Adding a Sub-Master to your projects can take your mixes to the next level.
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- เผยแพร่เมื่อ 2 มิ.ย. 2024
- In this video we show you some really creative uses for adding a Sub-Master to your projects that updates a time honored technique. For those unfamiliar with using Busses and Groups, be sure to check out these videos:
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I recently started doing something similar and like it. Just a quick suggestion, when you use a term like "Sub-Master", a quick definition of terms at the start of your video will make the video that much easier to understand and your message could be absorbed easier, by a larger % of watchers.
Good suggestion as all DAW's treat groups/busses a little differently
@@Featherlightstudio I thought the term self explanatory myself. A lot of people say '2 bus' or 'mix bus', Waveform has none of that, just a master fader with a max of 4 plugins allowed. It's very easy to create 'submixes' though, so I just put all of the 'submix tracks' into one main Submix, and call that Master 1. SubMaster didn't occur to me, but it's the most logical name for it!
I haven't watched the video yet though, so if it's not all of the mix tracks feeding into one stereo track or 'bus', I may have to edit this comment!!!
@@Dave-Rough-Diamond-Dunn I mean, sub master is a pretty industry standard term.
Amazing information bless
Clear explanation and improvement in how I mix on Cubase.
Awesome! Definitely going to try this technique
Hi Steve...Im pretty fussy and old (been mixing for 40 years)...hehe...but loved your vid. Your presentation actually reminded be of the technique which I havent used for a long time as I had gone off on a tangent...it really inspired me to revisit but as cubase allows multi outs (summing via direct out)...Im thinking of using is a pushing into a parallel comp track as that allows modding the addition to have a diff character and not be too fatiguing (but what you have done is very tasteful ;-).
Keep up the good work...clear, straight to the point.
All the best from Sydney!
Couple of points
1. Im pretty sure Cubase you dont need to set project to 32bit float as thats only for tracking format. The engine of cubase is 64 bit internal path and its virtually impossible to ever clip the signal ie on busses etc. You only need to select 32bit float if your file format needs it.
2. Isnt it the same thing to just load it all the plugs on to the master bus (all as post fader) and simply ride the master fader? ie set the tape and comp at unity gain and any push over that rides into the plugs, limiter still picks up the overs? (and ideally -1db on the limiter unless you have a true peak plug).
3. I never use a tape sim on the master buss...when sub transients are important; why?
Tape sims are generally doing like a 2:1 with massive knee like a fairchild...I urge you all to sit down very carefully with just a puchy track with really pointy sub, apply a LP @100hz (phase linear) with 24db rolloff. Very carefully A/B the 'felt' part of the spectrum...it mushes it on all the ones I have used including actually bouncing to tape. I love tape but I use xover if bouncing to tape and sum it back with the dig. Dig sucks? Yeah for a lot of stuff...but not clean pure punch goodness
Lots of variations on this theme for sure. Some good ideas here as well!
@@Featherlightstudio Yeah for sure...still really appreciate your vid. Easy to miss some of the details with Cubase though... def a lot in the box
Cheers Steve
Great info. Thanks for sharing !!
Great! Thanks Steve really enjoy your videos !😊
This is amazing! Thanks for this
Great video! Thanks.
Great stuff 💯
Nice job I've been using that technique but not putting much on the master 1. I like what you did
You had me subscribe to your channel with this video! Always a fan of people who worked in Sound City
Interesting video, thanks
Just automate the gain knob on your tape plugin. That IK M 24 is my fav too.
cool beans ! nice trick
Thanks for this. I am absolutely going to integrate this in my Cubase mixing. I wish more of the Pro Tools guys would look at Cubase as their DAW. In the live mixing world, this sub master might be called a Matrix. Here simply a group of groups.
Fair enough, I get the idea, but ...
- The music (particularly the vocalist) was not pushing in the chorus .... so ... the "analog" push created a stark contrast, ... out of nowhere. OK, for the purpose of this video but I don't know if I would sign off something like that. I understand you may not have control over that material.
- There are now lots of other possibilities/plug-ins to control saturation. This is one way of doing it, but coming very much from the board/machine/hardware angle. Wouldn't the subtle use of a saturation plug-in not do a less convoluted, and possibly even more organic job?
Could be that I'm seeing things differently as I'm not in the rock genre.
After testing a bunch of different tape plugins I have to say those IK Multimedia ones are some of the best.
Sweet!
Slamming tape was a given on all my recordings back in the day. Strictly DAW for me today, however. But I miss that unmistakeable warmth of tape compression. I’m very pleased to see that this wonderful effect is at least somewhat reproducible in the digital realm. Thanks for the great video!
Never really used a sub-master to push extra drive into the master, I normally use it the opposite reason. I normally do it to give me extra headroom to pull back to get more headspace back on the master.
For me, it also adds a lot of extra benefits. It allows me to double my mixing slots in FL Studio for mastering from 10 to 20. It gives me extra gain control. And it gives me something to work on for mastering that's at the same level as a Reference track. I can A/B compare against a Reference track, and my Pre-Master and Reference both get sent to the final master for output, and adding EQ/compression/saturation onto my Pre-Master allows me to make changes that doesn't double-bake into an already mixed/mastered Reference track.
Headroom is king when mastering.
Thanks! I were just thinking about, should I create another master buss in my project, to do a bit of what you showed in the video. (I didn't think of the compression though, but it makes a lot of sense) Seems like a good idea!
Interesting…I’ve never considered putting my tape emulation before my bus compressor 🧐
In my mind, the logic has always been that in a typical studio workflow, the bus compressor comes off the console and into the tape machine. I suppose you could always just say that in an old school mixing environment, tracks were coming off the tape, into the console and then hitting its bus compressor.
In reality they would have been mixing the multi-tracks from tape to the desk with outboard compressors etc then back into another 2-track tape machine which would be their final mix tape reel. And before the days of multi-tracking tape usually the band would play live to the console/outboard going direct to tape and that would be the mix.
Great 👍 video. I’ve subscribed.
cool "trick" 🤘
Really interesting... I recently set up my Pro Tools sessions to use a separate monitor mix out via my SSL 2+ via outputs 3/4/alt headphones out. Had a more vocal, acoustic guitar and drums heavy mix set up for timing and pitch when I did vocal drop ins etc. Totally forgot that that if I opened the session W/O the SSL 2+ connected that Pro Tools would default the I/O so that mix just went out of the Mon Mix sub-master into the main outputs. Confused the life out of me for ages, couldn't work out why the vocals were so loud! .Odd thing is the mix was just louder but NOT into the red. Think I will deliberately use this as a way to add in extra weight and non FX heavy tracks to the final mix, almost like a master Wet/Dry blend knob.
Great video.. subscribed.
Andy Tullis from Ocean Highway Studio uses a similar approach to yours and he also uses Cubase. Great explanation in your video.
Sounds like Simple Kind of Life, No Doubt...
I actually understood that! Lol!
Really cool technique. Subbed.
Great artist and mix as well
The song is similar in sound to what I am reaching for (though I am no where near the level of the artist, but Rome was not built in a day)
Any chance you can share with me what Addictive Drums kit you chose/is being used? I'd really appreciate it. Did you use an AD midi file (if so, which one)?
The Indie kit is one that I am thinking of using. I really just want a gentle, charming, sweet kit as a go to for indie rock and folk.
Love Addictive Drums but, on this track, we only used Addictive to create the drums demo to show the session drummer the part. Its my favorite drum synth.
This was awesome! Thanks! Did you use Fresh Air from Slate as well?
sparingly and its only automated in a few parts of the song which is why we didn't go into more detail about it.
genuine mullet
Three minutes into the video and I still have no idea what a sub-master is...
i do this with the vintage warmer 2
Excuse my french😊 but what is the plugin ´fresh air’ in your chain? I see the tape, the comp, fresh air? And the limiter… I kind of missed it😅
its a slate digital plugin that was/is free for a while. Got pretty popular. cool, but gotta be light handed with it. Might be on their site still, haven't checked.
Yeah, its a Slate Digital plug that's free if you create an account. Its actually quite good at very specific things and used sparingly.
Excellent 🧡 Could you add the link to moving tracks in the mixer view please? It's not in the description and it's been driving me bonkers!
Heh Deena, stuck at work and just getting to it. Was a ways back there and had to look it up lol.
th-cam.com/video/xvqw5I8kX94/w-d-xo.html
starts at about 1 minute 40 secs in
@@Featherlightstudio Thank you! 🧡
Hi, I’m new to this. What is a “Two Bus”? Does Logic have it also?
Thanks,
Gianni❤
2 Buss is just another term for master buss
Great technique, but just want to point out that Cubase is working at 32 bits internally by default, so unless you drive your master fader over 0 dbFS there is no point in setting the entire project at 32 bit. You should also consider setting your output through your cue sends and ditch the master fader completely - I find it sounds cleaner this way - but you will need to monitor trough control room. Cheers!
You can do the exact same thing with the pre-gain knob on the master fader.
Hey, just subscribed - very cool technique and video. If I can make a suggestion, it would be to explain what a Sub-Master is, and also do a little A/B'ing, in the beginning of the vid. Cheers
great suggestion, yeah, the video kinda assumes a familiarity with Groups/Busses/Masters
@@Featherlightstudio cool, i do understand those things (I have a 32ch SC 600, and PT), but never having played around with 'sub masters' my first questions were 'how does it help' and 'how does it sound'. anyway, just a thought, keep up the great content!
If I don't mind not having a fader for the submaster, could I just automate the "pre" gain on the master?
The Submaster just gives you additional options (adding submaster FX, ect )
The tape machine and exciter kind of cancel each other out with the added minus of loss of fidelity. You just need a compressor with limit set at 1.5-2dB reduction with 1.5-2:1 compression. That's it. Any good VCA compressor that can emulate an SSL, API, or Neve...will do the trick nicely.
Thank you for the tip. I can't help but ask, Why does it need to be a Sub Master? Cn the same be accomplished with a Stereo Buss that feeds to the Master or are you using them synonymously?
Yes, in Cubase they are synonymous terms but, that's only because all DAW's treat Groups/Masters slightly differently and Cubase allows you to have both Pre and Post inserts on the Master and have complete control over group channel applications.
@@Featherlightstudio Thank you for taking the time to reply. It helps me as well as anyone else that may have this thought/question. As I gather, making sure you can go pre or post fader is the key. Again, thank you for the tip, insight and response!
This seems along the lines of rear bus technique from Andrew schepps. I tried sending it back through my 2 bus instead of my main out and it sounded better than out to the main
Just saw him at the Namm show over at MWM booth, Andrew is awesome and his channel strip is still one of my favorites.
The "Rear Bus" is a Parallel process and this is Serial.
Very interesting, I use a SubMaster, but in my sessions I call it PreMaster
But it is an interesting proposal.
The iK Multimedia plugins are very good, I don't understand why they haven't had the rise of other companies, comparing for example the LA2A from Universal Audio, the one that comes closest is the one from ik, and likewise the Fairchild, it has a sound similar and analog equipment calibrations that other plugins like waves do not have.
The IK stuff is seriously underrated and I find myself using more and more of their plugs over my UA stuff.
Does this tip affect the mastering processing? We are told to leave headroom for mastering on final mixdown.
The output control on the 2 Buss limiter allows you to put the master level where ever you need to for final media delivery, if you are not mastering out of the DAW.
how do you think this trick would with RnB and HipHop music looks like a very cool tool
The mix engineer needs a wig after mixing that project 😂
Great video but maybe I'm a little lost here: you have to send to the submaster only the busses (not the tracks)?
This video assumes you have a fairly typical mix architecture where all your tracks are organized into group Busses before the Master. If not, then those tracks would also got to the Submaster.
Easy option, just stick the tape and comp plugs after the master fader and automate on the master - no sub needed?
In the digital domain the Master Fader is created and run with floating point architecture and best left at nominal value.
Nice idea thank you.
I created myself a template with extra Master Bus a while ago when I realised how big pain in a butt it is to reroute loads of track in a big session.
I normally use it to just separate my mix from reference tracks but maybe it's time to start using it in more creative ways. 😉
Could just be my preference or the consumer headphones I'm using at the moment, but to me it feels like the chorus is pushed just a little too much in your example. So, I'm wondering if that's your preference, if was done just to show the results more clearly in the video, or if it's part of the approach (maybe the thinking is that in mastering some of that might get lost? Not really sure).
This is mostly to demonstrate the technique, lots of variations on this theme and it would be radically different for each song and genera
@@Featherlightstudio Okay, that's the initial vibe I got, but started to overthink it, haha!
Or automate a trim plugin placed at the very beginning of your masterbus/mixbus chain.
Easier the setup, same result, no?
Lots of variations on this technique but, using the Submaster allows you to put additional procession on before you push into the Master.
@@Featherlightstudio In a similar way you'd put the processing before the trim plugin. I can, so far, only see that being useful for parallel processing, but it will neglect a bit the "push" effect. So idk ^^.
I think it makes sense when mixing on an analog desk tho'.
To each their own :).
Are you recommending to put a digital source into a digital plugin into the red?
when the project is internally working at 32bit floating point, clipping doesn't happen at a ceiling of 0dB. The floating point values work differently than the regular integer based digital audio. Of course, when you bounce/render/mix the project down, it'll likely be to a integer based audio format, so you don't want to be clipping there. That being said, i'd say even in 32bit floating point to avoid pushing things into the red, unless you're purposely doing something like in this video... otherwise, you'll probably just end up causing trouble further down the line.
I disagree with this concept
@@giorgib hmm, a few things were mentioned, so what specifically do you disagree with?
The notion of anything digital being in the red!
@@giorgibah, okay, I understand your apprehension, and it makes sense. For a long time it's how things had to be done. But 32 bit floating point changes that, and working internally in your DAW (if it's running internally at 32bit floating point) it's okay to do. As long as it's not getting sent to a 16 or 24bit wav file or hitting your interface's DAC at those levels. You don't need to take my word on it though, if your DAW is 32bit floating point internally, you can print to an audio track a signal from, say, a vsti synth, that is in the red, then reduce the volume in that track file, and you'll see that anything that was in the red before is perfectly restored, no clipping printed in the audio data. You can also search around and read up on it, it's pretty cool. (of course, you can't record into the interface in the red, unless your interface has 32bit floating point ADCs, since the typical 16/24 converters can't work that way). Hope it helps!
I usually use 24 bit 48k for my mixes could you explain why I would change to 32 bit floating? Im a little hazy on this.
Even though most plugins do some kind of internal oversampling, most DAW's run at a specific project rate (24 bit, 32, 32 but float, 64) the higher the project bit depth, the more mathematical headroom to work with when it comes to gain staging and unintentional distortion between plugins.
Essentially parallel compression and distortion on the master bus then?
Parallel comp would only be treating a percentage of the signal path where as this pushes 100 percent of the signal path into the tape and comp path.
Not at all. This is the opposite of Parallel, literally Serial.
Can't we just use the pregain found on the masterbus ?
Forgive my ignorance as a novice, isn't this basically the same thing as paralell compression, just automating it? Either way, I learned something new today
They're all variations on a theme but, technically Parallel compression 'adds' a percentage to an existing signal path whereas this affects the complete signal path and pushes into both the tape machine and the compressor at the same time.
@@Featherlightstudio Not at the same time. One after the other in a chain. The processing order could be quite important here, which begs the question: Why do you have the Comp after the Tape. In analog this would always be reversed. (Comp > Limiter > 2-Track Tape)?
@@G_handle Correct, In a traditional analog mix, it would be. But this isn't for a traditional analog mix down, its to produce a specific effect at very specific parts of the mix.
@Featherlightstudio Fair enough. Could you elaborate on What effect you're getting from changing the order? I'm genuinely curious how exactly changing the processing order is affecting your results. I assume that you're getting something you prefer and I'd like to further understand.
@@G_handle The IK 24 has a similar tape formulation setting (499) that we use on our actual JH-110 here in the Studio. It can handle higher input levels, which provides beautiful tape saturation but, I need the Buss Comp to help control the output when its pushed hard.
how are those mackie speakers?
Ive had them almost 20 years and they are a little 'wolly" sounding overall but I know them well and they are very easy on the ears when your tracking for long hours.
why 32bit? not 64bit?
32 bit is more than enough mathematical headroom but if you have the CPU muscle, 64 bit just increases that.
Every now and again someone shares a project of a song and scrolls through dozens and dozens of tracks.. and I wonder.. when I hear most music, you hear some drums, couple instruments, few vocals.. why are there so so so many tracks? Not saying anything bad, just wonder if when I try my hand at it.. am I missing something? Do these songs take a single track of a vocal and make 10 more copies for some reason to say, enrich the vocal sound? If so, wouldn't FX/etc applied to the one track do the job? I did notice however that these tracks have a lot of Lanes.. so maybe these are just multiple "retakes" and then the final song is the assemblance of "parts" of multiple lanes? IS that what the pros do.. have say.. the lead singe 10 to 20 takes (lanes??) and then listen to each over and over and take the best "snips" of multiple lanes? BTW.. I LOVE This feature of Cubase.. it is the primary reason I bought it over sticking with Reaper which is a VERY good DAW.. but it lacked some features (maybe it has them now.. not sure) like this ability to do multiple retakes and then take pieces of each to make the actual track. Anyway.. just curious if that is why there are so many lanes in this track for example, and if the pros actually take parts of multiple lanes for the song that ends up being released.. or do they just listen to them then decide one is better than the rest?
Artists, especially established artists have fairly restricted schedules and additional takes or tracks give you mixing and producion options long after the artist leaves the session.
@@Featherlightstudio Oh yes.. agreed. Very good point too. But is it common to use parts of different takes to make the final one? I ask that because it was one of the main features I liked that Cubase did very well that Reaper (my previous DAW) apparently had the ability but it was cumbersome at best. Part of it was the multiple lanes stuff.. I really liked how you could just loop and get new lanes automatically and just keep redoing a part.. be it singing, playing the keyboard, etc. But the bigger part was being able to select different lane parts to build up the final track. Do you producers actually do that with a vocal track from singers? If so.. I assume then that you would only select parts with breaks in between so there isn't any tonal shift or what not.. e.g. in the middle of a verse you likely wouldn't take two different lane parts to combine in to the main track right? That would likely sound odd in most cases? But I am interested if you pro producers actually use this feature on a regular basis to build the best sounding track of a vocal? Lastly, while Cubase seems to offer this.. is this a pretty common thing in other DAWs like Logic, Ableton, etc and is most music today built this way.. multiple retakes/lanes and then stitching together the different parts to make the final track? Lastly (lastly) I ask this because I see a lot of videos of full tracks where they have 100+ tracks and I am like.. WOW.. for a song with a single voice, couple instruments.. that is a LOT of tracks.. what all is playing on all those tracks? But now I am wondering if they just show all the "retakes/lanes" expanded.
@@b3owu1f the process of 'Comping' is a huge part of most commercial productions. Cubase makes this process much easier with its multiple lanes and comping tools.
Computer engineer and audio hardware designer here: Why on EARTH would you use a 32-bit floating point number format? This is why 32-bit DAC/ADC are a scam. They are actually in fact only 24-bit converters. When you convert 24-bit integer to 32-bit float, you lose zero information, it's a 100% perfect conversion because a 32-bit float has a 24-bit mantissa, and 24-bits can do up to 144db dynamic range. This doesn't mean you're supposed to use 32-bit audio, this is why it's a scam. You still want 64-bit floating point numbers all the time, heck even 128-bit internal processing is worth it because we have the CPU power and then some, but the VSTs will internally use 64-bit floats because 32-bit plugins are long gone. You give flying f if you use twice the amount of memory on the audio because we have at least 8GB on almost every DAW in the world at this point. You don't need anywhere near 8GB to use 64-bit float internal processing.
A lot of wrong points in your comment.
32 bit means no dithering since there's no rounding, so keeping it 32 bit to the end means a lower noise floor and the ability to edit peaks during mastering if one wants to. The headroom is used, not a scam.
As for 64 bit or more, pointless because ram isn't necessarily the problem, but Disk space and speed would be if you had a 100+ tracks session with anything above 32bit.
@@fescolfaroNegative. I'm a software-computer engineer and I design audio interfaces. What you are saying is WILDLY OFF!. No, dithering "A form of noise which is intentionally applied to randomize errors which occur in the processing of both digital audio and digital video data." Look up the words before you use them. There is no lower noise floor with 32-bit, you have less range than 64-bit. You get rounding errors, not the same as dithering. In 2008 I was using 32-bit internal floating point processing on my AMD Athlon with 4GB RAM. Come on bro, you have literally no clue much more RAM 64-bit takes over 32-bit, only that it's about double. I have 32GB of RAM. That is quite a bit more RAM than 4GB. End of story is that 64-bit is dramatically higher resolution, or as you are using the wrong word to describe "dithering". The extra dynamic range of 64-bit isn't the issue, it's all of the rounding errors. There is just no reason to use 32-bit floating point processing, and because of that the 32-bit converters are a scam. They should be 64-bit converters because they aren't higher dynamic range than 24-bit converts so they are bald face lying to you. If you are outputting 120db audio then you are still in 24-bit land. It literally does nothing to help you by sending a 32-bit float over USB from your sound card to your PC. It's slower, uses more power, and literally does nothing.
Yes, gonna try this at home😊. So, then you export this mix. And then...? Mastering?
I would never do this.
lol why
Recording sounds out of focus and muddy.
It's just automation of input level... why I watched for so long.
No its not.
@@G_handle it's not, it's just additional routing which gives nothing. It does the same as tape machine input automation or adding a gain plugin on the master and automation it.
@@LYSHEmusic Automating into Master Bus processing is just One of the benefits of using a Sub-Master. You're right that there are other ways to do just that task, but there's also This way to do that task. Setting up a hierarchical Mix Structure of channels > groups > groups > groups > Master, allows for processing at various tiers of the mix, is indeed beneficial in many ways. He demonstrated a few.
@@G_handle The only benefit of using submaster is to have a reference track in your session or to print master in your session. But it's a completely different workflow from what's shown in the video. Also, having two submasters can provide the opportunity to use parallel processing.
In terms of processing with one sub-master track I can't see anything that you couldn't do on the master.
You just added 3 more reasons to the ones you stated before.
Yet you insist on using words like "just" and "only".
You end by saying "I can't see..."
To which I say, Keep Looking.
This would all be a waste of my time except that you Do actually see.
Back away from trying to prove a pointless point, and take from this video and these comments this:
Fundamental to moving forward with mixing is understanding Serial and Parallel Processing.
Then building yourself a structure that allows you to Process at different levels, from individual sounds, to small groups, to larger groups of like sounds, in Whatever categories You determine, all the way up to the top Group. The one that contains All the sources in 1 bus.
The Actual Master Bus.
The one you print.
The TLDR (too lazy, didn't read/watch or bother to understand) of the video, Could simply be that:
Routing everything through a Sub-Master allows you to process before and after a fader.
Is this the Only way to automate into final bus Processing?
No.
Is it the Best way?
For me it is, but that's up to you and your workflow.
Bonus:
As to a Parallel Master, Rear Bus, what have you. There are Many different ways and reasons to set that up, that will all have slightly and not so slightly different effects.
Do you have Two Sub-Masters, both receiving the same inputs but Processing differently. Then those 2 blend into the 1 stereo Master?
Do you send totally different signals to the Parallel?
Do you feed it from the Sub-Master post-processing pre-fader?
The point is that you have options.
And understanding what effects each option will have.
And learning from others what works for them and why, then seeing if you'd like to adopt some of thier techniques.
Or not.
Sorry, mixes like these sound way too processed. Wouldn't be surprised if in a few years this era of stacking FXes and keeping everything non-stop around max becomes dated and less desirable again.
So you didn't do the real thing in comparison? Ugh lame man
Featherlight Studios? You're not so Featherlight. That's, an MCI JH-110 . Version, A, I believe? Behind you. That is not a lightweight machine. I had one just like that.. When it was still brand-new along with an, 1 inch, 8 track version also. And what I did with those 2 machines still blows people's minds.
I mean. Back in 1979. Before computers. Before software. Before Virtual, anything. I was already producing, big time, national advertising agency, jingles. With the finest musicians, Miami had to offer. From the best in Studio Cats. To the Miami Symphony Orchestra. No synthesizers were used for any of my productions. But I did use some Digital Pitch Correction. Before we had computers. Before we had software. Yes I did. Likely one of the first, in the World. To do so. Back in 1979. Because I was a Crazed, OCD Audio Engineer. No I wasn't LOL. I was just really good. And it was a lot of fun. Getting 72 overdubbed tracks. Onto a 8 track machine. Give it a try some time for yourself. Nobody can do this.
But with those, MCI machines. You can! I did. But then I also lived, 600 feet away. From the back door of the Shop. At MCI's, original Fort Lauderdale location. Where I lived on the 2nd floor of my apartment. And was closer to MCI. Then I was to the Advertising Agency I was working for. 4 blocks away from Fort Lauderdale Beach. Where I would frequently go for lunch. To, Fort Lauderdale Beach. For lunch. It was a difficult job. But somebody had to do it. And they wanted me really badly. As I had declined their offer nearly a year before.
And so what could possibly have 72 overdubbed tracks on a 8 track analog machine. Utilizing, Virtual Analog Tracks. And everything synchronized and flown in by fingertip. Yes I am a Crazed OCD Engineer. LOL. Not really. Just very stoned. On Pot. Pot allows me to do things. I could not ordinarily do. Nobody else can do. It's an, amazing plant. It's Magical. It's Medicinal. It's great for ADD and Hyper Active, disorder. And allows one, to concentrate deeply. Without distraction.
And we all know it. It's an intrinsic part of the greatest rock 'n' roll hits that ever were. So don't think that Pot is not part of the Artistic Process. It is. For reasons unknown? It's been with us for thousands of years. And only crazy white guys and their girlfriends. Decided it was a bad thing. It's not. Other crazed, drug addicts are. Those into cocaine, methamphetamine, opium, heroin, fentanyl. All have a really big problem. One that we cannot contend with. So knock it off! Make music instead. The good old-fashioned way. Smoke a joint and do it. How do you think Bob Dylan came up with most of his songs? Or Paul and John? I mean come on now? Sober? They weren't sober.
It simply made a lot of people happy. And better off. Then it became bad in the USA in 1936. When we had all of that wonderful black-and-white movie technology. And some ass hole produced Reefer Madness. None of which was true. Not a scrap. But that kind of advertising worked with lamebrain people.
It wasn't bad before 1936. Unfortunately neither was cocaine nor heroin. So times have changed. Pot is good. The rest of the stuff isn't. Including alcohol that is destroyed more lives. Than anybody can count. Let's get real already! Enough with the nonsense. How much more nonsense? That makes no sense. And the lives destroyed over nonsense.
I'm even sick of this TH-cam nonsense. It's great programming, sure. To see humanity at its most FUCKED-UP. So what's real? Who's real? Is Donnie real? No he is not. But he is a clear and present danger. He's a nonperson. He doesn't know how to be a Human Being. We do. And we don't need him dragging us down to his level. And those like him. Over 100 million strong.
We've got a big problem on our hands. More than TH-cam videos can depict. And won't. Because they are also in on it, themselves. So is Facebook. So a Snapchat. So is Instagram. Definitely so is, X formally, Twitters. Losers. Trump' erz. The whole lot of them. Hate filled losers. They are always hate filled. Pointing the finger of blame at others for their problems. And unable, in-able, to accomplish anything. Except bitch, moan, whine, complain and lash out. In their emotionally immature, frustrations. And then to tell us they are perfect and Conservative. They are anything But. They are a bunch of Butts. I.e., ass holes of the 1st Order. That seek to destroy the USA as our Founding Fathers Established, it. Because they know better! They've got the better way through Jesus! With their Orange Jesus Deity Trump! Who can do wrong! I've had enough of that nonsense.
They are working their coup d'état right now. They have been for the past 50 years. They want to Take Back Their Country! As they do not consider it, Our Country. It's all about them. It's all for them and their deity Donnie. They are all crazed, Insurrectionists. Seeking to destroy the USA.
This is not going to end well with these extremist, shit kicking Conservative Crazies. They will not stop. They will not cease. Until they destroy the USA. As they have already destroyed. The rights of 1/2 of our American citizens known as Women. For 50 years they worked to destroy the rights of American Women. And now they have succeeded. And to inform women they are 2nd Class Citizens. They are white male babymaking slaves. And nothing more. To these monsters. These horrendous misogynists. Enough! Men and women are all equal. Even if they don't want them to be. In the USA. They want to go back in time. To a friendlier place. For white supremacist misogynist bigots. Yeah no!
Donnie is saying if he does not get reelected it will end in a bloodbath. He is exactly Right! As they will not accept another loss. They don't care about the American people. They don't care about numbers nor math. They only care about their, Orange Jesus Deity Donnie. It's all for him. It's all about him. And his loyal followers follow him like Hitler was followed. By German lemmings. Who all thought it was a great idea. To commit genocide and murder all the Jews in the world. Which will make their lives perfect. How much more insane did anybody need to be? And we need a repeat of that now thanks to Donnie Hitler?
So either way this is not going to end well. Donnie will get his Bloodshed. And he will be a part of it. He will be subjected to it. He will be gotten. As he is just another Hitler. With grown Hitler children. Ready to take after daddy. Yeah no. They need to be euthanized. Before they can do anymore damage that their daddy hasn't done already. As he continues to. And who the hell is he? But another Loser. The title he loves best. Loser.
So he needs to lose again. And then be extradited from the USA. That is all he deserves. For splitting our country in 2. And thinking he's got a better way. He has no way! He's got the stupid little spoiled brat rich kid, way. Never learning No. So he gets to do anything he wants to do! No he does not! He's just another loser American. That deserves no special treatment. He's already done his damage to our country. And to all women in the USA. Who does such things to our American women? Crazed psycho Republicunt's due. It's what they want to do. To the American people. They want to take rights away from Americans they don't like. They are fascist Nazi Ku Klux Klan pigs. They need to be Exterminated. Before they do anymore damage to the USA. Righteous SOB's, all. As if, their, shit don't stink. It reeks!
I'm really tired of Righteous Republicunt's destroying my USA. And for what? For whom?
RemyRAD
That is … a lot of information. It could just be my autistic-ADHD brain, but it’s hard to follow the plot of this comment or derive a main idea from it. Maybe you could make a video series addressing the points not relevant to this video!