Numero Siete

Between yesterday and today, another somewhat final track emerged from the churn. The portfolio of Redline Project compositions is steadily thickening.

If you are not into techno-speak, these next paragraphs are not for you. Consider yourself warned.

As I press on towards the project's goals, some essential tips in Logic software have emerged. For example, the stacking order of effects makes all the difference in the final sound of an individual track. If vocals have a condenser, a delay, a unison, and a phaser, it is helpful to place the condenser first and the unison next, followed by the delay and phaser.

In the case of outside units such as Melodyne (about which I can not sing enough praise), I find the plug-in only works in the first slot, with every processed effect following behind it. Otherwise, the sound renders unpredictably, often with distorted tone.

On an uber-specific note that will help virtually nobody, I have discovered a quirk of Melodyne that has allowed me to achieve greater clarity of tone. When a vocal is inputted into the powerful software, certain consonant sounds, especially those made with the letter 's', sound fuzzy and buzzy when they are corrected or moved to new pitch levels.

The remedy? Anytime the troubled letter occurs, I simply divide the blob (Melodyne's term for a note on a pitch center) into sections, leaving the 's' sound wherever it may fall naturally and adjusting the rest of the blob remnants as needed. This is a tedious process that yields a superior audio quality.

I have just bored myself. It is astonishing to gander soberly at the extent of my own nerdiness. Has anyone even made it to this paragraph?

With that, I am stopping for now. I promise tomorrow's topic of discussion will cease to be snoozeworthy.