#kontakt bass

[krazetv]

Checking Out Shreddage Bass Collection 64% Off by Impact Soundworks | Pl...

[pettybourgeoiz]

✰Bourgeoiz Music Discovery✰

[thumpypuppy]

Hello! I was wondering if there were any plans to release a soundbank of some of the sounds used in the ISAT soundtrack? :)

Great question!

The sounds used in the ISAT soundtrack are as follows:

NI Massive

NI Kontakt 5 Library

Spitfire Audio Albion ONE, Labs, and Sacconi Quartet

Toontrack Super Drummer 2 + Metal Foundry

Ibanez 8 String Guitar

Mitchell 5 String Bass

Various audio effect plugins

Spitfire Labs is free to download, you can always get a bunch of free plugins from Native Instruments, and the chiptune sounds are just some really basic square (and other) waves out of Massive, which can be done with any number of plugins (I know there are loads of free chiptune VSTs out there).

We're actually planning a series of tutorial videos on mixing and compression, and may actually include an additional video about sound design with additive synthesis.

To answer your question, no, at this time we are not planning to release a sound pack as all of the sounds used are from commercial products, but we're happy to go over making your own sounds so you can find your voice in sound design. If there are any tracks in particular where you're wondering "How did they do that?" please feel free to submit another ask and we'd gladly go over the details!

[11vein]

What plugins/vsts do you and the members of team 6x111 use 👀

I really like the instrumentation in all of them fhhfhdhdhfhhdhjdhj

idk everything people use but here are some things i know i use and some other members use (we also mostly use Logic Pro X for reference) Glitch 2 really fun glitch fx plugin, though once you hear it it becomes super easy to tell when something uses it loll. one time payment of ~$50 that is pretty worth it especially to support the dev! i'm unsure if the original Glitch 1 is still available for free, but if it is it works just as well Arcade by Output subscription-based plugin for instruments and sampling. you know those fun samples we use in songs occasionally? often they come from Arcade. if you are new to using DAWs it might be a bit confusing but its fun to mess with Kontakt 7 + Session Plugins by Native Instruments currently a lot of this is 50% off rn on sale but still pretty expensive. kontakt is a really great plugin with high quality instruments to use in it, especially the Session vsts (acoustic, bass, electric guitar, etc). if you have a wad of cash lying around and really want something high quality these are very good LABS by Spitfire Audio completely free plugin with free instruments that are pretty good and high quality, often experimental and sampled from real instruments

thats all i can think of off the top of my head lolll

[khalaris]

TAG SOMEONE YOU WANT TO KNOW AND/OR SOME OF YOUR BESTIES

got tagged by @eolewyn1010 who wants to find out just how boring I am 😄

favorite color: something between red and orange, really bright and intense

last song: Sha's "Monbijou". It's the perfect soundtrack for writing. Solo bass clarinet, bit of sax, 27 minutes long, recorded live under Monbijou bridge in Bern.

last movie: Glass Onion probably. "But that was months ago!" you say and you're right!

currently watching: new episodes of the Tatort teams I find interesting. Maybe even a Polizeiruf or two, just to mix things up a bit.

other stuff I watched this year: Apart from the stuff already mentioned... Knives Out and Glass Onion. And I watched through Blind ermittelt.

shows I dropped this year: None? I mean, I'm not really watching anything anymore except for my silly little German (and Austrian) crime shows. Unless you count maybe sort of emotionally dropping Tatort Münster? As much as that hurt. Still watching it, but I just can't put my heart into the new episodes the way I used to.

currently reading: endlessly rereading my own fanfic and following a handful other WIPs. In terms of books: "Idealzone Wien - die schnellen Jahre 78-85", "Queering Gay Pride", "Stadtgespräche aus Wien", "Es gibt durchaus noch schöne Morde", "Aufgabe Kriminalitätsbekämpfung", "Schmäh", "Nur in Wien"......... Errr, there might be a theme here (yes, it's research all the way down)

currently listening to: Nik Bärtsch's Ronin - "Modul 41_17"

currently working on: getting rid of the persistent hatte-Kontakt-mit-Kleinkind-Schnupfen that's been annoying me for the past 3 weeks

current obsession/s: perhaps a bit obsessed with Tatort Wien at the moment. But only a teeny tiny bit. Almost unnoticeable. It only fills my every waking thought (and some of my dreams) haha

No-pressure tagging @justhugsplz and @dat-carovieh if you want to :)

[bowmanstudios]

GEAR

Microphones:

Sure sm57

Sure sm58

Audix i5

Sure Beta 52

Blue Snowball

Behringer C-2 (pair)

Samson C01

Rode NT1A

Hardware:

Scarlett 18i0 audio interface

Mackie 1402-VLZ PRO 14 channel mic/line analog mixer

Guitar amps and pedals:

Helix HX STOMP

Ibanez Turbo Tube screamer

Guitars:

Fender GC140SCE Concert Acoustic-Electric

Yamaha FX335C Dreadnought Acoustic-Electric

Ovation 1311 Natural Acoustic

Fender Nashville Telecaster

Fender Squire Bullet Telecaster

Fender Squire Jazz Bass

Mitchell MU40 Soprano Natural Ukulele

Yamaha CGS 102A Classical Guitar

Keyboards:

Nektar Impact LX61+

Roland U-20

Drums and percussion:

1 big tambourine

1 small tambourine

LP Medium twist shakers

Simmons Titan 50 electronic drum set

Sound Monitoring:

JBL Professional Linear Spatial Reference 3 Series powered studio monitors (pair)

Sony Professional MDR-7506 studio headphones

Sennheiser HD 201 studio headphones

KRK Classic 5 studio monitors (pair)

Computers and visuals:

Apple MacBook Pro 13 inch

Dell flat panel monitor

DAW/software:

Logic Pro X

Pro Tools 12

GarageBand

Avid/Apple/Native Instruments/SoundToys/FabFilter/Waves plugins

Helix HX Edit

Plugins:

Digital EQ’s:

Waves V-EQ4

Fabfilter Pro-Q

Digital Reverbs:

Waves Abbey Road Chambers

Waves H-Reverb Hybrid Verb

Waves Renaissance Reverb

Waves Manny Marroquin Reverb

Relab Development LX480 Reverb

Digital Compressors:

Waves Renaissance Compressor

Waves CLA-3A Compressor/Limiter

Waves Smack Attack

Waves DeEsser

Extras:

Waves SSL G-Channel

Waves Nx Ocean Way Nashville

Waves Z-Noise

Waves WLM Plus Loudness Meter

Waves Tune Real-Time

Waves Vocal Bender

Waves Torque

Waves CLA Bass

Waves Abbey Road J37 Tape

SoundToys Echoboy

VST’s:

Spectronics Keyscapes

Native Instruments Battery

Toontrack EZdrummer 3

Native Instruments Kontakt Electric Guitar

Accessories/miscellaneous/other studio features:

4 XLR cables

4 1/4 inch jack cables

Power supply cables

USB outlet strip

High speed internet and free WIFI

Pencils, pens and paper

Wireless printer available

5 mic stands

Shock mount, pop filter, and 3 windscreens

HEAROS Ultimate Softness earplugs

Mini Samsung T.V. with Roku entertainment

RIF6 electric record player with built-in speakers

Dean Markley Pro Mag humbucker pickup

Culilux 1/4” audio splitter

Rioddas external ODD&HDD disc drive

Pack of CDs for burning

Guitar pick maker with appropriate paper

3 microphone clips

Alesis sustain pedal

Radial PRO-DI passive direct box

DeltaLab digital metronome

AKAI MPD218 beat pad

GiveBest electric heater

Behringer ULTRAACOUSTIC AT109 15-WATT acoustic guitar amplifier

OWC thunderbolt USB-C dock

APC surge protector

MOONGEL damper pads

Pick holder filled with guitar picks (floppy and hard) and a set of thumb picks

2 capos and clip on tuner

KORG TM-50 combo tuner and metronome

Mackie 1402-VLZ PRO 14 channel mic/line analog mixer

NEXIGO web cam

Big Knob passive monitor controller

The Bowman Studios, Dallas, Texas

Producers: Mason Bowman

[crislorencreative]

Guitar and Bass DI Shootout notes!

Put this together to shootout Direct Input options for recording guitar and bass, as well as get better with my critical listening while getting  acquainted with my new interface. I might be making mountains out of molehills, I might be making strides in my audio engineering and songwriting journey- either way I have way too much time on my hands.

Hardware;

RME Babyface Pro FS Audio Interface

Radial Stereo PROD2 Direct Input Box

JHS Pedals Buffered Splitter V1 Signal Splitter Pedal

Land Devices PRE Guitar Preamp Pedal

TECH 21 SANSAMP Bass Driver DI Bass Preamp Pedal

Mogami GOLD Guitar Cable

Lava Cables Solderless Patch Cables

Gibson ES-335 Electric Guitar with stock pickups

Fender Jazz Bass with Seymour Duncan “Quarter Pounder” pickups

Guitar Center retail store picks (lol)

Software;

Logic Pro X digital audio workstation

Logic Pro X stock Limiter (+3dB on Master Bus)

Drums-

Native Instruments KONTAKT virtual instrument host

RoomSound Jay Maas drum library

Bass/Guitar-

FabFilter EQ3 equalizer plugin

STL Tones Howard Benson guitar and bass amp simulator (w/CLA Expansion)

Logic Pro X stock Compressor plugin

Logic Pro X stock Single-Band EQ plugin

I aimed to make a simple verse at 150 tempo in D minor with a low down bass pattern, mute-canceling strumming rhythm guitar part, and bouncing lead guitar melody in my arrangement at the end which these sections and parts cumulate to at the end of this demonstration. I imagine it as a lead into a driving chorus where a future vocal line can begin to wail out after a chilled-out verse- as my inspirations in songwriting originate from Nirvana and independent bands of the modern day. Using the STL Tones Howard Benson Plugin, I sought out a lightly driven Ampeg style amp for the bass tone, a Tubescreamer-fronted Vox AC30 style amp for rhythm guitars, and a pushed Fender Tweed style amp for the lead guitars. Only modifications were using the plugins’ internal reverb and delay sparingly, and added the aforementioned Single-Band EQ plugin for a subtle high shelf on the Lead Guitar.That’s it- no parallel processing, aux sends, or anything funny with the mixing. Nothing too fun until I can determine which method to record my Direct Input Guitars.

Audio Timeline - Total Length 3:44

Three routing methods described as;

RME Direct Input - RME DI

Radial DI Box into RME XLR Input - DI box

Preamp into RME 1/4th” Input (Sansamp for Bass, Land Devices PRE for Guitars) - PRE

Section 1 - 8 Bars testing 

Three 8 bar instances of the riff, with 3 stages of testing (with drums, no drums, no plugins) - 0:06-2:04

Part I

Drums, Bass, Rhythm Guitars, and Lead Guitars - 0:06-0:44

RME DI - 0:06

DI box - 0:19

PRE - 0:33

Part II

Bass, Rhythm Guitars, and Lead Guitars(w/EQ+Amp Sim) - 0:44-1:26

RME DI - 0:48

DI box - 1:00

PRE - 1:13

Part III

Bass, Rhythm Guitars, and Lead Guitars(No Plugins) - 1:26-2:04

RME DI - 1:26

DI box - 1:39

PRE - 1:52

Section 2 - 4 Bar testing

4 bars of each DI, followed by 4 bars with added EQ and Amp Simulation - 2:04-2:24

Bass (DI, then EQ+Amp Sim);

RME DI - 2:04

DI box - 2:11

PRE - 2:17

Rhythm Guitar (DI, then EQ+Amp Sim);

RME DI - 2:24

DI box - 2:30

PRE - 2:36

Lead Guitar (DI, then EQ+Amp Sim);

RME DI - 2:43

DI box - 2:49

PRE - 2:56

Section 3 - Which did I prefer? 35 Second Demo 3:05-end

Now, time for my favorite. I’d like you to guess which one my favorite is of the three routing methods with a 35ish second arrangement I made for this test. I used the same DI method for Bass, Rhythm Guitars, and Lead Guitars in this final example. I thought it sounded nice for what it was while not going deep into processing to keep the integrity of direct signals and keeping this test close to its roots, how a DIY musician approaches songwriting at the first step- plugging in and playing your instrument with minimal nor no outboard processing, other than maybe your favorite preamp pedal.

[dmdokuro]

Say, I saw your post about how you excited for Shreddage Fretless and that got me thinking, do you have a fretless bass irl or you just use vst? There's like only two fretless bass vst out on the market

just VST/Kontakt tbh, but i'd learn how to play bass just so i can play a fretless. there's something about their versatile tone that i enjoy more than a regular bass.

[farewell-persephone]

The last song on the EP and my other favorite besides “Doomsday Clock.”

It is imperative that you know that I wrote this riff while taking a shit.

The name is a little ironic because it was heavily inspired by Cult of Luna, specifically the song “Echoes.” Lots of interesting things on this one; I would say it’s basically in Phrygian mode, though whether it’s in C or F might be debatable. Probably F with tonicization to C in a couple of spots. I’m not great at theory! Quite a few outside notes too, which is probably The Ocean’s influence coming through.

The “feedback” at the beginning is a reversed track of a big open chord through some weird ass POD Farm amp; those weird screeches right before the rhythm guitars come in were Gojira-style pick scrapes through the same amp if I remember correctly. I think I wrote this right around the time I started getting into a little hip-hop, because I remember trying to go for a hip-hop vibe with the drums. Time-wise it moves between 6/4, 4/4, and 7/4. Pay attention to the bass, it’s doing a lot.

The vocals at the end were some Kontakt library. That whole thing plus the fade-out was heavily inspired by Alcest’s “Delivrance” as well as “Finale” by Uneven Structure. Really proud of how lush that ended up sounding.

Overall I think this is one of the most musically sophisticated (not to say complex) things I’ve ever written.

[hardnahas]

Ableton live lite music making software

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[your-turn-to-play]

I did a revamp of Seu Pedido É Concedido! In the soundtrack I'll give the songs names in portuguese, english and japanese, I'm not fluent in japanese yet but I am in portuguese and english! Just so you know you can translate it, in case you want to know the meanings

So yeah it's basically a completely different song and it sounds way better now, with different phases. And it fits what I was going for better imo too!

As always, this song is made from loo´s from Looperman.com, the loops are free for commercial use but here is the list of all the loops I used in this song: (I don't know how to make the links small)

Check them out if you'd like!

[krazetv]

Checking Out Shreddage Bass Collection 64% Off by Impact Soundworks | WALKTHROUGH..

[emmacharlotte32]

ADSR Sounds – 808 Sub Bass Masterclass Download

Unlock the secrets of the 808 sound with the comprehensive "808 Sub Bass Masterclass" by ADSR Sounds. If you’ve ever struggled to get that deep, powerful 808 low end in your tracks, this course is your ultimate solution. In over five hours of detailed, expert instruction, you will master the art and science of creating, mixing, and perfecting the elusive 808 and sub bass sounds.

Course Overview

Led by the renowned Echo Sound Works, this masterclass covers everything you need to know about 808s and sub basses. It starts with the basics of what an 808 is, its origins, and its pivotal role in modern music. The course then delves into practical techniques, from sound selection to mixing and layering, ensuring you can achieve a low-end mix that hits hard and sounds professional.

Key Modules and Features

Understanding Sub Frequencies and 808s

Introduction: Overview of the course and objectives.

The Evolution of the 808: History and significance of the 808 sound.

808 and Sub Bass Sounds: Current trends and applications in the industry.

Sound Selection

Part 1 & 2: Selecting high-quality sub and 808 samples for easier and more effective mixing.

Key Selection & Patterns

Key Selection: Setting up for success by choosing the right sounds or samples.

Playing the Right Pattern: Arranging 808s to avoid weak mixes.

Mixing & Layering

Making Room for the 808: Techniques to mix 808s around other elements.

Layering 808 and Sub Basses: Blending unique synths and sounds for a fuller mix.

Creating Sound

Making Subs and 808s in NI Massive: Using industry-standard synths.

Sampling Your Own 808s: Layering with kick samples in samplers like NI Kontakt.

Compression & EQ

Side Chain Compression: Cleaning up the low end.

Multi-band Compression: Harmonizing 808 and sub bass with kick drums.

Creative EQs: Boosting frequencies for the perfect sound.

Saturation, Distortion + Plugins

Saturation and Distortion: Enhancing high frequencies.

Bass Mixing Plugins: Using specialized plugins for a flawless low end.

Mixing For Hip Hop & EDM

Mixing Hip Hop 808s: Comprehensive mixing techniques for aggressive Hip Hop tracks.

Mixing Sub Basses in EDM: Creating clean sub bass lines for EDM.

Why This Course is for You

Whether you're a beginner struggling with your 808 sub bass game or an intermediate producer looking to refine your skills, this course is invaluable. The series is designed to be accessible and beneficial for all skill levels, spanning genres from Hip Hop/RnB to EDM. Echo Sound Works, with his vast experience and clear teaching style, ensures you understand and can apply every concept.

Avoid Common Pitfalls

Many producers face challenges with 808s and sub basses, often due to a lack of understanding or the right tools. This masterclass addresses these issues, teaching you how to avoid common mistakes and achieve professional-quality mixes every time.

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[betweendarknessand-void]

Gedankenverloren war sein blaues Augenpaar auf den flimmernden Fernseher, vor ihm, gerichtet. Das Programm war allerdings längst in den Hintergrund seiner Wahrnehmung gerückt. Viel mehr war er in seiner eigenen Gedankenwelt vertieft, blendete den Rest um sich herum aus. In ruhigen Momenten, wenn er alleine auf seiner Couch saß und keine allzu effektive Ablenkung finden konnte, holte ihn seine Vergangenheit immer wieder ein. Der junge Mann musste sich regelrecht dazu zwingen sich auf das Geschehen im Fernsehen zu konzentrieren. Max blinzelte einige Male schnell hintereinander, als würde er aus einer Art Trance erwachen. Schon waren die Bilder der Vergangenheit vor seinem inneren Auge verblasst. Stattdessen nahm er nun den Wetterbericht wahr, der vor ihm auf dem Bildschirm flimmerte. Mit einem schweren Seufzen griff er nach der Fernbedienung und schaltete das Ding aus. Wenn er hier weiterhin stumm und regungslos herum sitzen würde würde ihm noch die Decke auf den Kopf fallen oder aber er würde den Verstand verlieren. Zweiteres wäre da wohl eher wahrscheinlicher. Somit hievte er sich von dem weichen Polster unter ihm und richtete sich auf. Wie in den vorangegangenen Wochen zuvor musste er den Kopf irgendwie frei bekommen. Und wie ginge dies besser als mit Pillen und Alkohol? Natürlich war ihm klar, dass das was er da tat nicht gesund war. Dass er sich zurzeit auf einer Art selbstzerstörerischen Trip befand, ausgelöst durch all die Trauer und die Wut, die in ihm brodelten. Von seinem Dienst beim NYPD war er vorübergehend freigestellt worden. Vielleicht wäre es eine kluge Idee seinen Dienst wieder aufzunehmen, sich lieber seiner Arbeit zu widmen. Doch darüber wollte er in diesem Augenblick nicht länger nachdenken. Eigentlich wollte er gar nicht mehr denken.

Sich seinen Haustürschlüssel, sowie sein Smartphone, geschnappt verließ er das kleine Apartment inmitten der Großstadt, die belebt war wie eh und je. Wohin man sah bunte, grelle Lichter, Menschen aller Art, Autos, die von A nach B fuhren. Allerdings sorgte die beträchtliche Geräuschkulisse dafür, dass Max seine eigenen Gedanken nicht mehr so laut und dominant wahrnahm. Einen viertelstündigen Fußmarsch durch New York's Innenstadt erreichte er ein bestimmtes Gebäude. Von außen betrachtet wirkte es völlig verlassen. Doch wusste er ganz genau was sich hinter der unscheinbaren Fassade des Gebäudes abspielte. Schon das ein oder andere Mal hatte er sich in diesem geheimen Club aufgehalten, von dem tatsächlich nicht viele Leute wussten. Aber auch er hatte so seine ganz eigenen Kontakte in der Stadt. Somit zögerte er nicht lange sondern betrat den Hintereingang, wo er zunächst an einem bulligen Türsteher vorbei musste, der ihn skeptisch beäugte. Seine Dienstwaffe hatte er zu Hause gelassen. Er war nicht so dämlich und würde eine Schusswaffe mit hierher bringen, was schnell übel enden könnte, würde sie in falsche Hände geraten, was er nicht riskieren wollte. Nachdem der Kerl ihn also kurz flüchtig abgetastet hatte trat er zur Seite, sodass der Detective den Club betreten konnte. Sofort wurde die basslastige Musik lauter, verleitete sein Herz dazu etwas schneller zu schlagen als zuvor. Der Bass dröhnte leicht in seinen Ohren und mit jedem weiteren Schritt den er tat wurde die Luft dichter und stickiger. Wie zu erwarten gewesen war war der Club auch an diesem Freitagabend mehr als gut gefüllt. Überall tanzende und feiernde Menschen, das ein oder andere knutschende Pärchen in einer Ecke, doch auch Schlipsträger waren hier zu finden. Eine bunte Mischung aus allen Bevölkerungsgruppen. Unter den anderen fiel er keineswegs auf. Er trug eine schwarze Hose, ein weißes Shirt und darüber ein bunt gemustertes Hemd, das jedoch von seiner Lederjacke verdeckt wurde. Um seinen Hals hing eine dünne Kette mit einem Christophorus-Anhänger daran. Max war etwa 1.80 groß, besaß eine eher schlanke Figur, wobei man ihn keineswegs unterschätzen sollte. Auch wenn es rein äußerlich nicht so aussah, so war er ziemlich fit und wusste wie man sich zu verteidigen hatte. Sich bis zur örtlichen Theke gekämpft orderte er einen starken Whiskey, als er an der Reihe war. Seinen Hintern parkte er währenddessen auf einem der noch freien Hocker. Kurz huschte sein Blick umher, umsichtig und darauf achtend, dass niemand bemerkte was als nächstes geschah. Als der Barkeeper ihm den Drink reichte warf Max sich zwei Schmerztabletten in den Mund, die er dann mit dem Whiskey herunter spülte. Das altbekannte Brennen in seinem Rachen stellte sich ein, woran er sich aber nicht einmal annähernd störte.

In der nächsten halben Stunde verbrachte Max seine Zeit damit zwei weitere Whiskeys zu leeren und eine weitere Tablette hinterher zu schmeißen. Allmählich begann diese Mischung auch ihre Wirkung zu entfalten. Seine Finger kribbelten leicht. Sein Gesicht fühlte sich wie betäubt an und seine Gedankengänge wurden zäher. Wie alter Kaugummi. Jedoch fielen ihm irgendwann zwei junge Frauen auf. Eine von ihnen war von Kopf bis Fuß zutättowiert, besaß langes, schwarzes Haar und ein ebenso dunkles Outfit und kam ihm verdächtig bekannt vor. Die andere war deutlich kleiner als ihre Freundin, brünett und war nicht ganz so zugekleistert wie die Schwarzhaarige. Sie fielen ihm auf, da sie unglaublich euphorisch wirkten. Dass hier allerlei Drogen vertickt wurden war ihm bewusst. Selbst ein Blinder mit Krückstock hätte das geschnallt. Max zog leicht seine Augenbrauen zusammen. Diesen Ausdruck, den die beiden im Gesicht trugen, kannte er nur zu gut. Er hatte ihn schon einige Male zu sehen bekommen und wusste daher sehr genau, was die jungen Damen soeben wohl getrieben hatten. "V" wie diese Designerdroge in gewissen Kreisen genannt wurde war ein richtiges Teufelszeug. Es veränderte einen, sog Konsumenten unheimlich schnell in eine starke Sucht, aus der sich nur die Wenigstens befreien konnten. Die meisten von ihnen büßten früher oder später mit ihrem Verstand und drehten völlig durch. Ein Umstand, den er selbst am eigenen Leibe hatte erfahren dürfen. Bevor er sich aber länger in seinen Gedanken vertiefen konnte brach Tumult innerhalb des Clubs aus. Urplötzlich kippten ein paar Leute nicht weit von ihm entfernt um wie einzelne Pins beim Bowling. Im bunten Schein der Scheinwerfer erkannte er die tättowierte Frau von gerade eben, die mit einem diabolischen Grinsen dabei war einem wildfremden Typen das Gesicht zu Brei zu schlagen. Spinelli?! Sofort bildete sich eine Menschentraube um das Geschehen herum, doch besaß keiner den nötigen Mumm um einzugreifen. Max hingegen schob sich von seinem Sitzplatz und ging auf die Kämpfenden zu. Mit gezielten Handgriffen packte er die junge Frau und zog sie mit einem kräftigen Ruck von dem armen Kerl herunter, dessen Nase definitiv gebrochen war. Blut quoll aus dieser hervor und lief über sein Gesicht. "Hey, hey, hey...komm runter, Spinelli,"rief er, so laut, dass sie seine Stimme auch erkennen würde und hielt sie mit etwas mehr Kraftaufwand zurück, denn wehrte sie sich selbstverständlich gegen seinen strengen Griff. Spinelli war für ihn tatsächlich keine Unbekannte. Während seiner Jahre beim NYPD hatte er des Öfteren mit ihr zu tun gehabt. Meistens wegen illegalen Drogenbesitzes oder Körperverletzungen. Und auch wenn Max ihr Verhalten nicht gutheißen konnte hatte sich doch so etwas Ähnliches wie eine Freundschaft zwischen den beiden entwickelt. Oder besser gesagt waren sie gute Bekannte. In seltenen Fällen, wenn es sich wirklich nur um unwichtige Kleinigkeiten gehandelt hatte, hatte Max sie sogar das ein oder andere Mal einfach laufen lassen.

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Hey all, new song today! Ducktale is about how evil the song Sweet Caroline is and how stupid things can worm their way into your mind and color your memory in ways you don’t want them to.

My old friends (the classic deadheads) will recognize this song but I wanted to rebuild it because I thought it had more potential. Also, I’ve been playing this song live in a medley with the following track on the EP and it didn’t feel right not to release them together. I tried to add things that would surprise you.

If you’re curious about production details:

Guitars: rhythm with Valhalla and ToneBoosters tape sim, leads made by abusing LittleAltarBoy and Ableton warp

Synths: Karp, weird Wavestation preset, some organ thing

Bass: a P-bass Kontakt library

Noise: old cartoon samples, radio tuner, distorted animals

Drums: secret samples

Background vocals: Me with LittleAltarBoy

And credit to Ben Wolgamuth for another great mix

Thanks for listening!