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The syncopated intro beat sorta hints at the more dnb-direction the piece eventually takes at 1'30' after a monster, modular-synthy descent.

sluice gate? You see something new every day! This has a bit more structure/sonic continuity than Michael's preceding Resident Evil mix, but don't worry, it's still odd. 0:47-1:04 in source = 1:02-1:27 in ReMixĪ kick drum + noise gate acting as a.0:38 synths in source appear at 0:42 in ReMix and continue on.It took a lot of compression experimentation to tame this part while keeping the intensity I had in my demo. The crazy grinding section in the middle has an extreme amount of CV manipulation applied to the reverb volume, reverb pitch, and various EQ & filter settings. The noise gate is only forced open briefly by the kick drum when it plays, allowing the water to rush in as well. The water sound isn't muted, but rather is constantly playing, but being held down by the noise gate at a specific threshold. Reason's rack can essentially be used as one huge modular rack with CV.Īs for the water creeping in at the end the constant water sound (a field recording of a stream I also used in my 'Great Bay Temple' mix) and the kick drum are on the same mix bus with a noise gate inserted. I've been experimenting with CV in Reason a lot recently it's incredibly powerful, and also time-saving, as now I'm using LFOs to modulate parameters that I would've drawn up a ton of automation lanes for a year ago. All melodic instruments are routed to different LFOs via control voltage (CV) that are subtly changing their pitches to make it more organic. I eventually settled on something that was briefly enveloping but didn't linger. I toyed with the warm pad towards the end for a while, trying to find the right filter and stereo width settings. I spent more time than usual on the velocities of MIDI here to make the wood instruments even more human.

To prevent things from getting smeared with so much verb, the main drum & mulched perc line are on a closer reverb send, and are mono as well. I also wanted to have everything take place in the same area (a grotto, as it was) so having almost all the melodic instruments assigned to the same ( Valhalla Room) reverb send was key. I also really wanted to use 'blotto' in a title. With my mix, I wanted to amp up both the natural and digital elements of the original, going full-on realism with the former and 100% mechanical malfunction with the latter. It's an interesting recipe, and ' Pirate's Grotto' is one of the tastiest to my ears.

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' The TTYD OST is full of weird, short songs that often start with modern-sounding melodic content, but then suddenly drift (or pitch-bend) into passages with retro-sounding waveforms that harken back to Mario's 8-bit days. It's 4/20, and while it's true that we just posted some Michael Hudak yesterday, he's back today with a fittingly chill & moderately trippy experimental/dnb take on Paper Mario, so let's get our blottos on: