March 22, 2024 • 30 mins
Step into the realm of creative audio tweaking with our latest episode of Inside the Recording Studio! Join Chris and Jody as they unveil five innovative techniques to push the boundaries of your audio productions.
In this episode, we explore the art of extreme time and pitch edits, revealing how subtle adjustments can transform ordinary sounds into extraordinary sonic landscapes. Dive into the world of rhythmic effects via gating, tremolo, and stutter edits, and learn how to inject dynamic movement and excitement into your tracks.
Discover the power of extreme EQ and filtering as we demonstrate how to sculpt and shape your audio with surgical precision. From enhancing clarity to creating otherworldly textures, these techniques will revolutionize your approach to mixing and sound design.
But that's not all – we also explore the fascinating realm of impulse responses (IRs) and bit crushing, unlocking the potential to add depth, character, and grit to your recordings. Learn how to harness these tools to add a touch of vintage warmth or futuristic flair to your tracks.
Whether you're a seasoned audio engineer or an aspiring producer, this episode is packed with valuable tips and tricks to take your creativity to new heights. Don't miss out on this essential guide to pushing the boundaries of audio tweaking.
Creative audio tweaking, Extreme editing techniques, Rhythmic effects, EQ and filtering, Impulse responses and bit crushing
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Hello.
(00:23):
And welcome to another episode of Inside the Recording Studio.
I am Jody Whitesides and with me as always is Mr. Chris Hellstrom.
How are you today, Chris?
Doing very well, Jody, I'm doing very well. Was that some actual manual time stretching going on there?
Hinting at the topic of the show. I want to ask you, it was an interesting talk we had with
Something of that effect.
Sure.
(00:46):
Andrew last week as well about, right, there's a lot to digest there, so you know,
Very much so.
Go back and listen to it more than once.
Yeah, you might you might learn a few things right? Yeah. Today, we're going off the beaten path a little bit. We're talking about what?
Yeah, a lot of times people go sample hunting, they want the newest sample pack or whatever it is.
Ways to add interest to your audio tracks and how to get more mileage out of any samples
(01:11):
you might be using.
Well, why not? If you're first to it, then everybody else thinks people are following
you.
This is true, but that would mean that you have to be first.
Mm hmm.
And to me, there's always been times when you hear a new sample instrument or virtual instrument come out,
Yep.
Yep.
(01:35):
loop libraries back in the day, and you start hearing it everywhere.
Yep. One would hope.
Like for Stylus RMX used to hear stuff all the time.
So, "Oh, there's that loop." Or, "There's that loop."
So this is a ways that we can get a little bit more creative if we have a little downtime or we just feel creative.
And if you're doing some of these things that we're going to talk about, you will sound unique
(01:58):
because there's very little chance that somebody's thought and done and processed their audio
exactly the way that you're going to do it.
Of course not. It's fun. And I have to say, I mentioned this before,
But that doesn't necessarily ring true 100% of the time.
Okay.
there was one of these producer challenges by Andrew Wong. And one of the guys that participated
(02:22):
in that did something that I thought was really really interesting. This guy goes by AU5.
They were given a sample and they had to create a song with it and the sample that they got was
The first thing that pops in my mind is to have a means to creating interest on boring
like an open door creaking and the way he processed that was really really fascinating. So
why would we want to do this rather than just have some fun? What do you think?
(02:46):
Thank you.
audio. [Pause] [Laughter] That's what a lot of people
Sure.
To me, it's like if you have your song and we have all these ideas of parts that we want
to put in there, but everything is not working.
So when we have these parts that in the track by themselves can be sort of pedestrian or
(03:11):
boring. Using some of these techniques can add a little bit more life and interest to them.
Something that adds to your track is supposed to just like, meh as you like to say.
So what's first on the agenda Jody?
like to say. Extreme time and pitch stretching,
Those are good ones. Sure.
which has been around for quite a while.
The first plugin that I can think of that did this type of thing was the Serato
(03:36):
plugin. Do you remember that?
Yeah.
Yeah, time and pitch, right? It was the algorithm that you bought to fit into the time and pitch
It was, yes.
machine in Logic. It was a standalone plugin, I think, as well, but not a lot.
But you had to purchase it extra in logic way back in the day if you wanted to do certain things.
Yeah, it was a better algorithm than what was available in Logic at the time.
Then the. Yes.
(04:01):
I'm not sure if that's available,
They still make it. Yeah, it's not internal to logic in that regard the way it was back in the day.
actually anymore. Yeah.
And what's the deal behind doing it and using something like this?
Uh-huh.
To create textures out of stuff, right? So if you have whatever it is, let's say it's
(04:22):
Right.
a vocal sample or something, stretching it by like extreme amounts. And I'm not talking
Sure.
about making something just fit to tempo, but stretching it in the multitude of 100%
right so you can really really drag it out and it creates a lot of cool textures I think that
Sure.
(04:44):
almost makes it like droning kind of sounds. Great to either leave alone or print again and toss them
Uh hmmm.
into your sampler and tweak further perhaps but it's a really really cool way this is something
that you do you mentioned pitch and time there. Do you use any like third-party
stuff for this? Or is it just like you stick to logic is a state of your
(05:08):
creation DAW right?
It's still the creation and editing DAW, yes.
Generally speaking, if I'm going to go nuts with something,
I'm going to do the time stretch or time compress of a region using Logic.
It's just Logic's built-in, yeah, option dragging the region in Logic
When you just like option dragging it type of thing
Yeah
(05:28):
will allow you to change the time in a very different way
than trying to just change it via a tempo thing.
Way back when, before Ableton Live was capable
of doing some crazy time signatures,
I used to do some time stretching
and other weird effects using Ableton
(05:49):
'cause it's very, very good at it
Yeah, that was the strength of Ableton early on, besides other things that it did well
and keeping things artifact free is a good way of saying it.
Yeah. Yes. Well, and the fun thing is, is that eventually after a little pastoring from
that it had for some reason, the way that they used an algorithm there that did it relatively
seamlessly without artifacts like you say.
(06:10):
And of course, sometimes those artifacts can be a cool thing as well if you're doing this
kind of extreme stuff and it kind of, but if you want it to just be nice and smooth
and not destroyed to hell, you know.
That was a good way of doing it. Yeah.
Yeah, because it was just 4/4 in the beginning.
a couple of people that I know able to actually added the ability to do things in very, very
(06:32):
odd time signatures.
Oh, yeah, strictly for for crazy.
Yeah. Right.
Other things that I have done is I used a reactor patch.
I can't remember what ensemble was,
but it was one of the user submitted ones
to granulize audio as well.
And because obviously with that whole world opening up,
(06:54):
you could really, really mangle sounds as well
and come up with interesting things.
If you're not using Reactor and you're a Logic user,
you can actually import samples into Alchemy
Okay.
Sure.
What's the next one you got here on our list?
because it does a granular mode.
And that's also a really good way of tweaking sounds
and stretching things and coming up with interesting results.
(07:16):
Rhythmic effects, and this is something from simple gating things to tremolo effects or
Yes.
Mm-hmm.
(laughs)
maybe even those classic stutter edits that were possibly done a little too much in the
early 2000s, at least by me maybe because I was really, really into them. Using
(07:42):
all these techniques can work the same way for all three, right? You can use musical division
to add a groove or the case of perhaps like stutter effects having a little bit more of a glitchy kind
of thing. I think that's something that can sound really, really cool. Not to blow my own trumpet
Uh-huh.
- Buh-buh-buh.
here too hard, but I did a track on an album that I did, I just realized it was almost 10 years ago.
(08:05):
(laughing)
holy crap time flies. But there's a track called Love, which is just sound mangling.
And it's like a showcase for all of these techniques. But that sounds a little bit too
self aggrandizing. I used a lot of these things in there and granular synthesis and the gating and
(08:28):
stutter edits and all this kind of stuff are well on display there. That's something that I think
Uh huh. Uh huh.
it sounds really really cool whether you're doing it in just risers or slow downers or whatever
look at any Heavyocity product and you see they always have like a
Well, the same can be said for iZotope's Stutter Edit and Stutter Edit two.
gating engine in there or something or tremolo engine it sounds really really cool to me anyway
(08:49):
Yes. Right.
Which was designed by the guy that really kind of put stutter editing on the map.
BT.
Absolutely. That's a deep plug-in as well. I mean, even the first one, version one,
Mm hmm.
was really, really deep and I think designed for DJ's really to use in real time, as it were.
(09:13):
And that's just kind of a crazy concept. Still super powerful. I think it can perhaps leave
users a little bit intimidated because of the interface. There's a lot to take in there,
but once you kind of... right. But it is really really powerful and just having it all in one
Version two definitely has that.
There's no doubt.
(chuckles)
(09:33):
as opposed to a multitude of processing with different plugins. That's a cool one. There
are other things that are on the cheaper side as well. I think actually it might even be free,
but there's a company called Audio Modern. They have a plugin called GateLab, which is just does
gating, right? And you can randomize it and do all sorts of kind of creative stuff with it. So
(09:56):
that's one of them that's kind of cool to use as well. Me of course, being a glutton for punishment,
Right on.
Possibly. And remember, those can sometimes be cool when it comes to things like tremolo, though.
I tended to do all of these by hand. So I like to cut in the DAW either way works. If you are
cutting it by yourself and you're cutting by hand, don't forget to crossfade or fade your regions
(10:16):
or you're gonna end up with a lot of nasty artifacts.
Yeah.
Yeah.
In Logic, there's a great tremolo plugin built in.
In Luna, not so much.
So-,
Oh yeah yeah yeah.
(laughs)
But there is a free tremolo plugin out there
(10:37):
called Pekinig, at least I believe that's how it is.
It might be Pechegneg tremolo.
It's a free plugin, it's older.
And then my favorite gate plugin,
just for gating in general, is Gatey Watey by Boz Labs.
Right.
And the reason why is it has three different ways
it can do gating and it's pretty hip.
(10:59):
Well, Gatey Watey isn't something
That is a cool one as well. When you're doing all of these, let's say that you're setting up
Gatey Watey, do you tend to go for like a synced tempo thing or do you go more for a random?
I suppose it depends on what it is that you're trying to do.
that you'd necessarily use for rhythmic effect.
It's used more for filtering.
Hmm.
(11:20):
And you can filter from a low pass filter
Hmm.
Yeah.
to a high pass filter or just the entire range all the way.
And then it has the typical look ahead.
It has the attack and release, those type of things.
Now, of course it can side chain,
which then you could tie to something being done rhythmically
[silence]
(11:40):
using a midi note situation to trigger a sound
that would open and close the gate
if you wanted to do it that way.
That would be the same way I would do it in Logic as well,
using midi notes to open and close a gate
if I'm gonna try and do it rhythmically speaking
and then set everything super extreme.
Oh yeah.
So it's almost like we were talking about Steve Ouimette with the guitars for
(12:02):
Zombies From Hell and all that kind of stuff. Is that the kind of gating that you're talking about or no?
Well, they did gating along with delay sounds
Even for Steve, right? [chuckles]
or delay timing that created this really amazing
rhythmic value to the song that would be impossible
to play as a human in terms of, even for Steve, exactly.
(12:25):
If you were trying to play it
without using a gate and delay,
those are things that you can pull off
and make things sound way more complicated
than they actually are.
Just using a tremolo or gating can possibly seem like low hanging fruit
If you're using things like gates and delays
very effectively.
Very much so, yeah.
(12:47):
when you're processing your files or you're trying to do something creative.
But I think it really just comes down to how much we're thinking about it and not to be
afraid of sort of randomness of it.
Sometimes that can be the most interesting thing, I think.
It's very easy to think, oh, we're doing an eighth note or a sixteenth note thing that's
(13:08):
going to get faster or whatever.
But if we have those in odd places, it just adds interest to a part that might not be
a standout part, but it certainly brings more life to it.
And I'm thinking of things like Radiohead had a bunch of this kind of stuff on the late
90s output kind of stuff and can be used to great effect.
(13:30):
Don't be afraid of gating.
But what's next on our list, Jody?
Extreme EQs and/or
What do we got?
Mm-hmm.
high and low pass filtering. Which means you can take a sound
Hmm. Yeah. This is something
and filter out everything or a sliver,
or a wider range than that.
And doing that can change the value
(13:50):
of whatever part it is or sound that it is
in ways that help it fit into the arrangement better
and or make it sound very unique
away from what its original value was.
Thank you.
that I used to do a lot and more when I was working with loops or performance-based virtual
(14:15):
instruments, let's say something like Damage, right, with some of those performance loops that they have
where there might be elements of the sound that are sounding really cool, but using the whole thing
is just too much, right? So extreme filtering to just kind of create something new, you might just leave
Yes. For those that are really young, the telephone
(14:37):
we just got something at 700 or whatever it is, right?
Using just the top end is a great foundation
for perhaps tweaking that sound even further.
So using extreme EQ there.
And of course the opposite is true.
And I think we have to mention here as well,
like the telephone voice thing, right?
'Cause that's essentially what that is.
(14:57):
It's so cliche these days.
effect made it sound like a bit like a megaphone.
If you're familiar with what a megaphone sounds like,
cause before the advent of the cellular phone
where things kind of sound like everybody's normal voice,
we had landlines and those things, when you spoke into them,
(15:19):
they sounded a lot thinner and smaller
in terms of what the person's actual voice
would come out sounding like on the other end of the line.
The idea of doing the phone effect is to use a low pass filter and a high pass filter and narrowing out a band somewhere in the mids and pumping them up a bit so that you're getting a very narrow range and accenting a certain portion of that narrow range that's left.
Yeah, I suppose people today might not know what we're actually talking about, but just
(15:47):
And that gets you what we call the phone effect.
just like you described that that's what was happening, right?
Yes.
But of course, as we're thinking of that on a vocal line or something can be used
>> Right.
very effectively and was and has been to death.
Right.
(16:07):
The technique still applies to whatever it is that you're doing.
It's a similar result and you can get some cool stuff coming out of it.
I remember reading an old article from I think it was Charlie
Clouser and the whole Nine Inch Nails Camp in Keyboard magazine when they were doing or
working on The Fragile and how they would go through this and just they would sit
(16:29):
in the rooms try to come up with material and things and then deciding
that in the track the whole thing is just too much so they would just filter
down everything that it's just now it's just within an inch of its life shall we
say but the loop now works and it's interesting so it is something that I've
done a lot and I'm sure you have as well. So there you go. Yeah, when we're talking
I'm still doing it now with some of the remixes I'm doing.
(16:51):
(laughing)
Mm-hmm.
about what we do like audio engineering and mixing so much of the time we're talking about
things being pristine and sounding beautiful and it's in all its glory, right? Everything
is supposed to be perfect. But sometimes that can be boring and it calls for something different.
(17:12):
Mm-hmm.
So using like extreme EQs or filtering,
it can bring stuff to life
and have a little bit more interest, I feel anyway.
So the next thing on our list here is
I don't disagree.
Mm-hmm.
kind of related to that, I suppose.
It's the use of IRs that are not necessarily units or boxes,
(17:36):
but of unusual places or spaces.
One thing that this immediately brings to mind for me is a plugin called
Speakerphone by AudioEase that I think you had at one point.
Yeah.
I do own a version of it.
It's quite old because I haven't used it in about eight years plus.
(17:57):
It's been a while since I've used it.
Yeah, but I had that and it was amazing.
But.
And it probably still is with the current version that they have.
And the idea behind it is they went and made IRs of an insane number of just crazy different
Yeah, it's like foley, right.
spaces.
It was not originally intended for music.
(18:18):
It was originally intended.
Yeah, for Foley artists and post production sound for TV, film, video productions, what
Yeah.
have you.
They have IRs of things like the inside of a cargo van, or a bathroom, or a stairwell,
or going through some type of electronic thing like a boom box, or transistor radio.
(18:39):
[LAUGH]
They had sounds for various types of cars like a Volkswagen bug.
They just went and made IRs of all kinds of crazy spaces.
And even if you don't have that, there's so many IRs out there.
For some silly reason, I got that plugin thinking it would be fun to do that for musical purposes,
(19:05):
to put a sound in a very strange spot, so to speak.
To me, Space Designer is a real treasure trove of this because it has that category like
- Oh yeah.
Warped Spaces and fantastic for this stuff.
Now I'm not thinking necessarily of placing something in an actual environment here.
(19:25):
Yeah. Well, and the other thing
It's just tweaking the audio, having it 100% wet, and using whatever I are to just make it sound
drastically different and hopefully cool. Transistor radio, you mentioned there,
that's something that's in there. And so that's kind of like a common thing, or having it come
(19:48):
out of a little tiny speaker is a great way to shrink something really big to, you know, have it a different vibe.
sticking with that kind of concept of transistor radio
Yeah.
and you said making a big thing sound small.
That's very much akin to the phone effect
that we mentioned in the last process.
Anytime you take something that's a much wider range
(20:10):
of dynamic and pitch value tone
and put it through something like a transistor radio
or telephone, you're removing a whole lot of its value
on the high and low end.
Yes.
And it definitely puts it into a different category
of how well it will sit inside a mix.
(20:33):
Doing that using either Speakerphone
or using a bunch of filters to filter things down,
that sound will now actually stick out a lot more
than you might expect.
So you have to be careful how loud you make that
within your mix.
Because when you're removing all of that information,
Yeah, depending on the frequency obviously, but yes, it can poke out and it's... One temptation
you start pumping up the volume a little bit
to accommodate for that.
(20:54):
It will really poke out because it's right in human hearing.
when you're kind of placing these in the mix, I suppose, after the fact is that we've spent
Mm-hm.
so much time tweaking these samples or the audio that we're just like, "Oh, I want to
(21:14):
hear it.
I want to hear it.
I want to hear it louder, louder, louder.
And now all of a sudden your main track of the song is coming out of a transistor radio.
Right? So for nuggets of audio interest, it's a great technique, but IRs are a treasure trove for that.
(laughs)
My favorite actually of that type of effect
Well, how apropos.
(21:35):
has to be the intro to an ELO song called Telephone Line,
where it starts out sounding really small and narrow
[LAUGHTER]
in the stereo mix and right in your face.
And it sounds like this guy singing to
whoever it is that he's singing to via Telephone Line.
And then as the intro goes along,
(21:56):
it widens out into stereo and becomes dynamic,
full range of pitch and everything,
and not narrowed down like it starts out,
which is pretty cool.
Mm-hmm.
I'm fascinated by a bunch of the guys, sound designers,
like Venus theory or whomever,
where they do all these creative things
Sure.
and just come up with these awesome sounds
(22:18):
in ways that I would never think of
because I don't do that on the daily, right?
But it is really, really cool.
All right, landing on tip number five.
Yes, I was working on a remix.
This is something that you have just had to do
because you mentioned a bit crushing plugin last week,
but I'm talking about bit crushing and distortion here.
(22:41):
There is a very, very nice and handy
and capable bit crusher built right into Logic.
And the original version of this was done in Logic,
[LAUGH] Don't you hate when that happens when you don't have a bit crusher?
but now the remix is being done in an entirely different DAW
and I had to find a different bit crusher
because I didn't have a bit crusher available in Luna
until... I do hate it.
(23:04):
Exactly.
There's a bit crusher that can be found.
It is by TrikTik.
They have a free version of a bit crusher
and then they have a pro version of that same bit crusher
and it can do some amazing bit crushing.
As you mentioned, you get into doing an effect
and you think, oh, this is so cool, I'm gonna turn it up.
I got done with dealing with the bit crushing
(23:26):
that I did in this remix.
And it gets to the very end of where it's really
just getting very, very extreme,
'cause it's for the outro of a song.
And I thought, oh my.
This was on the whole mix or was it just on the guitar?
No, it was on a percussion loop
that gets more and more crushed and distorted
Ah, got it.
as it goes through the outro.
(laughs)
By the time it got to the end, it was so ridiculously loud.
(23:49):
I'm like, Oh, that sounds so cool.
But it's so out of whack with the rest of the mix.
I got to bring it down.
So yeah.
Yeah, it's easy to overdo those sometimes
You are the distortion guy.
because they can sound so cool,
but then in context it's not gonna work.
It's like, oh, maybe dial that back a little bit.
But I'm a big fan of bit crushing as well.
You often say that I'm the distortion guy
(24:11):
on the show here, but I don't use it as much as I used to,
Mm-hmm.
but yeah, I'm a big fan and it's not necessarily,
although it's a part of it,
but not just throwing distortion on a vocal
Mm-hmm.
or a drum loop or whatever it is.
And that in itself can be very effective.
Bitcrushing obviously has that degrading quality
(24:33):
on the audio that can be very, very cool, I think,
because it is something that it sounds unexpected to me when you hear that sound.
Uh-huh.
It's not something that we're sort of used to hearing.
And I guess that kind of goes along with the whole list here, right?
Trying to make something a little bit more surprising or different sounding.
(24:53):
A tip that I would just suggest if you're trying out bit crushing ears,
Uh-huh.
if you go to the extremes with it, the top end can get really, really awful sounding.
Uh-huh.
Do you have any favorite tools you like to use for doing all of these types of things?
And it's not cool anymore.
So having like a high cut filter on top of it
can tame that when it's just like all the aliasing
(25:15):
is just going like, ah, I can't hear this anymore, right?
But using a high cut filter on that
can give some really, really cool results.
Yeah, obviously space designer, as I mentioned,
Uh-huh.
I do like Logic's Bitcrusher as well.
Right.
Now two that I don't hear so much talking about,
(25:36):
Mm hmm.
it's one plugin called Movement,
which guess what it does?
It adds movement, right?
And Portal by Output again.
And Portal is more of a granular thing.
It can get ridiculously in depth.
You can automate just about every parameter.
And those are two that are kind of cool for quick and dirty,
(25:59):
unless you want to get really nerdy in there
and just kind of throw on some presets.
And I like those as well.
I have to mention, like, iZotope's vocal synth as well,
It's pretty cool.
because that's a cool one.
You can go as mangly as you want with that, but yeah.
And it's currently in version two
What about you though?
as of the recording of this, vocal synth two.
Some of the ones that I like to do that are kind of fun
(26:19):
What do you like to use?
just for various pitch things would be MicroPitch
from Eventide. For distortion that is variable
in terms of straight up distortion,
CrushStation also by Eventide is pretty cool.
If I'm gonna go with something
that needs a little bit more randomness
(26:41):
in terms of warbling a sound,
the Korg SDD 3000 is pretty damn awesome at that.
For reverb-y like effects that you can do some crazy type
of filtering things with,
EnVerb in Logic.
Somebody else out there needs to create
(27:01):
a version of EnVerb that is not Logic
Uh, yeah,
so that it can be used elsewhere other than logic.
Yeah, it is very handy the way it is in Logic, but we were talking about this, not on the
That's what I'll say.
Yeah, it's not easy.
podcast.
The simplicity of it, you can recreate it, but you need to do all sorts of plugins and
automation and stuff as opposed to having it just in the window.
(27:24):
Yeah, and EnVerb is just a very cool effect
So really, really cool plugin.
in terms of adding spatial weirdness to things.
Obviously, all these techniques that we're talking about, there's no one way of doing
it.
A lot of times just mixing up the water trying different things, processing things further
is the way to go and sometimes you come up with something cool and sometimes it's just
(27:46):
a train wreck but then nobody has to hear it so that's good.
(laughs)
Depends.
Last question here before we start to put a bow on this I would say, when you're doing
this kind of processing, do you tend to leave the plugins active on the track or do you
you tend to bounce it to audio.
Right.
If it's something like EnVerb
and I need to use it outside of Logic,
(28:06):
I'm gonna have to bounce it to track.
If it's not and it's something that I can do
'Cause to me, I think sometimes there's a randomness
within the mix, I'd rather keep it in the mix.
that can happen when we're doing this experimentation.
If it has a pleasing result,
let's say it's a filtering thing or what have you
Uh-huh.
(28:26):
or a nice gating thing,
I like to bounce that to audio because then I have that preserved in time.
I kind of think it's okay, here's the audio and then add further processing or whatever.
A little while ago, a friend of the show, Adam Moseley, did a tutorial for Plugin
Let's move on to our Friday Finds.
Chris, what have you got this week?
(28:51):
Alliance.
It's called "How to Mix a Song."
Isn't that apropos?
Wow.
It's essentially Adam just walking you through an artist that he's producing and
walking through his thought process, his mentality, what he's looking for as he
Mm hmm.
mixes this track.
If you listen to Adam on our show or know about Adam, you know his wealth of
(29:13):
knowledge. It's deep, right?
So get to watch him to do that is a privilege and it's really, really cool.
So if you haven't seen it, go check it out.
called "How to Mix a Song" by Adam Mosley and Plugin Alliance. What about you?
I'm going with MicroPitch, and I know that I just said that it's one of my favorite
(29:34):
tools, but I'm going to add a little extra to that. MicroPitch
Immersive. As I'm about to be doing Sony 360 ra mixes of all
of these remixes, plus Dolby Atmos versions of all these
remixes. MicroPitch by Eventide now comes in a flavor called
(29:54):
MicroPitch Immersive, which allows it to go 3D, which is
Very cool.
Such a mind-boggling experience when you can throw pitches
around in the 3D space.
That's my choice of this week for my Friday Find.
Awesome.
While we've got your attention,
we ask that you go to insidetherecordingstudio.com
(30:17):
and sign up for our mailing list.
You'll need to be on our email list
to be eligible for future giveaways.
And we'll make sure you don't miss any future episodes
of this incredible podcast.
Send us an email at goldstar@insidetherecordingstudio.com
Thanks for listening everybody.
with the word tweaker,
and you'll get something cool back in your inbox.
If you have a topic or suggestion for Chris and I
(30:38):
to explain in a future episode,
contact us at the contact page
and we'll put it into consideration for a future episode.
With that, I'll say see you next week.
Have an awesome day.
Hello.
(00:23):
And welcome to another episode of Inside the Recording Studio.
I am Jody Whitesides and with me as always is Mr. Chris Hellstrom.
How are you today, Chris?
Doing very well, Jody, I'm doing very well. Was that some actual manual time stretching going on there?
Hinting at the topic of the show. I want to ask you, it was an interesting talk we had with
Something of that effect.
Sure.
(00:46):
Andrew last week as well about, right, there's a lot to digest there, so you know,
Very much so.
Go back and listen to it more than once.
Yeah, you might you might learn a few things right? Yeah. Today, we're going off the beaten path a little bit. We're talking about what?
Yeah, a lot of times people go sample hunting, they want the newest sample pack or whatever it is.
Ways to add interest to your audio tracks and how to get more mileage out of any samples
(01:11):
you might be using.
Well, why not? If you're first to it, then everybody else thinks people are following
you.
This is true, but that would mean that you have to be first.
Mm hmm.
And to me, there's always been times when you hear a new sample instrument or virtual instrument come out,
Yep.
Yep.
(01:35):
loop libraries back in the day, and you start hearing it everywhere.
Yep. One would hope.
Like for Stylus RMX used to hear stuff all the time.
So, "Oh, there's that loop." Or, "There's that loop."
So this is a ways that we can get a little bit more creative if we have a little downtime or we just feel creative.
And if you're doing some of these things that we're going to talk about, you will sound unique
(01:58):
because there's very little chance that somebody's thought and done and processed their audio
exactly the way that you're going to do it.
Of course not. It's fun. And I have to say, I mentioned this before,
But that doesn't necessarily ring true 100% of the time.
Okay.
there was one of these producer challenges by Andrew Wong. And one of the guys that participated
(02:22):
in that did something that I thought was really really interesting. This guy goes by AU5.
They were given a sample and they had to create a song with it and the sample that they got was
The first thing that pops in my mind is to have a means to creating interest on boring
like an open door creaking and the way he processed that was really really fascinating. So
why would we want to do this rather than just have some fun? What do you think?
(02:46):
Thank you.
audio. [Pause] [Laughter] That's what a lot of people
Sure.
To me, it's like if you have your song and we have all these ideas of parts that we want
to put in there, but everything is not working.
So when we have these parts that in the track by themselves can be sort of pedestrian or
(03:11):
boring. Using some of these techniques can add a little bit more life and interest to them.
Something that adds to your track is supposed to just like, meh as you like to say.
So what's first on the agenda Jody?
like to say. Extreme time and pitch stretching,
Those are good ones. Sure.
which has been around for quite a while.
The first plugin that I can think of that did this type of thing was the Serato
(03:36):
plugin. Do you remember that?
Yeah.
Yeah, time and pitch, right? It was the algorithm that you bought to fit into the time and pitch
It was, yes.
machine in Logic. It was a standalone plugin, I think, as well, but not a lot.
But you had to purchase it extra in logic way back in the day if you wanted to do certain things.
Yeah, it was a better algorithm than what was available in Logic at the time.
Then the. Yes.
(04:01):
I'm not sure if that's available,
They still make it. Yeah, it's not internal to logic in that regard the way it was back in the day.
actually anymore. Yeah.
And what's the deal behind doing it and using something like this?
Uh-huh.
To create textures out of stuff, right? So if you have whatever it is, let's say it's
(04:22):
Right.
a vocal sample or something, stretching it by like extreme amounts. And I'm not talking
Sure.
about making something just fit to tempo, but stretching it in the multitude of 100%
right so you can really really drag it out and it creates a lot of cool textures I think that
Sure.
(04:44):
almost makes it like droning kind of sounds. Great to either leave alone or print again and toss them
Uh hmmm.
into your sampler and tweak further perhaps but it's a really really cool way this is something
that you do you mentioned pitch and time there. Do you use any like third-party
stuff for this? Or is it just like you stick to logic is a state of your
(05:08):
creation DAW right?
It's still the creation and editing DAW, yes.
Generally speaking, if I'm going to go nuts with something,
I'm going to do the time stretch or time compress of a region using Logic.
It's just Logic's built-in, yeah, option dragging the region in Logic
When you just like option dragging it type of thing
Yeah
(05:28):
will allow you to change the time in a very different way
than trying to just change it via a tempo thing.
Way back when, before Ableton Live was capable
of doing some crazy time signatures,
I used to do some time stretching
and other weird effects using Ableton
(05:49):
'cause it's very, very good at it
Yeah, that was the strength of Ableton early on, besides other things that it did well
and keeping things artifact free is a good way of saying it.
Yeah. Yes. Well, and the fun thing is, is that eventually after a little pastoring from
that it had for some reason, the way that they used an algorithm there that did it relatively
seamlessly without artifacts like you say.
(06:10):
And of course, sometimes those artifacts can be a cool thing as well if you're doing this
kind of extreme stuff and it kind of, but if you want it to just be nice and smooth
and not destroyed to hell, you know.
That was a good way of doing it. Yeah.
Yeah, because it was just 4/4 in the beginning.
a couple of people that I know able to actually added the ability to do things in very, very
(06:32):
odd time signatures.
Oh, yeah, strictly for for crazy.
Yeah. Right.
Other things that I have done is I used a reactor patch.
I can't remember what ensemble was,
but it was one of the user submitted ones
to granulize audio as well.
And because obviously with that whole world opening up,
(06:54):
you could really, really mangle sounds as well
and come up with interesting things.
If you're not using Reactor and you're a Logic user,
you can actually import samples into Alchemy
Okay.
Sure.
What's the next one you got here on our list?
because it does a granular mode.
And that's also a really good way of tweaking sounds
and stretching things and coming up with interesting results.
(07:16):
Rhythmic effects, and this is something from simple gating things to tremolo effects or
Yes.
Mm-hmm.
(laughs)
maybe even those classic stutter edits that were possibly done a little too much in the
early 2000s, at least by me maybe because I was really, really into them. Using
(07:42):
all these techniques can work the same way for all three, right? You can use musical division
to add a groove or the case of perhaps like stutter effects having a little bit more of a glitchy kind
of thing. I think that's something that can sound really, really cool. Not to blow my own trumpet
Uh-huh.
- Buh-buh-buh.
here too hard, but I did a track on an album that I did, I just realized it was almost 10 years ago.
(08:05):
(laughing)
holy crap time flies. But there's a track called Love, which is just sound mangling.
And it's like a showcase for all of these techniques. But that sounds a little bit too
self aggrandizing. I used a lot of these things in there and granular synthesis and the gating and
(08:28):
stutter edits and all this kind of stuff are well on display there. That's something that I think
Uh huh. Uh huh.
it sounds really really cool whether you're doing it in just risers or slow downers or whatever
look at any Heavyocity product and you see they always have like a
Well, the same can be said for iZotope's Stutter Edit and Stutter Edit two.
gating engine in there or something or tremolo engine it sounds really really cool to me anyway
(08:49):
Yes. Right.
Which was designed by the guy that really kind of put stutter editing on the map.
BT.
Absolutely. That's a deep plug-in as well. I mean, even the first one, version one,
Mm hmm.
was really, really deep and I think designed for DJ's really to use in real time, as it were.
(09:13):
And that's just kind of a crazy concept. Still super powerful. I think it can perhaps leave
users a little bit intimidated because of the interface. There's a lot to take in there,
but once you kind of... right. But it is really really powerful and just having it all in one
Version two definitely has that.
There's no doubt.
(chuckles)
(09:33):
as opposed to a multitude of processing with different plugins. That's a cool one. There
are other things that are on the cheaper side as well. I think actually it might even be free,
but there's a company called Audio Modern. They have a plugin called GateLab, which is just does
gating, right? And you can randomize it and do all sorts of kind of creative stuff with it. So
(09:56):
that's one of them that's kind of cool to use as well. Me of course, being a glutton for punishment,
Right on.
Possibly. And remember, those can sometimes be cool when it comes to things like tremolo, though.
I tended to do all of these by hand. So I like to cut in the DAW either way works. If you are
cutting it by yourself and you're cutting by hand, don't forget to crossfade or fade your regions
(10:16):
or you're gonna end up with a lot of nasty artifacts.
Yeah.
Yeah.
In Logic, there's a great tremolo plugin built in.
In Luna, not so much.
So-,
Oh yeah yeah yeah.
(laughs)
But there is a free tremolo plugin out there
(10:37):
called Pekinig, at least I believe that's how it is.
It might be Pechegneg tremolo.
It's a free plugin, it's older.
And then my favorite gate plugin,
just for gating in general, is Gatey Watey by Boz Labs.
Right.
And the reason why is it has three different ways
it can do gating and it's pretty hip.
(10:59):
Well, Gatey Watey isn't something
That is a cool one as well. When you're doing all of these, let's say that you're setting up
Gatey Watey, do you tend to go for like a synced tempo thing or do you go more for a random?
I suppose it depends on what it is that you're trying to do.
that you'd necessarily use for rhythmic effect.
It's used more for filtering.
Hmm.
(11:20):
And you can filter from a low pass filter
Hmm.
Yeah.
to a high pass filter or just the entire range all the way.
And then it has the typical look ahead.
It has the attack and release, those type of things.
Now, of course it can side chain,
which then you could tie to something being done rhythmically
[silence]
(11:40):
using a midi note situation to trigger a sound
that would open and close the gate
if you wanted to do it that way.
That would be the same way I would do it in Logic as well,
using midi notes to open and close a gate
if I'm gonna try and do it rhythmically speaking
and then set everything super extreme.
Oh yeah.
So it's almost like we were talking about Steve Ouimette with the guitars for
(12:02):
Zombies From Hell and all that kind of stuff. Is that the kind of gating that you're talking about or no?
Well, they did gating along with delay sounds
Even for Steve, right? [chuckles]
or delay timing that created this really amazing
rhythmic value to the song that would be impossible
to play as a human in terms of, even for Steve, exactly.
(12:25):
If you were trying to play it
without using a gate and delay,
those are things that you can pull off
and make things sound way more complicated
than they actually are.
Just using a tremolo or gating can possibly seem like low hanging fruit
If you're using things like gates and delays
very effectively.
Very much so, yeah.
(12:47):
when you're processing your files or you're trying to do something creative.
But I think it really just comes down to how much we're thinking about it and not to be
afraid of sort of randomness of it.
Sometimes that can be the most interesting thing, I think.
It's very easy to think, oh, we're doing an eighth note or a sixteenth note thing that's
(13:08):
going to get faster or whatever.
But if we have those in odd places, it just adds interest to a part that might not be
a standout part, but it certainly brings more life to it.
And I'm thinking of things like Radiohead had a bunch of this kind of stuff on the late
90s output kind of stuff and can be used to great effect.
(13:30):
Don't be afraid of gating.
But what's next on our list, Jody?
Extreme EQs and/or
What do we got?
Mm-hmm.
high and low pass filtering. Which means you can take a sound
Hmm. Yeah. This is something
and filter out everything or a sliver,
or a wider range than that.
And doing that can change the value
(13:50):
of whatever part it is or sound that it is
in ways that help it fit into the arrangement better
and or make it sound very unique
away from what its original value was.
Thank you.
that I used to do a lot and more when I was working with loops or performance-based virtual
(14:15):
instruments, let's say something like Damage, right, with some of those performance loops that they have
where there might be elements of the sound that are sounding really cool, but using the whole thing
is just too much, right? So extreme filtering to just kind of create something new, you might just leave
Yes. For those that are really young, the telephone
(14:37):
we just got something at 700 or whatever it is, right?
Using just the top end is a great foundation
for perhaps tweaking that sound even further.
So using extreme EQ there.
And of course the opposite is true.
And I think we have to mention here as well,
like the telephone voice thing, right?
'Cause that's essentially what that is.
(14:57):
It's so cliche these days.
effect made it sound like a bit like a megaphone.
If you're familiar with what a megaphone sounds like,
cause before the advent of the cellular phone
where things kind of sound like everybody's normal voice,
we had landlines and those things, when you spoke into them,
(15:19):
they sounded a lot thinner and smaller
in terms of what the person's actual voice
would come out sounding like on the other end of the line.
The idea of doing the phone effect is to use a low pass filter and a high pass filter and narrowing out a band somewhere in the mids and pumping them up a bit so that you're getting a very narrow range and accenting a certain portion of that narrow range that's left.
Yeah, I suppose people today might not know what we're actually talking about, but just
(15:47):
And that gets you what we call the phone effect.
just like you described that that's what was happening, right?
Yes.
But of course, as we're thinking of that on a vocal line or something can be used
>> Right.
very effectively and was and has been to death.
Right.
(16:07):
The technique still applies to whatever it is that you're doing.
It's a similar result and you can get some cool stuff coming out of it.
I remember reading an old article from I think it was Charlie
Clouser and the whole Nine Inch Nails Camp in Keyboard magazine when they were doing or
working on The Fragile and how they would go through this and just they would sit
(16:29):
in the rooms try to come up with material and things and then deciding
that in the track the whole thing is just too much so they would just filter
down everything that it's just now it's just within an inch of its life shall we
say but the loop now works and it's interesting so it is something that I've
done a lot and I'm sure you have as well. So there you go. Yeah, when we're talking
I'm still doing it now with some of the remixes I'm doing.
(16:51):
(laughing)
Mm-hmm.
about what we do like audio engineering and mixing so much of the time we're talking about
things being pristine and sounding beautiful and it's in all its glory, right? Everything
is supposed to be perfect. But sometimes that can be boring and it calls for something different.
(17:12):
Mm-hmm.
So using like extreme EQs or filtering,
it can bring stuff to life
and have a little bit more interest, I feel anyway.
So the next thing on our list here is
I don't disagree.
Mm-hmm.
kind of related to that, I suppose.
It's the use of IRs that are not necessarily units or boxes,
(17:36):
but of unusual places or spaces.
One thing that this immediately brings to mind for me is a plugin called
Speakerphone by AudioEase that I think you had at one point.
Yeah.
I do own a version of it.
It's quite old because I haven't used it in about eight years plus.
(17:57):
It's been a while since I've used it.
Yeah, but I had that and it was amazing.
But.
And it probably still is with the current version that they have.
And the idea behind it is they went and made IRs of an insane number of just crazy different
Yeah, it's like foley, right.
spaces.
It was not originally intended for music.
(18:18):
It was originally intended.
Yeah, for Foley artists and post production sound for TV, film, video productions, what
Yeah.
have you.
They have IRs of things like the inside of a cargo van, or a bathroom, or a stairwell,
or going through some type of electronic thing like a boom box, or transistor radio.
(18:39):
[LAUGH]
They had sounds for various types of cars like a Volkswagen bug.
They just went and made IRs of all kinds of crazy spaces.
And even if you don't have that, there's so many IRs out there.
For some silly reason, I got that plugin thinking it would be fun to do that for musical purposes,
(19:05):
to put a sound in a very strange spot, so to speak.
To me, Space Designer is a real treasure trove of this because it has that category like
- Oh yeah.
Warped Spaces and fantastic for this stuff.
Now I'm not thinking necessarily of placing something in an actual environment here.
(19:25):
Yeah. Well, and the other thing
It's just tweaking the audio, having it 100% wet, and using whatever I are to just make it sound
drastically different and hopefully cool. Transistor radio, you mentioned there,
that's something that's in there. And so that's kind of like a common thing, or having it come
(19:48):
out of a little tiny speaker is a great way to shrink something really big to, you know, have it a different vibe.
sticking with that kind of concept of transistor radio
Yeah.
and you said making a big thing sound small.
That's very much akin to the phone effect
that we mentioned in the last process.
Anytime you take something that's a much wider range
(20:10):
of dynamic and pitch value tone
and put it through something like a transistor radio
or telephone, you're removing a whole lot of its value
on the high and low end.
Yes.
And it definitely puts it into a different category
of how well it will sit inside a mix.
(20:33):
Doing that using either Speakerphone
or using a bunch of filters to filter things down,
that sound will now actually stick out a lot more
than you might expect.
So you have to be careful how loud you make that
within your mix.
Because when you're removing all of that information,
Yeah, depending on the frequency obviously, but yes, it can poke out and it's... One temptation
you start pumping up the volume a little bit
to accommodate for that.
(20:54):
It will really poke out because it's right in human hearing.
when you're kind of placing these in the mix, I suppose, after the fact is that we've spent
Mm-hm.
so much time tweaking these samples or the audio that we're just like, "Oh, I want to
(21:14):
hear it.
I want to hear it.
I want to hear it louder, louder, louder.
And now all of a sudden your main track of the song is coming out of a transistor radio.
Right? So for nuggets of audio interest, it's a great technique, but IRs are a treasure trove for that.
(laughs)
My favorite actually of that type of effect
Well, how apropos.
(21:35):
has to be the intro to an ELO song called Telephone Line,
where it starts out sounding really small and narrow
[LAUGHTER]
in the stereo mix and right in your face.
And it sounds like this guy singing to
whoever it is that he's singing to via Telephone Line.
And then as the intro goes along,
(21:56):
it widens out into stereo and becomes dynamic,
full range of pitch and everything,
and not narrowed down like it starts out,
which is pretty cool.
Mm-hmm.
I'm fascinated by a bunch of the guys, sound designers,
like Venus theory or whomever,
where they do all these creative things
Sure.
and just come up with these awesome sounds
(22:18):
in ways that I would never think of
because I don't do that on the daily, right?
But it is really, really cool.
All right, landing on tip number five.
Yes, I was working on a remix.
This is something that you have just had to do
because you mentioned a bit crushing plugin last week,
but I'm talking about bit crushing and distortion here.
(22:41):
There is a very, very nice and handy
and capable bit crusher built right into Logic.
And the original version of this was done in Logic,
[LAUGH] Don't you hate when that happens when you don't have a bit crusher?
but now the remix is being done in an entirely different DAW
and I had to find a different bit crusher
because I didn't have a bit crusher available in Luna
until... I do hate it.
(23:04):
Exactly.
There's a bit crusher that can be found.
It is by TrikTik.
They have a free version of a bit crusher
and then they have a pro version of that same bit crusher
and it can do some amazing bit crushing.
As you mentioned, you get into doing an effect
and you think, oh, this is so cool, I'm gonna turn it up.
I got done with dealing with the bit crushing
(23:26):
that I did in this remix.
And it gets to the very end of where it's really
just getting very, very extreme,
'cause it's for the outro of a song.
And I thought, oh my.
This was on the whole mix or was it just on the guitar?
No, it was on a percussion loop
that gets more and more crushed and distorted
Ah, got it.
as it goes through the outro.
(laughs)
By the time it got to the end, it was so ridiculously loud.
(23:49):
I'm like, Oh, that sounds so cool.
But it's so out of whack with the rest of the mix.
I got to bring it down.
So yeah.
Yeah, it's easy to overdo those sometimes
You are the distortion guy.
because they can sound so cool,
but then in context it's not gonna work.
It's like, oh, maybe dial that back a little bit.
But I'm a big fan of bit crushing as well.
You often say that I'm the distortion guy
(24:11):
on the show here, but I don't use it as much as I used to,
Mm-hmm.
but yeah, I'm a big fan and it's not necessarily,
although it's a part of it,
but not just throwing distortion on a vocal
Mm-hmm.
or a drum loop or whatever it is.
And that in itself can be very effective.
Bitcrushing obviously has that degrading quality
(24:33):
on the audio that can be very, very cool, I think,
because it is something that it sounds unexpected to me when you hear that sound.
Uh-huh.
It's not something that we're sort of used to hearing.
And I guess that kind of goes along with the whole list here, right?
Trying to make something a little bit more surprising or different sounding.
(24:53):
A tip that I would just suggest if you're trying out bit crushing ears,
Uh-huh.
if you go to the extremes with it, the top end can get really, really awful sounding.
Uh-huh.
Do you have any favorite tools you like to use for doing all of these types of things?
And it's not cool anymore.
So having like a high cut filter on top of it
can tame that when it's just like all the aliasing
(25:15):
is just going like, ah, I can't hear this anymore, right?
But using a high cut filter on that
can give some really, really cool results.
Yeah, obviously space designer, as I mentioned,
Uh-huh.
I do like Logic's Bitcrusher as well.
Right.
Now two that I don't hear so much talking about,
(25:36):
Mm hmm.
it's one plugin called Movement,
which guess what it does?
It adds movement, right?
And Portal by Output again.
And Portal is more of a granular thing.
It can get ridiculously in depth.
You can automate just about every parameter.
And those are two that are kind of cool for quick and dirty,
(25:59):
unless you want to get really nerdy in there
and just kind of throw on some presets.
And I like those as well.
I have to mention, like, iZotope's vocal synth as well,
It's pretty cool.
because that's a cool one.
You can go as mangly as you want with that, but yeah.
And it's currently in version two
What about you though?
as of the recording of this, vocal synth two.
Some of the ones that I like to do that are kind of fun
(26:19):
What do you like to use?
just for various pitch things would be MicroPitch
from Eventide. For distortion that is variable
in terms of straight up distortion,
CrushStation also by Eventide is pretty cool.
If I'm gonna go with something
that needs a little bit more randomness
(26:41):
in terms of warbling a sound,
the Korg SDD 3000 is pretty damn awesome at that.
For reverb-y like effects that you can do some crazy type
of filtering things with,
EnVerb in Logic.
Somebody else out there needs to create
(27:01):
a version of EnVerb that is not Logic
Uh, yeah,
so that it can be used elsewhere other than logic.
Yeah, it is very handy the way it is in Logic, but we were talking about this, not on the
That's what I'll say.
Yeah, it's not easy.
podcast.
The simplicity of it, you can recreate it, but you need to do all sorts of plugins and
automation and stuff as opposed to having it just in the window.
(27:24):
Yeah, and EnVerb is just a very cool effect
So really, really cool plugin.
in terms of adding spatial weirdness to things.
Obviously, all these techniques that we're talking about, there's no one way of doing
it.
A lot of times just mixing up the water trying different things, processing things further
is the way to go and sometimes you come up with something cool and sometimes it's just
(27:46):
a train wreck but then nobody has to hear it so that's good.
(laughs)
Depends.
Last question here before we start to put a bow on this I would say, when you're doing
this kind of processing, do you tend to leave the plugins active on the track or do you
you tend to bounce it to audio.
Right.
If it's something like EnVerb
and I need to use it outside of Logic,
(28:06):
I'm gonna have to bounce it to track.
If it's not and it's something that I can do
'Cause to me, I think sometimes there's a randomness
within the mix, I'd rather keep it in the mix.
that can happen when we're doing this experimentation.
If it has a pleasing result,
let's say it's a filtering thing or what have you
Uh-huh.
(28:26):
or a nice gating thing,
I like to bounce that to audio because then I have that preserved in time.
I kind of think it's okay, here's the audio and then add further processing or whatever.
A little while ago, a friend of the show, Adam Moseley, did a tutorial for Plugin
Let's move on to our Friday Finds.
Chris, what have you got this week?
(28:51):
Alliance.
It's called "How to Mix a Song."
Isn't that apropos?
Wow.
It's essentially Adam just walking you through an artist that he's producing and
walking through his thought process, his mentality, what he's looking for as he
Mm hmm.
mixes this track.
If you listen to Adam on our show or know about Adam, you know his wealth of
(29:13):
knowledge. It's deep, right?
So get to watch him to do that is a privilege and it's really, really cool.
So if you haven't seen it, go check it out.
called "How to Mix a Song" by Adam Mosley and Plugin Alliance. What about you?
I'm going with MicroPitch, and I know that I just said that it's one of my favorite
(29:34):
tools, but I'm going to add a little extra to that. MicroPitch
Immersive. As I'm about to be doing Sony 360 ra mixes of all
of these remixes, plus Dolby Atmos versions of all these
remixes. MicroPitch by Eventide now comes in a flavor called
(29:54):
MicroPitch Immersive, which allows it to go 3D, which is
Very cool.
Such a mind-boggling experience when you can throw pitches
around in the 3D space.
That's my choice of this week for my Friday Find.
Awesome.
While we've got your attention,
we ask that you go to insidetherecordingstudio.com
(30:17):
and sign up for our mailing list.
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And we'll make sure you don't miss any future episodes
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Send us an email at goldstar@insidetherecordingstudio.com
Thanks for listening everybody.
with the word tweaker,
and you'll get something cool back in your inbox.
If you have a topic or suggestion for Chris and I
(30:38):
to explain in a future episode,
contact us at the contact page
and we'll put it into consideration for a future episode.
With that, I'll say see you next week.
Have an awesome day.
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