencies and minimize their cutoff levels whereas the parametric filter can change up the sound of the sound effect by sorting out its gain, centre frequency and bandwidth. Like before, the rate levels and decay levels are steady when it is trying to avoid a filter hiss generated from the EQ, but the display levels need to be improved as they are set at 1.00 and 1.20 respectively in both of the filters. In future, I need to focus on shrinking either rate level of the filters so that it will not incorporate white noise into the sound effect, damaging the listener's ears if not done properly. For example, the high-pass filter should be at 0.67 whereas the parametric filter can go down slightly at 1.00.

In the distortion plug-in of the Deep Space Boomer sound effect, I have been adjusting the drive, tone and output levels because I want this sound effect to make it sound broken and warped by controlling either level of the built-in. For instance, the drive level is set at 21.0, the output level is at +5.5dB and the tone is set at 1300 Hz due to the sound distorting from what it sounded originally, incorporating a twisted effect in the process. The only gripe I have with this distortion built-in is that I think the drive and tone are a little too much from what I was looking for. Because of this, I need to decrease the drive and tone levels to 17.5 and 690 Hz due to getting a bit of distortion and not having too much of it whilst the output level stays the same.

The Alarm Synthesis Riser sound effect has a linear EQ, compressor and Exciter built-ins because it differentiates from the other sound effects that have distortion and filter effects in the music production. With this sound effect inserted with the Exciter plugin, I can make some adjustments to the frequencies and harmonics levels due to creating an influential but distorted sound with the Synthesis one. Moving along, I have been attaching the low-shelf and parametric filters to the linear EQ because the low-shelf filter can increase the low shelves of the frequencies and shrink their cutoff levels and the parametric filter can amend the sound of the Synthesis Riser by adjusting its gain, centre frequency and bandwidth. In terms of rate level, noise pollution level and display level, I need to be aware of creating a filter hiss into the sound effect because they are looking balanced in the mish-mash of turning each one of the filters up or down without having white noise put into the sound effect, causing ear damage to the listener. The increased gain is maximizing the frequencies of the filters because I need them to be louder without having a lot of clipping and distortion inserted in them.

As for the Exciter built-in, I want to amplify its frequency levels as well as the harmonics controls for me to affect the sound of the Synthesis Riser. The reason why is I need to make the frequency levels go up at 2000 Hz and the Harmonics level will be set at +12.5%, making the high-pass filter pass through with distorted and dry signals incorporated into this plug-in. Although, the Harmonics level needs to be turned up a little more to +21.8% to increase the Synthesis Riser sound effect whilst the frequency levels need to be at 3500 Hz simultaneously.

The last sound effect is the Boomer FX because this one has a linear EQ, a compressor and a Phat FX, once again trying to distinguish it from the other sound effects that have distortion and filter plug-ins. In the linear EQ, I have been adding a parametric filter and a low-pass filter because the parametric filter can amplify the sound of this boomer in terms of gain, centre frequency and bandwidth whereas the low-pass filter can enlarge the low frequencies and reduce the high frequencies. In the rate levels, display levels and noise pollution levels, I have been trying to keep them balanced without them creating a filter hiss in the background because it can take damage the listener if they are unstable. To do this, I have been turning either one of them up or down to avoid creating a white noise that'll harm someone who hears the song. But what I also need to do is increase the gain in this EQ to +0.7 dB as an area of improvement because it will boost the frequencies and prevent them from getting clipped and distorted.

In the Phat FX built-in, I need to affect the sound of this sound effect by changing the modulation levels, bandpass controls, compressor, distortion and filter. To do this, I have to turn either one of them up or down so that it will change the course of this sound by filtering this effect, increasing the bass or by making a twisted and broken element to it. In the distortion levels, I have been changing the settings Scream, Squared and Grit respectively because I want it to have an intense tonality with the effect adding to its raw sound quality before adjusting them to 40.7%, 57.6% and 21.3% on each of the three settings simultaneously. The filter is set at a 24dB Rich setting because the levels vary from the cutoff, resolution, drive and mix in the controls, fabricating a filtered tone to the sound without having lots of it incorporated in there. As for the bandpass, it is in a classic setting but I didn't do anything with the amount of Hz in this one aside from the altered low and high resolutions and reject mix controls. In the future, the amount of Hz needs to be turned up to 230.5 Hz on the low level and the high level needs to be decreased to 5000 Hz, making sure that they have a bit of filtering in this sound effect and not loads of it majorly. The compressor also needs improving because they have similar levels in the amount and release whereas the compressor setting is left unaltered. I could've tried to amp up the compressor amount a little more at 12 dB while the release needs to be minimized at a Mass Finestra of 90 m/s. The distortion and filters also need some amendments due to it having a lot of distortion and filtering in the mixing process of this song and it's not how I wanted it to sound in the final mix.

Finally, we have the sound effects set into one track stack because I have been inserting a linear EQ and Multipressor plug-ins. According to the linear EQ, I have been putting in a low-shelf filter and parametric filter because the low-shelf filter can boost the low-ends of the frequencies and reduce the cutoff levels from them whereas a parametric filter can switch up the sound of this track stack by modifying the gain, centre frequency and bandwidth of this effect to create a lucid and coherent tone. The gain is also there being dropped to -1.1 dB because it will remove the frequencies and forbid the distortions and clippings from generating into the track stack. The noise pollution levels and the display levels are balanced steadily because I turned each one of them up or down to avoid getting a filter hiss in the background. However, the rate levels on the frequencies need to be adjusted due to the setting at 78.0 Hz and 94.5 Hz individually. What I need to do in the future is modify the rate levels by increasing the high-pass frequencies at 120 Hz whilst the parametric filter will drop to 62.7 Hz. This is because I want to avoid creating a filter hiss in the sound effects without them taking damage to the ears of the listener.

Lastly, we have the Multipressor plug-in of the track stack because I can modify the four frequency signals for me to increase the amount of compression on those sound effects. For example, I have been alternating the gain by turning either one of them up or down whilst trying to take control of its crossover levels and its make-up levels. This means that it will start to increase the compression of this track stack effect on all four of the frequency signals, but I also have been adjusting its lookahead effect as well as maximizing its output level setting at 6.200 m/s and 6.4 individually. What I need to look into is how I can get the first two frequency signals to turn them down and adjust the other controls that contain a threshold, ratio and attack and release levels because even with the maximized output and lookahead levels, I want to increase and decrease the levels on the two frequency signals, affecting the compression of the track stack without having them go overboard.

The Metallic Edges drum machine has a channel EQ and a compressor because while I make the sound comprehensible by adding different filters with the EQ, the compressor will allow me to shrink the levels of the dynamics for me to sort out the controls of the threshold, gain, make-up, attack and release and ratio. In the channel EQ, I have been putting in high-pass and low-pass filters and a parametric filter because no matter which filters I use to let the frequencies go through while the rest of them are minimized, either filter will be boosted and the other frequencies will be reduced. The parametric filter, however, will enhance the quality of sound by changing the gain, centre frequency or bandwidth. On the rate levels, noise pollution levels and display levels, they have mixed levels modified in each of them so that it will not create white noise in the drum machine. The gain is also altered to +2.3 dB because it will increase the frequency levels, omitting a chance of getting them clipped or distorted.

In the compressor of the Metallic Edges drum machine, I have been modifying the controls of the threshold, ratio, make-up and attack and release sections. This is because I want to reduce the dynamic levels of the sound in order to amend its coherent tone just by sorting out the controls of the threshold, ratio, make-up and attack and release levels without doing too much of it. I had the auto gain switched up to 0dB because it will allow me to turn either one of the controls up or down while being careful of those levels when they overpower themselves. In future, I need to sort out the auto gain by switching it off before alternating the controls of the compressor. The reason why is because I want to experiment on this compressor section and think about what the drum machine sounds like understandably without using the auto-gain in this feature.

Individually, I was using the channel EQ and compressor for each of the parts located in the Metallic Edges drum machine due to generating an intelligible sound for every filter while also trying to shrink the dynamics level upon the main volume control. Drum sections including the kick, sub, tom, snare, rim and other effects featuring clapping, snapping and percussion are modified into different sections, each with a different volume level in the mixing strategy. This is because I want to try and differentiate the mixing in all of those sections one by one, but some of them will have similarities that can damage the listener's ears if they're not finished correctly, but they will be laid out as areas of improvement when I sort them out for next time.

For example, the channel EQ of the kick drum on the Metallic Edges drum machine has a low-shelf filter and a parametric filter. The low-shelf filter has the capability of boosting the low-ends of the frequencies and dropping its cutoff levels whilst the parametric filter can change the course of the sound by alternating its gain, centre frequency and bandwidth levels. In terms of level, the mixed rate levels, noise pollution levels and display levels are balanced because I am being careful in forbidding the white noise from generating in the drum machine. The decreased gain is set at -0.1 dB, but it didn't do much with the removed frequencies. Because of this, I will learn to turn it slightly down at -0.5 dB because it will not get a clip or distortion of the sound if I drop the gain a little bit.

Second of all, the channel EQ of the kick sub on the drum machine has a high-pass filter and parametric filter this time around. This is because the high-pass filter can increase the high frequencies and diminish the low frequencies while alternating the sound using gain, centre frequency and bandwidth. As with the kick drum, it has a varied rate level, noise pollution level and display level because I want them either turned up or down to avoid getting a white noise in this one as well. The difference here is the gain due to this one going up to +0.8 dB and it will boost the filter levels and frequency controls without the consistency of fabricating a clipped or distorted effect. Notice how the display level is left intact because I didn't do something about it and it will go on for the rest of the drum parts, except for the percussion FX. What I need to do is think about sorting out the display levels due to causing similarities with the frequencies and it will attack the listener's ears if they interfere with each other.

The Metallic Edges drum machine has three snare drums that go along with the kick drum and kick sub, but because the second snare is less prominent, I'm only going to concentrate on looking at the first snare drum in the channel EQ since it has an additional compressor. Again, this one inserts a low-shelf filter and a parametric filter because it can maximize the low-ends of the frequencies while amending the sound of the snare by using the gain, centre frequency and bandwidth. Like the other two drum sections, the rate level, noise pollution level and display level vary because I am turning each one of them up or down to prohibit from making white noise in the process. The gain this time goes down at -1.0 dB, removing the frequencies so that the clipping snd distortion don't get the way of the snare's new and coherent sound. In my area of improvement, what I need to do differently is to let both the low-shelf and parametric filters come together because they will affect the snare's sound. Of course, it wouldn't make a difference if I move them simultaneously, so an alternative way to change up its sound is to move the gain down to -1.5 dB instead.

Moving on, we have the rim drum which contains a channel EQ and compressor. In this channel EQ of the rim, I have been adjoining the high-shelf and low-pass filters because I want to swell the high-ends of the frequencies and reduce their cutoff level whilst trying to let the low frequencies pass through increasingly and shrink their high frequencies. According to the levels, they are feeling balanced under the decay and rate levels, but I need to check out the display levels because they go at 1.50 and 1.00 respectively. To improve on this, I need either the high-shelf or low-pass filter to move the display level down a notch so that they will not make an impact on the frequencies. Doing so will cause damage to the listener's ears and they must be differentiated from one another without getting hearing loss from someone who listens to Such Vibrant Colours. Still, the gain is decreased to -1.0 dB but it can also be altered due to turning it down slightly at -3.0 dB without creating an equivalence to the gain on the snare drum.

Penultimately, we have the snap sound effect which also includes a channel EQ and compressor. In the EQ, I have been inserting the high-shelf and parametric filters which again, can increase the high-ends of the frequencies and minimize its cutoff levels and adapt a new sound by making adjustments to the gain, centre frequency and bandwidth. Once again, I have been mixing the rate levels, display levels and noise pollution levels because I have been turning either one of them down or up to generate stability while avoiding creating white noise in this effect. The gain is decreased to -1.6 dB, affecting the sound by removing the frequency levels of the low-shelf filter and the parametric filter. In future, I want the rate level of the parametric filter to move up above 1000 Hz so that it will separate from the low-shelf filter e.g. if I go around 2700 Hz or 4300 Hz.

At last, we have the percussion sound effects which once again, have a channel EQ and compressor added in there. Since the two differ in the EQ levels, I'm going to solely focus on the claves. In this one, I have been putting in a high-shelf filter and a low-pass filter meaning that it will enlarge the high-ends of the frequencies and shrink its cutoff levels whereas a parametric filter can make adjustments to the gain, centre frequency and bandwidth amongst affecting a different sound halfway in. The rate levels and noise pollution levels are well-balanced in this new sound by turning either one of them up or down with each control as with the display levels, but I think that the display level (1.60) on the low-pass filter is a bit too much because I'm wondering if I can slightly drag up the display level to 1.20 and differentiate with its coherent sound. The gain this time is decreased to -2.3 dB because it will start to remove the frequency levels in both the high-shelf and low-pass filters and it will also slightly shrink the sound of the claves simultaneously with the usage of its compressor plug-in.

Finally, I have been recording and editing vocals for Such Vibrant Colours I See. The vocals were recorded at Confetti before I did some editing on Logic Pro. This is because I had to warm up my vocal cords and practice the song before the vocal parts get recorded here. Technically, the lead vocals were recorded first before I did the backing vocals because the two of them are done manually by inserting the channel EQ, compressor, limiter and DeEsser 2 plugins simultaneously. However, both of them look similar with the EQ and limiter levels because I can't help but fear it could cause interference with the frequencies and take damage to the listener and his/her eardrums. Because the two lead vocals are similar to each other, I'm going to break them down individually and see what needs improving.

The lead vocals in the verses are up first and they have a channel EQ, compressor, limiter and DeEsser 2 plugins with no setting. In the channel EQ, I have been adding a high-shelf filter and a parametric filter because they change up the high-ends of the frequencies and reduce its cutoff levels while switching up the sound by using its gain, centre frequency and bandwidth. The noise pollution levels are set at +3.5 dB on the high-shelf filter and -1.6 dB on the parametric filter whereas the rate levels are set at 73.5 Hz and 2480 Hz respectively. The display levels on the other hand are set at 1.00 and 0.20 individually on both filters while the gain is set at +2.3 dB, therefore boosting the frequencies on both filters in the EQ without a clip and distortion.

The same thing can apply to the lead vocals in the choruses because they both share the same frequencies. This is because they are equivalent to what I did with the lead vocals in the verses with the compressor, channel EQ, DeEsser 2 and Limiter plugins at the same time. I should've done it differently by adjusting the rate levels, display levels, noise pollution levels and the gain level because although the lead vocals in the choruses sound the same as the lead vocals in the verses, they needed to be modified differently than what the verses are going to sound like to avoid the frequencies from clashing together.

For instance, the display levels should be at 0.73 and 1.25 on the high-shelf and the parametric filters, whereas the rate levels on the high-shelf filter need to be at 94.7 Hz. This is because I need to move the rate levels of the high-shelf filter up while shrinking the display level down a bit. The noise pollution levels also need alternating due to them being set at +5.6 dB on the high-shelf filter and -2.8 dB on the parametric filter. Not to mention the gain needs to go down at -1.4 dB because, in comparison to the lead vocals in the verses, the gain at -1.4 dB will remove the frequencies in both filters without creating a clip or distortion midway in the vocal production.

The next thing I attached here is the limiter because it can reduce the peaks of the dynamics when it affects the sound of my vocals accordingly. As you can see, both of those limiter plugins are similar and they must make a few adjustments. As an example, the gain is set at +5.5 dB, the release levels are set at 250.0 m/s (Mass Sinestra) and the lookahead is set at 6.3 m/s (Mass Sinestra). This is because the peaks of my vocals need to be coherent and consistent for the listener to hear. However, I didn't change the output level because I don't want to put it there with the rest of the controls whilst turning them up or down. Furthermore, what I should've done is make a few modifications to the plugin because I can imagine the output level going at +2.7 dB whereas the gain level needs to be turned down a little more to -4.5 dB. This is because I want to enhance those vocals by alternating the levels differently so that the frequencies won't tamper with the ears of the listener.

Next are the backing vocals which were also recorded and edited at Confetti. Unlike the lead vocals which have no vocal setting, these vocals have a bright vocal setting implying that they have a channel EQ, compressor, Exciter, and delay effects under the stereo delay and tape delay plugins correspondingly. This is also the third track stack to be inserted in the music production altogether. In the channel EQ of the first backing vocal, I have been putting in a high-pass filter and a parametric filter because the high-pass filter can increase the high frequencies while minimizing the low frequencies while adjusting the gain, centre frequency and bandwidth of this sound. Notice how I did it differently from the lead vocals because the first one has stability with the rate levels, display levels and noise pollution levels, avoiding filter hiss through the backing vocals. The gain is also decreased to -2.5 dB because it can remove the frequencies of the two filters entirely omitting the fabrication of a clip and distortion.

In the second backing vocals, the controls are causing familiarity with the first backing vocals aside from the enlarged gain where it will amp up the frequencies on both filters altogether removing a clip or distortion there. What I need to do is adjust the rate levels, display levels and noise pollution levels with both the high-pass filter and the parametric filter individually. The reason why is that I can move the high-pass filter up in the rate level while slightly increasing that level in the parametric filter (e.g 485 Hz and 2100 Hz). Also, the noise pollution level needs to be amended due to the setting at 12 dB and +5.4 dB; the display level can be altered to 0.65 and 1.47 respectively.

Secondly, we have the Exciter plugin on the first backing vocals where the distorted signals can be modified coherently by controlling the frequency and harmonics levels. The reason why is the frequency levels are at 980 Hz whereas the Harmonics levels are at +87.1%. Unfortunately, it comes down to the equivalence of the Harmonics in the second backing vocal as well because it was staying the same as it is when I could've gone and made some changes to it. The only difference here is the frequency levels due to them being at 980 Hz and 2100 Hz, but I would be more than happy to adjust the Harmonics levels on the second backing vocals at +32.5 without causing a likeness to the frequencies, damaging the ears of someone who listens to Such Vibrant Colours.

Lastly, we have the stereo delay setting on the first backing vocals which can affect the sound of the vocals by adding in a delay effect, presumably the stereo delay, because I can modify the left and right delay levels while trying to change up the output levels of this sound. According to the stereo delay, both of those delay inputs on the first and second backing vocals are set at 1/8 and 1/8 dotted individually because I want to incorporate a delay effect that fits with the bar measure of this song being at 6/8. Thus, I had to alternate the deviation of +6.33% and +2.67% simultaneously. The thing about the stereo delay built-in is that they can also tamper with the frequencies and damage the ears of the listener because those controls can get familiar with one another. To make matters worse, the output mix levels and the crossfeed levels are equivalent to each other, especially in the second backing vocals. Because of that, I want to make some changes to the output mix levels on the second backing vocals alongside the crossfeed levels to prevent making a similarity to the frequencies together. For instance, the output levels need to be at 45% and 25% while the crossfeed levels must be set at 30% and 53% on the feedback levels due to differentiating between the first backing vocals and its stereo delay controls in the production.

For the last week until the Easter break, I have been mixing and mastering Such Vibrant Colours I See at home and college independently on Logic Pro with little support from members of staff. First of all, I originally wanted my second lead vocals in the chorus to sound different from the first lead vocals in the verses, but a music tutor stated that the lead vocals need to be the same as the other one because he liked how it is with the compressor, channel EQ, Limiter and DeEsser 2. Also, the compressor had to be altered because the second lead vocals are not loud enough to drown out the backing vocals.

Second of all, notice the difference in the mixing levels on all of the instruments, the drum machine, sound effects and vocals. I had the option of turning each one of the instruments, drum machine, sound effects and vocals down or up to not get involved with the tampering frequencies, or else they will cause some hearing loss to the listener whenever he/she hears the song in full for the first time. But, the violin strings tremolo, the Metallic Edges drum machine, Chime Synth lead synthesizer and sound effects need a bit of adjustment because they share an equivalence and may require a modification with some of the plug-ins before getting a final mix ready.

Third of all, I have been panning the instruments on the Chime Synth and the Below The Surface piano individually because I want them to be in a mono setting alternating from left to right instead of them being in the same panning as the rest of the musical instruments. This is because I had to bring up the automation feature and turn the panning left to right so that it can adapt to the listener's ears when he/she listens to the Chime Synth lead synthesizer on the left-hand side and the Below the Surface piano on the right-hand side.

On the whole, the mixing and mastering of Such Vibrant Colours I See are flawless because I have been trying hard to mix everything in the instruments, drum machine, vocals and sound effects at home and college differentiating the volume levels on all of them. Despite the similarity flaw, it did the job pretty well and I would love to produce this song differently on another music project in terms of lyrical concept and music production.

Today, I have been producing and editing my next track The Perils of Love from In Teknikolour. Built around an R&B and trap production mixed with classical instruments and synth instruments such as the Solid Soul Electric Bass, the Beauty Blubbers synth, the Bosendorfer Grand Piano and the Scrapes and Clicks keyboard, I had made this track a while ago because I did some mixing and mastering with the instruments, drum machines and vocals to get it ready for its final mix. This time, I was able to make a few changes to the music production because the backing vocals, for example, are at a steady volume on the mixer and they have to be modified because it might tackle the noise pollution levels that'll damage the earworms of the listener. I also made a couple of adjustments to the volumes of some of the instruments in this production because they have a similar problem with the vocals, switching up the volume level of the mixer so that it will avoid the noise pollution levels in the course of the music production.

Starting with the Solid Soul Electric Bass guitar, this instrument has channel EQ, compressor and distortion plugins incorporated into the channel strip setting. In the equalisation controls, I have added a high-shelving filter and low-pass filter because the low-shelving filter will boost the high ends of the high frequencies and minimize its cutoff whereas its low-pass filter will increase the low frequencies but it can reduce the high frequencies. This implies that the noise pollution level on the high-shelving filter is up to +16.5 dB whilst the low-pass filter is at 24 dB with their rate levels set at 81.0 and 3700 Hz respectively. This had to be done because it will not include a white noise in this instrument, though I need to think about moving the low-pass filter and high-shelving filter a little bit further in because they can adjoin with one another if I can remove the filter hiss in the background.

Next up is the Bosendorfer Grand Piano which has an EQ, a compressor and tape delay plugins interpolated into the channel strip setting of said musical instrument. When I activated the EQ and modified its levels in terms of control, I have been putting in a high-shelving filter, a parametric filter and a low-shelving filter because while both the shelves raise the high or low ends of either frequency, the parametric filter allows me to amplify the gain, centre frequency and gain to differentiate from its original sound. However, I should've paid more attention to the noise pollution levels due to them being at a high volume but each rate setting on the controls varies in the high-shelf, parametric and low-shelf filters (274 Hz, 860 Hz, 1470 Hz). I need to make a couple of modifications to the noise pollution levels next time so that it won't clash against the frequencies alongside a filter hiss.

Following the classical instruments in the production are the electronic synthesizers, case in point, the Scrapes and Clicks synthesizer. This instrument contains channel EQ, compressor, step FX and reverb settings. I turned on the Step FX because I wanted to do something with the controls of the filter level to interpolate a twisted and warped sound into the instrument. I turned up the modulation controls including the delay, depth, feedback and rate in the hopes that they will sound coherent to the listener's ears, but I need to experiment on this built-in a little more if I can do something with its resonance. I also did something with its channel EQ because I've been interposing the high-pass filter and two parametric filters here. According to the noise pollution levels, the high-pass filter is at 12 dB with its rate level set at 45.4 Hz. Meanwhile, the yellow parametric frequency is set at -0.1 dB with its rate setting at 98.0 Hz and the mint green parametric frequency in terms of noise pollution is set at +3.2 dB alongside its rate level at 945 Hz.

The Scrapes and Clicks synthesizer is part of a synthesizer track stack that includes an Ambient Lead synth and Beauty Blubbers synth. When I added a channel EQ for this track stack, I have been modifying the EQ controls for the two parametric filters because I have been increasing the noise pollution levels at different rates for both of them. Again, I could've taken notice of the parametric filters because they are at a high noise pollution level, though the mint green parametric filter has been moved to the left to join in with the yellow one. As an area of improvement, I need to learn how I can turn down the noise pollution level because if I can minimize it, I will also have a chance to use the gain control of this equaliser. Being that they are at high levels of noise pollution, it will have a filter hiss in the instrument damaging the earworms of a listener while clashing against the other frequencies.

Moving away from the synthesizers is the strings ensemble which consists of cello, violin and viola sections. To start with using the channel EQ, I have put in a parametric filter and a low-shelf filter into the violin because while the parametric filter modifies the frequencies in terms of gain, centre frequency and bandwidth, the low-shelf filter enlarges the low ends of the low frequencies and shrinks its cut-off. The same can be done with the violas in a staccato effect because it also features a parametric filter and a low-shelf filter. In contrast with the two instruments, the cello section has a high-shelf filter, a parametric filter and a low-shelf filter that the violas and violins do not have. However, each of the three instruments has similar noise pollution levels because it will create a filter hiss in all of them, therefore disrupting the frequencies and harming the listener's earworms, so a couple of modifications to the EQ controls would help reduce the noise pollution levels and add on the EQ gain alongside a connection between the EQ controls I've done. As for the strings track stack, I also have a parametric filter in a mint green colour, but again, it too needs a few requirements for it to give it a new and different sound as well as the removal of a white noise effect.

Penultimately, the drums are featured in a track stack set featuring pre-recorded drum loops like the Detroit Made beat and the Epoch beat. What I did with the two drums is put in channel EQ and compressor built-ins, along with an additional filter plugin on the latter. The reason why is because I want their new sound to differentiate from the musical instruments by putting in a specific built-in and modifying its controls so that it can have a distinguishable sound from what it originally intended. The Detroit Made and Epoch drum machines have different EQs but I have also put forward their Enveloper and Evoc Filterbank in there, making them sound understandable but I have been incorporating a warped effect into its filter control as well.

The Detroit Made drum has a high-shelf filter, two parametric filters and a low-shelf filter implying that the noise pollution levels are at +10.5 dB, -0.5 dB, +3.2 dB and -2.6 dB respectively whereas the rate levels differ between one another at 61.0 Hz on the high-shelf, 169 Hz on the yellow parametric filter, 960 Hz on the mint green parametric filter and 3160 Hz on the low-shelf filter. Altogether, the drums' track stack has a high-shelf filter and a parametric filter in the EQ controls, but as always, the similar noise pollution levels will tamper with the frequencies and can do damage to the earworms of the listener with the inclusion of the filter hiss, so it is best to get it removed and do something with the noise pollution level and its control gain.

Finally, we have the lead vocals and a track stack of the backing vocals put in there. Separately, the lead vocals have an equaliser, compressor and DeEsser 2 plugins with some alterations. In this example, the primary lead vocal melody has a high-shelf filter and parametric filter because the former has to increase the high-ends of the frequencies while the latter changes the course of the frequencies according to gain, centre frequency and bandwidth. Due to the similar noise pollution levels, however, it needs to make a few adjustments because the levels will interfere with the low frequencies and harm the earworms of the listener. Compared to the first lead vocal melody line, the secondary lead vocal melody has only one parametric filter in a mint green colour and nothing else because I could've gone and added in another EQ control that will make a difference to the noise pollution levels rather than do it similarly unlike what I did with the music instruments in the production.

To wrap up, I have to talk about the backing vocals along with the track stack that came with them (they also have the same built-ins as my lead vocals). On the first backing vocal line, I have put in low-shelf and high-shelf filters amongst a parametric filter in the EQ controls. However, the two filters (save for the parametric) need to undergo a couple of modifications in the production so that they will not tamper with the low frequencies and harm the listener's eardrums. Also, the second backing vocals (adlib) have two parametric filters that will amplify the gain, centre frequency and gain. But because they are at similar noise pollutions, I will have to do something about my adlibs as well because the steady levels can cause damage to the listener alongside clashing against the frequencies. As for the track stack itself, it does have high-pass and low-pass filters, but they could've been better if they can be moved together along with a slight volume change in the control gain, either going up or down.

The first time I did the music production of Perils of Love, it had some moderate flaws that did not work well with the listener's standards such as the steady volume levels in the instruments and one vocal part being too loud from all the other vocals I've recorded. Because of this, I had to create a couple of amendments to the production in terms of mixing and mastering so that I can sort out the volume mixer independently with little to no support from someone else. In the end, I have been revising my mixing and mastering levels by changing the volume of the mix without getting them steady. There were a few duds in the process of mastering this production and it could've made some improvements with the plugins, but other than that, I did a decent job at creating a final mix of the song on my own with little to no help throughout.

Section B - 07/04/2022:

Today, I have been producing and editing my final song Give Me Time to Live My Life on Logic Pro. A mid-tempo hip-hop song about wanting personal space from someone who is annoying you, I have been putting together some classical instruments and electronic instruments in the production such as the Alphabet City, Hold and Dissolve and Toy Store Lead synthesizers and the Bosendorfer and Ghost grand pianos. Along the way, I've also added in the Roots Rock guitar and the harp in the bridge due to a bit of variety in the classical side of the instruments apart from the pianos themselves.

As you can see, I have put in three-track stacks for the instruments and vocals because I want to create a set of these instruments and vocal pieces to give it an intelligible sound for someone to listen to. In this example, the track stack of the synthesizers has a channel EQ meaning that I can adjust the controls of the frequencies so that I can switch up their sound of them. This instrument has a high pass filter and two parametric filters because the high pass filter will increase the high frequencies and let them flow through the low frequencies while the parametric filter will modify the sound of the instrument according to gain, centre frequency and bandwidth. Although it's a good idea to get a coherent sound of the EQ controls interposed to the synths, I should've been more careful about the frequencies to start with. The reason why is that the graphic levels need to be either turned up or down to create those curves into the frequency, whether it'd be a high pass or a parametric filter. What I also need to do is move the high-pass frequency because it will join with the parametric filters to have a different sound from what it originally had and not to mention a white noise in each filter.

Now we come to the synthesizers that came with the track stack: the Alphabet City 808 Bass, Buzzy String Space, Hold and Dissolve and Toy Store Lead synthesizers. In the channel EQ of the Alphabet City 808 Bass, it has a high-shelf filter and a parametric filter. This is because the high-shelf filter is used when I have to boost the high-ends of the frequencies and minimize its cutoff alongside a parametric filter where it will modify the gain, centre frequency and bandwidth. Again, I need to check the EQ properly because I want to make a few adjustments with the synthesizer by turning up the gain and then reducing the noise pollution level before increasing or decreasing the vertical display. As for the Buzzy String Space synth, it has a high-pass filter and a low-pass filter implying that both frequency controls have the opportunity to increase and reduce either one. However, I could pay attention to the EQ controls here because it could've been better to move the high-pass filter somewhere else to change up the sound in terms of gain, centre frequency and bandwidth.

The Hold and Dissolve pad also have a channel EQ because I have been modifying its controls by putting in a parametric filter and low-shelf filter. While the parametric filter amplifies a new sound in the gain, centre frequency and bandwidth, the low-shelf filter maximizes the low-ends of the frequencies and shrinks its cutoff. I need to concentrate on the controls of the parametric filter a little more because it would be better having to turn them down in terms of noise pollution, graphic display and rate level, along with the adjustment of the low-shelf filter and inclusion of the EQ control gain, turning them slightly up. Last but not least, the Toy Store Lead synthesizer has two parametric filters, again changing up the sound of the frequencies in the gain, centre frequency and bandwidth. The reason why I alternated the noise pollution levels on this one is I don't want to have a filter hiss in there, especially with the other synthesizers that came with the track stack. This is because that white noise can take damage to the listener's earworms and the frequencies will interfere with each other if it's not done properly.

Afterwards, I have been making another track stack featuring the pianos because I have put in a Bosendorfer Grand Piano and the processed Ghost Piano. The reason why I added on the Ghost Piano is that it is equipped with the grand piano putting in a Sampler built-in that will affect the sound of said musical instrument. It also has an amplifier effect, an ensemble plugin and a stereo delay setting suggesting that the Ghost Piano has a reverb effect but also a distortion add-on where it sounds broken in the midst of it. Amongst the EQ and compressor built-ins, I have also put in an AutoFilter built-in where I can change up the sound of the pianos so that it can sound understandable but twisted at the same time. I could've experimented on the AutoFilter built-in with the grand pianos because aside from switching up the modifications in terms of resonance, fatness, spread, pre-filter and post-filter, it'll have a new sound that will be distinguished from the rest of the instruments included in the music production.

The Bosendorfer Grand Piano and the Ghost Piano, have different frequencies in the channel EQ because I would like to alternate them in terms of sound depending on which filter I'm using in the controls. In this example, the Bosendorfer Grand Piano has a parametric filter because it can amplify its sound through gain, centre frequency and bandwidth. The noise pollution is set at +14.8 dB and the rate level is set at 1160 Hz while the graphic display level is at 0.71. Though it only has one frequency level used in the channel EQ, I could've added in other frequencies because the sound of the Bosendorfer Grand Piano can be altered if I put in a high-pass filter, high-shelf filter, low-pass filter or low-shelf filter rather than having a parametric filter alone. Once I have put one of them into the EQ control, I can switch up the frequency control by putting it up or down while using the volume gain as well.

As for the Ghost Piano, it has a high-shelf frequency, two parametric frequencies and a low-shelf frequency because each of the shelf frequencies can boost either the high-ends or low-ends while also omitting its cutoff. The parametric filters on the other hand will adjust the sound of the instrument due to changing up the gain, centre frequency and bandwidth. When it comes to adapting the controls in the EQ, I need to think about modifying the frequencies concerning the noise pollution level and rate setting. For instance, if I want to adjust the low-shelf filter, I will be able to do that by turning them up or down on the gain and changing the graphic display level to make a curve, thus altering the sound of the Ghost Piano. Another example is the changes to the filters that were put into the EQ controls because each of them will interfere with the other frequencies and start doing damage to the earworms of the listener, causing a white noise to appear in the sound of the Ghost Piano if not done right. I will have to alternate the noise pollution level, rate setting and graphic display level to make the Ghost Piano sound coherent for the listener without having a white noise adapted to the EQ.

Moving along from the pianos are the Warm Electric guitar and the harp. I like to add a Warm Electric guitar and a harp in one part of the verse because it will serve as a short solo section before the rest of the musical instruments come back through the remainder of the third verse. In terms of the channel EQ on both of those instruments, they vary because the different frequencies in the controls will affect the sound on each instrument. For example, the Warm Electric guitar has two parametric filters with one of them having a low noise pollution level and rate-setting with a low graphic display and the other having a high noise pollution level and rate-setting with a high graphic display. The reason why I did this is that with the Warm Electric guitar, I need to check the controls of the EQ so that it will not include the filter hiss in the background of the instrument, clashing with the frequencies and harming the listener.

As for the harp, it has a high-pass and low-pass filter meaning that both of them will increase the desired frequencies and minimize the other. The parametric filters are also included in the EQ controls due to them changing the gain, centre frequency and bandwidth of the sound with an altered noise pollution level thrown in there alongside a low-shelf filter. However, it would make some improvements with both the frequencies on its own because I can move the high-pass filter and then do something with it that'll modify the sound of the harp about the gain and the graphic display. In the low-shelf filter, it needs to be turned down in the hopes that it can augment the low-end of the frequency and reduce its cutoff.

The Dark Secrets drum machine has a channel EQ plugin adding in a high-pass filter, a parametric filter and a low-pass filter. This means that in regards to either filter, it will strengthen the frequencies and shrunken the other frequencies so that the sound of the drum machine can be altered. As for its parametric filter, it will change up the sound according to gain, centre frequency and bandwidth. This had to be done because I need to be aware of the drum machine's sound for me to look into the filter hiss that is affecting the eardrums of the listener and the frequencies. All the frequencies included in the control of the EQ need to be altered within the noise pollution level, rate setting and graphic display because I want them to turn the volume gain slightly up so that the sound of the Dark Secrets machine needs to sound coherent for someone to listen to. In addition to the channel EQ, I've also included an automation feature with the drum machine because I want it to lead up into the song's first verse instead of leaving it what it originally deliberated.

The vocals are the last thing to do in the music production because I have been putting in a track stack for the backing vocals while also trying to leave the lead vocals and intro vocals separately on their own. For example, the EQ in the lead vocal melody features two parametric filters that have similar noise pollution levels and rate settings in the controls. The reason why is they are tampering with the frequencies whilst they are sabotaging the eardrums of someone who hears them. Because of this, I have to alternate the noise pollution level and rate setting of the frequencies so that they won't have to include a filter hiss in the vocal production. Another example is the second vocal part in the intro because I've also put in two parametric filters affecting the sound of my intro vocals. This time around, I have to make sure that I don't want to feature a filter hiss in the intro vocal since it can do damage to the listener as well as disrupt the other frequencies in them. Another thing with the intro vocals is the addition of the overdrive plugin where my vocals will create a distorted effect in the production. The reason why I did this is I want to adjust the tone and drive for my vocals to make them look different to my other vocals in the production, though I need to change up the tone a little bit so that it can sound more distorted than the rest of my vocals.

As for the track stack of my backing vocals, I have been incorporating a channel EQ and compressor in there once again adding in two parametric filters in regards to noise pollution level, rate display and graphic setting. They have to be changed because I like to have the noise pollution level and rate-setting down on one parametric filter and the other having a high noise pollution level and rate setting. In that way, it will affect the sound of my backing vocals with the gain, centre frequency and bandwidth, therefore omitting the white noise in those vocals so that it won't wreck the ears of the listener and tamper with the frequencies.

The first time doing Give Me Time to Live my Life, there are a few problems in terms of music production because the backing vocals are getting louder than the rest of the instruments, thinking that the listener will make it hard to hear said instruments in the production. Also, some of the instruments are quieter because it can be different for someone to listen to them while the musical instruments play in a loud volume setting. For me to create a final version of this song that will be placed on the In Teknikolour album, I had to adjust the automation volume of the instruments and vocals as well as make sure that the volume levels aren't steady in the mixing strategy. This is due to me editing the process of the instruments and vocals as a way to amplify the mixer settings on every one of them in the music production of this track. The result culminates in a revamp of the song with a couple of improvements that need to be worked on because I did it on my own during the whole of the production. However, I also need minimal support from someone else who can handle mixing and mastering with music for me to get the song finished and put it out for the In Teknikolour album project.