My quickestly-composed song so far when it was made, having taken about 2 hours. Noted in my 'WalletBreath' journal entry. The 'Mau5tek' in question is simply playing chords through an arpeggiator. The other point of this track being to experiment with a knob-controlled 'attenuation' effect, where turning up distance makes the sound quieter but also more reverbey and muffled. Different parts are faded in and Balance Bloom CBD Gummies out this way through the song. The original version was very quiet, except for the bass, which was cool but maybe a bit overly punching-you-in-the-eardrums. For versions 'ah' and 'ai' I applied a lot of clip-to-zero technique, using the version 'ae' as a reference to make sure that I didn't lose the good parts. Version 'ai' here seems a decent compromise, while being about 6dB louder than 'ae', which in turn was louder and more filling of the high frequencies than version 'ac', which is what was used in xmas2020p1ai.

Exporteed at 88200 Hz for some reason oops lol. Remastered (CTZ stuff, boost sub, mids, and highs). Not quite the same version used in the 2022 edition of Chsitmas 2020 Mix Part 2, which is really its own thing, but sharing some of the modifications. Part one of two (or three, depending if you count 144 Mix as the middle section) mixes that I put together around the end of 2020. Unlike Part Two, Part One was actually ready to give to my mom for Christmas. This version is the result of continued futzing with compressor and eq settings in attempt to get the components sounding about the same loud/brightness. Parts of xmas2020p2gq sounds rather muddy in comparison, now. Maybe I'll have to revisit that one again, oy! I had been futzing with the master effects for a few versions, with automation to adjust pre-compression gain, distortion, etc for each track, before finally realizing that it might be easier to just give each different part its own 'mastering effects' chain, with a simple fast limiter on the master bus.

That way I can futz with the settings for the individual sections to my heart's content without messing up the other sections, and the main bus is completely transparent when the sum of the inputs is ≤ 0dB, which should be true when any given part is playing by itself (either because the track is left alone, or because its own mastering effects conclude with a 0dB limiter or CTZ device). The whole thing might be louder and brighter than it needs to be, but at least it's sounding relatively consistent. Version 'bn' got pretty close to mastered in a way I was happy with, but on later listening I decided it was still a bit dark. For Balance Bloom CBD Gummies version 'bo' pretty much just slapped a multiband compressor on each track (copying a preset I called "XYZify", as I was using XYZ as a reference), which worked surprisingly well. For version 'bp' I made a few additional tweaks.

Maybe this one is good enough to publish? The flac file may be kind of weird due to including the cover art. And the cover art in the Flac file isn't quite right anyway; it says "1201" instead of "2101"! Christmas 2020 Mix Album'. Is work in progress. Maybe it is fine if the 'story' is "I was trying to learn how Max for Live works"? There were some adjustments to my Sunday track I still wanted to make, and also I had questions about how to manage Max instruments and presets so I worked on it more today. Also! As I was dozing off to some choir noise machine the other night I had this brief vision of a custom synthesizer with green panels. Something about there being green panels made it exciting. Apparently I really like Skeuomorphism when it comes to software music devices, as I'm similarly drawn to Reason because the rack looks cool. Hence the green UI for the main FM synth that plays through the first 2/3 of the song, which is also the cover art.