I thought the synth was sounding a little lifeless so I decided to give it some extra life. However, upon isolating the kick from the rest of the mix and simply turning everything on the VX1 down to zero and building the kick’s sound back up from scratch yielded a smooth, electronic kick drum.ĬLAP: I had several layers of claps - for these I added SlapAmp ClapDrums, and increased the air (air is a macros setting available on Contour 3) to give them an extra sizzle.īASS: I availed the Contour 3 section of the VX1 here, with a tiny bit of air and with relatively neutral settings resulting in a nice strong bass that didn’t overly clash with any of the other elements. However with a bit of fiddling - the results were immense. Upon initial placement - the whomping and boxiness of the kick was enhanced. KICK: This was by far the most challenging part as I was obviously using a plugin for something that it was never really intended for. However - the bass was slightly enhanced, in order to maintain the fullness of the synths. I used the RWL Close GLAMMY Adt* and reduced the treble ( as my options are limited here and I wanted the high end to mainly belong to the vocal to reduce overcrowding and to allow them their glossy sheen at the front of the mix). SYNTHS: This would have to be approached with caution - as the synths were rich, warm and full, I didn’t want them sounding too thin or muddy. I then placed the Maserati Pop Voice preset on them and instantly the vocals sounded richer and were brought to the forefront. I increased the volume of the vocals slightly and attenuated the synth. VOCALS: May seem like an obvious choice, but as they are the centerpiece of this song, it is best to start there.
Prior to adding the VX1 to anything - I began with some light volume adjustments attenuating the volume of the synth, slightly bringing up the volume of the vocals, snare and kick in addition to panning the synths, claps and guitar.
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