A Quote by Jonas Blue
A mixer for me needs to have some sort of effects, as it's a big part of how I might hype up the crowd in certain parts of a track, using the delays and filters for instance.
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I might have some sort of personality disorder. I might not have proper filters; it might be some kind of version of Asperger's meets Tourettes meets prose.
I'm not a mixer. That's not what I do. I'm a songwriter, a singer, and a guitar player. You might have some ideas here and there, but you let the mixer mix the song because, overall, you've gotta trust their instincts.
Back in the day, when the D.J. would be playing a record, I'd be on the mic trying to hype up the crowd. So once Public Enemy became a rap group, I decided that that's the role that I wanted to take on. I wanted to be the one that was hyping, because I've always been good at it. I can hype up any crowd.
Back in the day, when the D.J. would be playing a record, Id be on the mic trying to hype up the crowd. So once Public Enemy became a rap group, I decided that thats the role that I wanted to take on. I wanted to be the one that was hyping, because Ive always been good at it. I can hype up any crowd.
I think that big, sort of theatrical relaunches tend to set you up for failure and hype.
I am definitely questioning the atonement and trying to discover how we can see it in a different way. We've got this image of God who needs some sort of flesh, some sort of blood, that needs some sort of vengeance to pay for sin. My experience of a loving God who's asked me to love my enemies - this isn't a God that demands something before you are accepted. I think Jesus died because Jesus was inclusive. God is inclusive. I think that the idea of God somehow being separated from us was more man's idea.
It was kind of sort of the heavens opened up and I realized that Bach, at least, you know - out of all the classical music - needs to be a big part of my life.
I was a warm-up DJ for many years so I know how to build a crowd, what record goes with the next, it's all about understanding the dance floor and how the energy and flow should go coordinating to what the crowd want or might need.
Of course I would love to have another track as big as 'Animals,' but 'Animals' became big also because of luck, the timing, and hype.
In a certain way, my work had set me up to be against lots of things. If there wasn't some sort of sanction for it in the public world, it might have been...it wouldn't have been tolerated, because people don't want things to get shaken up.
I love Logic Audio and have been using it for years. All my track outputs used to come up on my old board in the same order as in the old Mac G4 - 1 through 32, came up as 1 through 32, for instance.
There is such a hype and a big build up to me, and it's very hard to meet those expectations. That's been a big stress in my life.
A comedian needs to have his own filters, needs to know his audience, how far he can push things.
It's not about how loud you turn the amp up. That's not what makes it sound big. What makes it sound big is fooling around with different delays and reverb settings.
Some people prefer not to commingle the functional, lambda-calculus part of a language with the parts that do side effects. It seems they believe in the separation of Church and state.
Weirdly enough, if I'm having trouble with a guitar part - not the playing of it but the writing - I'll mess around with echo and other effects, just turn everything up and make it as crazy as can be, and it winds up taking me somewhere. I've found so many guitar parts from echo. It's limitless.
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