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hi welcome to la Fabrique studio in the
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South of France my name is Sylvia
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mantasy and I came here to the mix with
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the master's seminar to show some people
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some unusual techniques for recording
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and mixing we've had a great week we did
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a bunch of really interesting things
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including running a guitar through a
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drill oh let's say we had a singer stand
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on a speaker and sing to a tool we built
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a special microphone out of a phone what
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else we do we built a potato filter for
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your guitar all these things that you
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really need to know about well anyway
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sound on sound has sent us over some
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questions so I'll do a question and
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answer now with the readers of sound out
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sound and I have some prepared questions
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so let's go through it Jonathan leaf hey
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Sylvia when using a 1073 cue I always
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seem to experiment with the frequency
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selections and move things around until
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it sounds good it's rare that I make
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corrective cuts with it though
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are there any go-to frequencies that you
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find yourself routinely cutting perhaps
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on problematic instruments like room
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mics or bass what are your other
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favorite eq's alone or in combination
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with a 1073 and what sources do you use
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them on thanks so much
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Jonathan 1073 you're already in a great
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position the 1073 doesn't give you a lot
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of choices so you can't really screw it
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up too badly I tend to add more than I
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cut but when I do cut I'll cut some mid
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frequencies some lower mids to kind of
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clear up a sound for instance I might
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use I might cut around 350 and the mids
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to to give some clarity to toms and
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maybe pull a little bit of that out on a
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kick drum I use the high-pass filters
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quite a bit especially on high frequency
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instruments like the high hats on drums
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or on
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overheads the 1073 EQ is fantastic AQ
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and you're anything you put through it
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already even if the EQ is not even
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turned on it's going to sound better
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than you started makes you look like a
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genius I've been using it for years that
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says a lot
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alright thank you Jonathan Timmy Fasano
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hi Sylvia for us out there with a Pro
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Tools rig and limited microphone
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selections would you recommend we play
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it safe in the engineering of our
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recordings for example not try to build
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much of a sound into the recording due
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to lack of equipment this way it's a
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blank canvas for the mixing thanks Timmy
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I would say never save anything for
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mixing even if you have in expensive
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mics that should not affect the way that
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you record I record with inexpensive
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mics all the time
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it's a in fact that's those are my go-to
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s before I reach for an expensive mic so
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you'll see me using sm57 sm58 sennheiser
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421 SM 81 sure microphones for the high
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end or even for overheads we're never
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shy in using inexpensive mics for many
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reasons for one thing you can make big
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mistakes with them and if they break or
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get destroyed then you don't have to
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worry about it too much so you can
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really experiment with them and for that
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reason also experiment all the time
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spend more time working on the sounds
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that you're recording then you would in
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in your mixing basically I try to record
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in a way where when I push up the faders
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on the desk and I do use a desk I do use
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a console it's already mixed you can do
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the same thing in the box you can record
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in a way where it's already mixed when
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you're finished recording when you put
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your last overdubs in and you finish
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your vocals and you've done your little
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edits and tuning or whatever you want to
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do your mix should be close to being
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finished
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so and another another thing is that
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vocals sometimes you think you need an
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expensive mic but honest-to-goodness you
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don't need an expensive mic for vocals a
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lot of times I'll use in sm58 for vocals
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even if I have a telephone u47 in the
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studio one time when I worked with Rick
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Rubin we set up Oh $20,000 worth of
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vintage microphones in the studio at
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Ocean Way and we put them all in a row
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and then we put up a sennheiser 421 and
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as shure sm57 and a shore sm58 and we
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thought well we'll listen to those two
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just just to have perspective well we
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had these fantastic vintage German mics
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at Telefunken 251 you 47s you 67s we had
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norman you 87's and we had billy corgan
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from Smashing Pumpkins seeing a verse
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the same verse in each mic on a
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different track and then we without
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knowing what those mics were on the
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playback we compared each one and the
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one the mic that one was the sm58 and
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that's $100 microphone so you could have
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in your mic closet you could have only
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sm58 and I think you're still doing very
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well so thank you Timmy let's move on to
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the next question
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she Bron Ramirez thank you for writing
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he writes how many hours do you think is
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necessary for a good recording session
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what is the most important thing in the
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studio to you a day you don't want less
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than a day I think to get momentum in a
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recording session you need a full day
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and that means 8 to 10 hours just to get
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moving I often when I set up my
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scheduling or budgets for a project I
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estimate meeting three days per song to
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do the recording the
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editing any processing and mixing for
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each song and that would include some
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time to spend on working on arrangements
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with the band or anything so three days
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per song I think it's good so three
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ten-hour days you're looking at 30 hours
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minimum that is a luxury I suppose for
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some people so just go into it I spend
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the most time on the first song leave
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everything set up record as many songs
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as you can with that initial set up and
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then you can then you speed up your
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production at that point if you continue
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to record overdubs using your initial
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tracking from the first day or first two
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days there's ways to schedule things to
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work that way
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terry lee bolton asks a question how do
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you get your best sound on recorded
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drums terry i love recording drums it's
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my specialty and i do it with very
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simple drum miking techniques the the
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trick for me that makes the best sound
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on drums is to have all the microphones
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pointed in the same direction it's a
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very simple technique and if you no
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matter what types of mics you're using
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if you generally have them all facing
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the same way pointing in the same
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direction instead of pointing at each
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other that you're going to get a much
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better sound and it's instantly will
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have more low-end more punch sound
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bigger and better if you hear a papery
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sound on your snare when you're when you
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turn all your mics on all of a sudden
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your snare sounds thin then there's a
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problem with your phasing and you should
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look at how the mics are pointed I often
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times when I bring up I might I may be
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recording 10 to 20 mics on a drum kit
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and I'll very carefully compare my kick
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drum mic with my overhead mics so load
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in mono
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and just to check and flip the phase on
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those microphones sometimes it's
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difficult to flip phase when you're
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recording with a rack of mic priests so
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in that case I would prepare some mic
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cables with reverse phase so that you
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can make some comparisons like this and
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you'll get the best sounds this way
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another thing to do is to some if you
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have a way to some mics while you're
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recording your drums will sound better
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for instance if you have three toms and
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you record a mic on the top of your Tom
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and a mic on the bottom of your Tom
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let's say one one Tom one mic on top one
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mic on top on bottom and you have three
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tones combine all those mics which would
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be six mics into two tracks you use
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busing if you have a console you can use
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the busing on the console there's other
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ways to some mics together but you'll
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need to to have a piece of gear that
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will allow you to some several mics into
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two channels that's just going to make
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your drum sound better be careful to
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reverse the phase on these mics that are
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pointing at each other one on top one on
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bottom so this is I think this is the
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secret to recording great drum sounds
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usually I don't record with what I
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record with very little EQ on the drums
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and and they turn out great just with
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this very careful technique of having
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all the mics moving in one direction all
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right next question
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Edward LeBron your favorite mic preamps
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and what is your most memorable
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recording session I'm a bit of a snob
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about mic preamps in fact I think if
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you're recording that this is this may
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be the most important thing that you'll
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want to spend money on is your mic
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preamp more so than the microphones more
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so than anything else and the mic preamp
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of amplifiers will color and and change
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and say they change the shape of your
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sound
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if you have really inexpensive mic
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preamps it is very difficult to achieve
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the sound that you want so I use the
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Neve 10 73 which is also a called a 1272
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mic preamplifier it's the little red
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knob on the 1073 that's the magic knob
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so I would highly recommend at 10 73 or
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12 72 Neve mic preamplifier the api's
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are also very good I've been using mic
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pre amplifiers from Black Lion audio and
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I think that they're also very good
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there's several boutique makers that are
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good but I always lean towards the Neve
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1073 because I really know what I'm
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going to get and he also asked Edward he
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asked which is your most memorable
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recording session well that would have
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to be Johnny Cash with Rick Rubin
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producing and I was engineering the
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album was called unhinged and it was
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magic every day was magic in Los Angeles
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while we recorded it because I would
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turn my head and look in the back of the
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room while I was working at a console
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and in the back of the room there would
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be someone else so some some of the big
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star in the room that I wouldn't be
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expecting I'd turn around and there
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would be Anthony Kiedis or there would
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be Mick Fleetwood or Lindsey Buckingham
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or Marty Stewart or Carl Perkins and Tom
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Petty and the Heartbreakers was the
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backup band for the album so you can
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only imagine what that was like
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it was pure magic every day and that has
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been so far my favorite recording
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session okay next question
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chin Zion any tips for recording violin
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sections I have a special technique for
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recording strings and it's and it's
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basically because I tried recording
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quartets tried writing music for
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quartets and conducting quartets or
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string sections what I found the easiest
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and best way to do string parts on on my
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recordings has been to use one player
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and to have that player play as many
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parts I have a multi-instrumentalist
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that I use quite often his name is
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Morgan o Shaughnessy and he plays viola
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is his main instrument but he also plays
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violin he plays cello
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he plays nickel harpa which is a very
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unusual Swedish instrument and and
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several other instruments bagpipes and
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Ilyn pipes and so we start on a project
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and I'll bring them in to the recording
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the song will already be relatively
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finished but there will be a section
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where I hear a melody and I want to
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develop a string arrangement for this
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particular section of a song so we start
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with the melody first and I'll have him
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do at the first viola parts then we'll
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do a second viola part and each each
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part is recorded twice mono and then
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I'll split each part at left and right
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hard left and right so then the second
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viola part and then we'll put in a
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violin first violin part in a second
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violin part will put cellos under there
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usually just one cello part again
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recording each part twice so that we
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have stereo and and making it wide then
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we might add some other violin melodies
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across the top and it's really full and
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and exciting we can get into details too
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if one part is not working so well we
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can remove that and change it if you're
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working with a string section like a
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section with
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you know 4 to 20 players it's very very
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difficult to change things once they've
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been recorded but working one track at a
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time with one string Claire is very good
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economical and with great results so
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that's my technique everyone has a
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different technique and let's see we
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have another question as to our dos
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olives our hi Sylvia is there any
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guideline on how to direct an artist
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without compromising their sound with
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your musical influences well this is a
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very interesting question because I try
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not to get in the way of the music the
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band and their sound however I'm being
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hired to because of something that I do
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and if it's if what I do is to create a
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certain sound I want to also bring that
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to any client that hires me so I'll go
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as far with that is I'm allowed but
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again it's very important for the the
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artist to maintain their identity I like
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to help guide that and to really define
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an artist's sound so we'll do that by
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looking at the equipment that they're
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using the instruments that they're
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playing and and if it's if there's a
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certain instrument that is part of their
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signature then I want to use a thread of
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that through an entire project so not
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only one song but maybe five of eight
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songs will have this special sound so
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that a project has continuity like that
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so I'll try to help an artist to develop
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their sound so it's it it is their sound
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and they leave the session with that
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being their sound also and it's a very
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interesting question Thank You Eduardo
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okay Russell Bell how do you shift
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between so many contrasting genres and
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what centers you when you undertake that
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well at the core of of any genre there's
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going to be really good
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music with good songs and good
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performers so it doesn't matter what
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style of music I'm working on I I'm a
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fan of the music in a way where I can
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appreciate if it's jazz if it's
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bluegrass if it's Scandinavian metal
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which I love if it's country or roots
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country which I also love if it's R&B
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you know there's there's obviously
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there's great music and all those genres
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and it all boils down to the song and I
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think also the character of the the
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person who's singing or who has the
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voice in the band that the voice may not
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be a human voice at all it may be the
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voice of a guitarist or another
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instrumentalist so you just have to
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identify what that is and really feel
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the emotion and and really understand
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the story of what they're trying to tell
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you with their music so that's what
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centers me Michael Griggs hi Sylvia what
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are the things you feel like you have
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had to compromise over your career
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during a project and how have you
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overcome them the first thing I think of
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is compromise well having a regular life
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is a compromise you spend a lot of time
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in the studio you pretty much put the
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rest of your life aside this is my life
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it's also very difficult to be a girl in
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the studio I have found like just like
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dressing up and you know taking time to
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be a girl do girl things you know it's
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very difficult but I try very hard to be
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a girl I'm sure that's not what you're
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asking about Michael so the things that
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I think really have really compromised a
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recording would be a lack of time to
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really flush out an idea so I try to
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build enough time into a project so that
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that doesn't happen
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I very very careful to listen to some
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music from the artist beforehand to
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understand the instrumentation to get an
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idea of how much time it will take to
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get a really good recording if the
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budget doesn't allow enough time I will
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probably pass on the project and only
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because I don't want disappointments I
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don't want to be disappointed I don't
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want my client to be disappointed either
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so that is where the greatest amount of
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compromise happens I believe they the
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other thing is a instruments and
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equipment can really compromise the
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quality of a project however less so
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because there's ways you can make really
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fun and creative recordings with very
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with with whatever you've got you know
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you can record with most anything these
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days a laptop and 2 M box or whatever
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and some a couple mics one mic there's a
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lot you can do with that so have fun
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just have enough time so that you can
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really think out your ideas and I think
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that that might be all the questions we
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have today we've had a great time at la
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Fabrique and
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you
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