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In music, interpolation means taking a portion of an existing song—usually a melody, lyric, or rhythm—and re-recording or re-performing it within a new composition, rather than directly sampling the original sound recording.

Let’s unpack that step by step.

When an artist samples, they lift a piece of the actual audio from an existing track—say, a drum loop, vocal line, or guitar riff—and embed that exact recording in their new song. Sampling uses the original master recording.

When an artist interpolates, they recreate that element from scratch. They might sing or play the same melody, rephrase a lyric, or reproduce a recognizable hook, but they perform it themselves (or have studio musicians do so). The result is an homage or reference to the older work, but without directly using the earlier audio.

Why do this? 1. Creative freedom – Interpolation lets artists reinterpret a familiar idea. For example, Kanye West’s “Stronger” interpolates Daft Punk’s “Harder, Better, Faster, Stronger” both lyrically and melodically, but re-performed in his own production style. 2. Legal and financial reasons – Using a sample means paying both master recording rights (to whoever owns the actual recording) and publishing rights (to the songwriters). With an interpolation, you only need permission from and pay royalties to the songwriters/publishers, not the owner of the original recording. This can simplify licensing. 3. Stylistic homage – Interpolation is often used to evoke nostalgia or link eras together. Hip-hop, pop, and R&B frequently use this technique to bridge musical generations.

Forms of interpolation • Melodic – Replaying or singing the same melodic line (e.g., “Good 4 U” by Olivia Rodrigo interpolating Paramore’s “Misery Business”). • Lyrical – Quoting or rewording a recognizable lyric. • Harmonic – Using the same chord progression in a way that references a specific song. • Rhythmic – Recreating a signature rhythm or groove without sampling the audio.

Historical context

Interpolation has existed long before digital sampling. Classical composers quoted each other’s themes all the time—think of it as an early analog of the modern musical “callback.” Jazz musicians also built solos around riffs and motifs from other tunes. What modern producers call interpolation is really the continuation of that age-old dialogue between songs.

In short:

Interpolation = Recreate a piece of an old song within a new one. Sampling = Reuse the original sound recording directly.

If you think of music as a conversation through time, interpolation is when an artist paraphrases someone else’s line rather than playing a recording of them saying it.

The concept of audio projects, from the earliest ideation to the final release, is an intricate science of creative and technical stages. In this article, I share my personalized approach to music production, which guided me through the production of my EP “[Arete][1].” By distinguishing specific stages, I was able to track my progress, make strategic decisions about project continuance, and effectively manage the overall production process.

I. CONCEPTION

The conception stage sparks the musical journey into existence. It's the birth of an idea, inspired by spontaneous creativity, and born from experimenting with diverse instruments or styles. This stage is characterized by its fluidity and speed; it often concludes as soon as an idea holds enough merit to warrant investing more time and resources.

II. DEMO

Next comes the demo stage, often the longest part of the process. Here, the structure and sound of the track are explored and experimented with, using various amps, synths, and sounds. It's during this stage that many projects are shelved, making it a critical make-or-break point. However, those that persevere are rewarded with a solid foundation track, marking the successful conclusion of this stage.

III. SESSION PREPARATION

Session preparation is a meticulous process involving several sub-checklists. At this stage, the foundation track is exported from the demo project and imported into a new one, complete with key signatures, tempo settings, and beat mapping. Recording settings are adjusted to ensure optimal quality, with stereo recordings set at a 48kHz sample rate and 24bit. Busses are created and assigned, and instruments to be used are prepared.

IV. SESSION

The session stage is where performance and dynamics take center stage. Each performed instrument must have between nine to seventeen takes per alternate take, ensuring a diversity of options for the final mix. This stage is often the most enjoyable, allowing the musicians to immerse themselves in their craft. While individual tracks' durations may vary, a full-length EP typically takes about 2.5 months to perfect.

V. MIXING

The mixing stage focuses on achieving balance and editing the track. After resetting the board and adjusting the faders, a stereo mix is created and then converted into a Dolby Atmos 7.2 surround in a new project alternative.

VI. MASTERING

During the mastering stage, the track's volume is adjusted to prevent distortion and achieve the right loudness. This stage also includes designing the cover concept. The final result is then loaded into a new Logic Audio project file, using a mastering template with Izotope’s Ozone Mastering. The process should not be rushed and requires regular breaks to rest the ears.

VII. DISTRIBUTION

Distribution involves uploading the music to a platform, such as Distrokid, and setting a release date approximately six weeks out. All metadata and accreditation should be completed at this stage, ensuring a smooth release.

VIII. RELEASE

After release, marketing projects commence. By this point, the production process is finalized and complete.

Hello

Audio compression mastery for modern producers

Audio compression fundamentally transforms how music sounds and feels, yet remains one of the most misunderstood tools in production. Modern compression goes far beyond simple volume control—it shapes harmonic content, influences emotional impact, and defines the sonic character of entire genres. Understanding compression at both technical and creative levels unlocks the ability to craft professional, impactful music that connects with listeners on both conscious and subconscious levels.

The most successful producers view compression not as a corrective tool, but as a creative instrument capable of enhancing musical expression. From the smooth tube warmth of a Fairchild 670 that defined Beatles vocals to the aggressive punch of an SSL bus compressor that powered 1980s pop, different compression technologies offer distinct sonic signatures that have shaped music history. Today’s digital tools provide unprecedented access to these legendary sounds while introducing new creative possibilities impossible in the analog domain.

The physics behind the magic

Audio compression operates by dynamically modifying signal gain based on amplitude characteristics through voltage-controlled amplifiers or their functional equivalents. The process splits incoming audio into two paths: the audio signal that gets processed and output, and a side-chain detection circuit that monitors signal level and generates control voltages.

When input signal exceeds the predetermined threshold, the control voltage modulates the gain element, reducing signal amplitude by a ratio-dependent amount. This seemingly simple process involves sophisticated mathematics based on logarithmic relationships fundamental to human hearing perception. The decibel scale uses the formula dB = 20 × log₁₀(V₁/V₀) for voltage ratios, allowing expression of audio’s wide dynamic range in manageable numbers where multiplication becomes addition.

Compression ratios translate directly into gain reduction percentages. A 4:1 ratio means that for every 4 dB increase above threshold, output increases by only 1 dB—representing 75% gain reduction above threshold. This relationship follows the mathematical expression: Output = Threshold + [(Input – Threshold) / Ratio], where all values are in dB above reference level.

The choice between RMS and peak detection methods fundamentally affects compression behavior. Peak detection responds to instantaneous signal peaks using the maximum absolute value |x(t)| within a specified time window, providing fastest response times and better peak control but more aggressive compression behavior. RMS detection calculates the Root Mean Square using RMS = √[(1/T) ∫₀ᵀ x²(t) dt], responding to average signal level over time and creating more natural-sounding compression that matches human hearing perception.

Five distinct compression personalities

Understanding the unique characteristics of different compressor types enables informed tool selection for specific musical applications. Each topology offers distinct sonic signatures that have defined particular eras and genres of music production.

VCA (Voltage Controlled Amplifier) compressors use integrated circuits responding to control voltages for precise, fast, and aggressive compression with low distortion and predictable behavior. The legendary SSL G-Bus Compressor exemplifies this technology, providing the signature “glue” effect that binds mix elements together while adding punch and impact. These compressors excel at mix bus compression, drum processing, and parallel compression applications where precision and transparency are valued.

FET (Field Effect Transistor) compressors employ transistors as variable resistors controlled by electric fields, enabling extremely fast attack times from 20-800 microseconds. The iconic UREI 1176 represents the pinnacle of FET compression, with its program-dependent release characteristics and ability to add harmonic distortion and “grit” when pushed. Different 1176 revisions offer varying degrees of aggression, from the intense “Bluestripe” Rev A to the more refined “Blackface” Rev E, with the famous “All Buttons In” mode creating extreme compression with unique distortion characteristics.

Optical compressors utilize light-dependent resistors and LED or electroluminescent light sources where signal amplitude controls light intensity, which controls resistance and gain reduction. The Teletronix LA-2A became the most popular vocal compressor due to its smooth, musical, and transparent compression with naturally program-dependent attack and release times. The physical limitations of light source response create inherently RMS-based detection that sounds natural and unforced.

Variable-mu tube compressors vary vacuum tube bias voltages to change amplification factor (mu), creating program-dependent compression with increasing ratios as more gain reduction is applied. The legendary Fairchild 670 stereo compressor, weighing 65 pounds with 20 tubes and 14 transformers, defined the sound of 1960s recordings including virtually all Beatles vocals from Revolver onward. These compressors add harmonic coloration and transformer saturation while providing smooth, musical gain reduction.

Modern digital compressors employ DSP algorithms to analyze input signals and apply gain reduction mathematically, enabling perfect recall, unlimited instances, and implementation of complex algorithms impossible in analog hardware. They can emulate any analog compressor type while offering advanced features like look-ahead processing, upsampling for nonlinear modeling, and sophisticated multiband and sidechain capabilities.

Parameter mastery and musical application

Compression parameters work together to create specific sonic characteristics and musical effects. Threshold determines the level above which compression begins—lower thresholds create more compression while higher thresholds allow more natural dynamics. The relationship between threshold and input level determines how much of the signal receives processing.

Attack time controls how quickly compression engages after threshold exceedance, with profound effects on transient preservation and perceived impact. Fast attack times under 1ms catch all transients but may reduce punch, while settings between 1-5ms preserve initial transient attack and work excellently for drums. Attack times of 5-20ms allow more transient through and enhance percussive character, while settings above 20ms primarily affect sustain portions.

Release time determines compression disengagement speed after signals fall below threshold, and should match the natural decay characteristics of source material. Optimal release prevents both audible pumping artifacts (too fast) and sustained over-compression (too slow). Program-dependent release, found in optical and some tube compressors, naturally adapts to musical content.

Compression ratios from 2:1 to 4:1 provide gentle, musical compression suitable for maintaining natural dynamics while adding control. Medium ratios of 4:1 to 8:1 work well for more noticeable compression effects, while heavy ratios above 8:1 approach limiting territory and create dramatic dynamic control effects.

Hard versus soft knee settings affect compression onset characteristics. Hard knee compression engages immediately at threshold for more obvious compression effects and precise peak control. Soft knee gradually transitions from 1:1 to the set ratio over approximately 10dB around threshold using polynomial interpolation, creating more musical and transparent compression.

Essential compression techniques for modern production

Parallel compression, also called New York or Motown compression, blends heavily compressed signal with the original uncompressed signal to enhance punch and power without losing natural dynamics. This technique works exceptionally well on drums, vocals, and mix bus applications by allowing extreme processing settings (10:1+ ratios, fast attack/release, 10dB+ gain reduction) while preserving transient information through the dry signal blend.

Sidechain compression uses external signals to trigger compression on target tracks, creating space and clarity through musical interaction. The classic application of kick drum triggering bass compression ensures both elements coexist without frequency masking, while vocal-triggered mix ducking provides automatic clarity during vocal phrases. Advanced techniques include frequency-selective sidechaining using EQ in the detection path and multiband sidechaining for frequency-specific control.

Serial compression employs multiple compressors in sequence, each performing light duty for more transparent control than single aggressive compression. The classic chain of UREI 1176 followed by Teletronix LA-2A combines FET speed and character with optical smoothness and leveling. This approach prevents any single compressor from working too hard while allowing each unit to contribute its unique sonic signature.

Multiband compression divides audio into frequency bands for independent processing of each range, enabling surgical control over specific frequency content. This proves invaluable for mastering applications where controlling kick drum balance without affecting midrange, taming harshness in specific ranges, or addressing resonant frequencies becomes necessary. However, phase shifts from crossover filters require careful implementation to avoid distortion.

Instrument-specific compression strategies

Different instruments require tailored compression approaches based on their natural dynamic behavior and musical role. Drums benefit from strategic compression that enhances impact while preserving natural attack. Kick drums typically respond well to ratios around 5:1 with 15ms attack to preserve transient click, 40ms release, and hard knee settings for punch and thickness. Snare drums use similar ratios with slightly faster attack times to maintain crack while adding fatness.

Bass guitar compression provides consistent low-end foundation essential for professional mixes. Settings of 6:1 ratio with fast 7ms attack and slow 600ms release, achieving at least 6dB gain reduction, create steady fundamental support. The choice between FET compression for punch and optical compression for smoothness depends on musical genre and desired character.

Vocal compression requires nuanced approaches balancing natural dynamics with consistent intelligibility. Lead vocals often benefit from serial compression using different compressor types—perhaps FET compression (1176-style) for character and presence followed by optical compression (LA-2A-style) for smooth leveling. Settings typically use higher thresholds with moderate ratios (2:1-4:1) to maintain expression while providing control.

Guitar compression applications vary dramatically by style and context. Electric guitars may benefit from parallel processing combined with saturation for rock applications, while acoustic guitars often require gentle optical compression to preserve natural dynamics. The interaction between compression and amplifier or plugin distortion creates complex harmonic relationships that define guitar sounds across genres.

Historical evolution and cultural impact

Audio compression technology originated from broadcast radio necessities in the 1930s-40s, initially developed to protect transmission equipment and control presenter levels. The first intelligent automatic volume control limiter was the Fairchild 660, invented by Estonian immigrant Rein Narma in 1959 after working with Les Paul building recording mixers for Ampex 8-track systems.

The revolutionary 1176 Peak Limiter introduced by Universal Audio in 1967 marked the transition from tube to solid-state compression, offering ultra-fast 20-microsecond attack times with up to 45dB gain reduction. Nine major revisions created distinctly different sonic characteristics, from the aggressive “Bluestripe” versions to the refined later models, with each finding specific applications in professional studios.

The SSL Bus Compressor introduced with 4000 E-Series consoles around 1979-1980 became synonymous with 1980s pop sound and the concept of “mix glue.” Engineers like Bob Clearmountain used SSL compression on countless hits including Bruce Springsteen’s “Born in the USA” and David Bowie’s “Let’s Dance,” establishing compression as both technical necessity and creative tool.

The transition from analog hardware to digital emulations represented a significant paradigm shift in compression accessibility and application. While early digital compressors couldn’t replicate analog warmth and character, modern plugin technology provides sophisticated circuit modeling that captures not just frequency response but harmonic distortion, transformer saturation, and tube behavior. Companies like Universal Audio, Waves, and Plugin Alliance now offer hardware-accurate emulations with additional features impossible in original analog designs.

Creative compression as artistic expression

Beyond technical dynamic control, compression serves as a powerful creative instrument for emotional expression and sonic character development. Different compression approaches create distinct emotional impacts: aggressive fast attack and high ratio settings generate forward, in-your-face energy suitable for rock and hip-hop, while slower attack times with lower ratios create laid-back, controlled dynamics perfect for intimate ballads.

Genre-specific compression aesthetics have evolved to support particular musical styles and cultural contexts. Pop music emphasizes polished consistency through multiple layers of gentle compression, often using serial compression and extensive automation to achieve radio-friendly appeal. Rock music employs bold compression moves that enhance natural power and aggression, with heavy drum compression and aggressive vocal processing creating characteristic impact and presence.

Hip-hop production treats compression as both technical tool and creative effect, with ratios of 4:1 to 7:1 and gain reduction of 10-15dB on key elements creating the forward-pressing energy essential to the genre. Electronic dance music uses compression artifacts as part of the musical fabric, with sidechain compression creating rhythmic pumping effects that enhance groove and danceability.

Unconventional compression techniques expand creative possibilities beyond traditional applications. Using compression automation throughout songs creates dynamic interest and supports musical structure. Creative bus compression on unexpected element combinations—such as drums plus bass for rhythmic cohesion or vocals plus strings for melodic unity—generates unique sonic relationships that enhance musical communication.

Common pitfalls and professional solutions

Over-compression remains the most prevalent mistake in modern production, creating lifeless, flat sounds that lose musical impact. Signs include audible pumping artifacts, loss of transients and dynamics, and general lack of energy and excitement. Prevention involves using conservative ratios (1.2:1-2:1) in mastering contexts, aiming for minimal gain reduction (1-3dB maximum), and trusting ears over visual feedback.

Improper attack and release settings frequently compromise compression effectiveness. Attack times that are too fast remove punch and impact, while release times that are too slow lose rhythmic connection to musical tempo. Professional solutions involve setting release times to return to neutral before the next beat and using attack times of 20-50ms as starting points, then adjusting based on specific musical content.

Phase issues with parallel compression can cause distortion and mono compatibility problems, requiring plugin delay compensation and careful latency matching between parallel paths. Excessive master bus compression during mixing limits mastering engineer options, making it preferable to focus on individual track compression while leaving mix bus processing for final mastering stages.

Wrong compressor selection for specific applications represents another common error. Understanding that VCA compressors excel at precision and control, FET compressors provide warmth and aggression, optical compressors offer smooth musicality, and tube compressors add character and warmth enables better tool selection for particular musical goals.

Digital versus analog: the modern landscape

Contemporary producers benefit from both analog hardware and digital plugin technologies, each offering distinct advantages for different applications. Digital compression provides perfect recall, unlimited instances, and advanced features like look-ahead processing, sophisticated sidechain options, and multiband capabilities impossible in analog hardware. Modern plugin emulations achieve remarkable accuracy through advanced circuit modeling and upsampling techniques.

Analog hardware contributes natural harmonic distortion, transformer coloration, and unique circuit behaviors that create “happy accidents” and inspire creative decisions. The tactile, physical interaction with hardware often influences musical choices in ways that software interfaces cannot replicate. Subtle timing and phase characteristics of analog circuits remain challenging to model perfectly, contributing to ongoing preference for hardware in high-end productions.

Many modern studios employ hybrid approaches that leverage digital convenience with selective analog processing. Critical elements might receive analog compression for character and warmth while benefiting from digital recall and routing flexibility for practical workflow advantages. As streaming platforms implement loudness normalization and reduce competitive loudness pressures, there’s growing appreciation for dynamic range and musical compression approaches.

Mastering compression in the streaming era

The advent of streaming platforms with loudness normalization has fundamentally changed compression application and philosophy. LUFS-based loudness standards like EBU R128 reduce the effectiveness of extreme dynamic range compression, encouraging more musical approaches that preserve dynamic interest while achieving appropriate loudness levels.

Modern mastering engineers focus on gentle ratios (1.2:1-2:1) with minimal gain reduction to maintain musical dynamics while providing subtle enhancement and cohesion. The choice between optical, tube, and VCA compressors often depends more on desired harmonic coloration than pure dynamic control, with many engineers preferring equipment that adds beneficial sonic characteristics during light processing.

Understanding compression as both technical tool and creative instrument enables producers to make informed decisions that serve musical goals rather than following rigid technical guidelines. The most effective compression enhances musical expression while remaining largely inaudible, supporting the artist’s vision and emotional communication with listeners.

Conclusion

Audio compression represents one of the most sophisticated and musically significant tools in modern production, capable of transforming both technical and creative aspects of recorded music. From its origins as broadcast protection equipment to its current status as an essential creative instrument, compression technology continues evolving while maintaining its fundamental role in shaping musical expression.

Success with compression requires balancing technical understanding with artistic intuition, recognizing that every parameter choice contributes to the overall emotional impact and sonic character of the music. Whether applying the smooth optical compression of an LA-2A to intimate vocals, the aggressive FET compression of an 1176 to punchy drums, or the glue compression of an SSL bus compressor to complete mixes, the key lies in serving the musical vision rather than following technical rules.

As technology advances and musical styles evolve, compression will undoubtedly continue adapting to new creative demands. However, the fundamental principle remains constant: the most effective compression enhances rather than hinders the emotional connection between music and listeners, providing both technical control and creative expression in service of artistic communication.

Master these concepts, trust your musical instincts, and approach compression as both technical necessity and creative opportunity. The intersection of technical precision and artistic vision creates the foundation for compelling, professional music that resonates with audiences on both conscious and subconscious levels.

Test

I’ve done model shoots before where it was clear that the model had been using meth—not during the shoot itself, but you could tell they were struggling with addiction. Sometimes, it didn’t even register until I was deep into editing. Meth leaves this awful effect on the skin tone—an unhealthy, blackish-green tint that makes the skin look sickly and dark in the worst way, like a thin layer of death stretching across the surface. It’s subtle but unmistakable, and it demands far more time in post-processing to fix. Correcting it isn’t easy, but it’s not impossible. You can’t just slap on a standard skin tone or color overlay—it’ll end up looking unnatural, often too red or uneven. Instead, it requires delicate, intricate techniques: layering, blending, and balancing different combinations to achieve a realistic, healthy look. The challenge is that every shoot is different—lighting, environment, and the overall vibe of the set all play a part, making it a unique puzzle every time. Fixing this in post is a chore and takes time I’d much rather spend on creative edits. Sadly, I’ve noticed more and more models turning to meth. It’s cheaper than cocaine and helps with weight loss, but the cost to their health and appearance is immense. I’m not here to judge—people make their own choices—but I can’t deny how frustrating it is when I have to spend hours editing skin tones back to normal. These days, I don’t do much model photography anymore. The exceptions are a handful of women I know and trust—beautiful, confident, and thankfully free of that kind of baggage. At least with them, I can focus on creativity rather than damage control.

If I were the devil, my strategy to stop someone from being successful would center around subtle manipulation rather than overt interference. The goal would be to create self-imposed obstacles that undermine their progress, leaving them unaware of the true source of their failure. Here’s how:

  1. Plant Doubt and Fear • Whisper doubts into their mind: “You’re not good enough” or “What if you fail?” • Amplify fear of risk, so they avoid taking steps outside their comfort zone. • Make them fixate on what could go wrong instead of what could go right.

  2. Encourage Procrastination • Distract them with meaningless tasks or entertainment, pulling their focus away from their goals. • Make small delays feel justified until they snowball into complete inaction.

  3. Foster Complacency • Convince them that they’ve already achieved enough and there’s no need to strive further. • Make them comfortable with mediocrity.

  4. Fuel Comparison and Envy • Make them obsess over other people’s success, leading to feelings of inadequacy. • Distract them from their unique strengths by focusing on what they lack compared to others.

  5. Sabotage Relationships • Sow seeds of distrust and resentment in their personal and professional relationships. • Convince them they don’t need anyone else, isolating them from valuable connections.

  6. Push Perfectionism • Make them believe their work is never good enough, so they endlessly tweak without finishing anything. • Turn their desire for quality into a roadblock to productivity.

  7. Encourage Shortcuts • Tempt them with quick fixes and easy paths that lead to temporary satisfaction but long-term failure. • Promote unethical decisions, which may bring temporary gains but destroy credibility.

  8. Feed Impostor Syndrome • Constantly remind them of their past failures and convince them their success is due to luck, not skill. • Make them afraid to take credit for their achievements, diminishing their confidence.

  9. Nurture Negative Habits • Promote habits like poor time management, lack of discipline, or unhealthy coping mechanisms. • Encourage addictions or distractions that drain their energy and focus.

  10. Distort Their Purpose • Convince them their goals are meaningless or misalign them with superficial desires. • Erode their sense of passion, making their work feel hollow.

By using these psychological tactics, success would feel just out of reach, even though the individual might never realize they were the architect of their own stagnation. The devil wouldn’t need to act directly—just nudge them off course and let their own mind do the rest.

I’ve done model shoots before where it was clear that the model had been using meth—not during the shoot itself, but you could tell they were struggling with addiction. Sometimes, it didn’t even register until I was deep into editing. Meth leaves this awful effect on the skin tone—an unhealthy, blackish-green tint that makes the skin look sickly and dark in the worst way, like a thin layer of death stretching across the surface. It’s subtle but unmistakable, and it demands far more time in post-processing to fix. Correcting it isn’t easy, but it’s not impossible. You can’t just slap on a standard skin tone or color overlay—it’ll end up looking unnatural, often too red or uneven. Instead, it requires delicate, intricate techniques: layering, blending, and balancing different combinations to achieve a realistic, healthy look. The challenge is that every shoot is different—lighting, environment, and the overall vibe of the set all play a part, making it a unique puzzle every time. Fixing this in post is a chore and takes time I’d much rather spend on creative edits. Sadly, I’ve noticed more and more models turning to meth. It’s cheaper than cocaine and helps with weight loss, but the cost to their health and appearance is immense. I’m not here to judge—people make their own choices—but I can’t deny how frustrating it is when I have to spend hours editing skin tones back to normal. These days, I don’t do much model photography anymore. The exceptions are a handful of women I know and trust—beautiful, confident, and thankfully free of that kind of baggage. At least with them, I can focus on creativity rather than damage control.

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Available on CD & Digital Download
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\"\"
Innersleeve
\n\n\n\n\n\n\n\n”, “commentid”: “666b26f922df650001173974”, “plaintext”: “Available on CD & Digital Download\nApple Music Spotify Youtube Music\n\n\n\n\n\n\n\n”, “featureimage”: “GHOST_URL/content/images/2024/06/B2-2.jpeg”, “featured”: 0, “type”: “post”, “status”: “published”, “locale”: null, “visibility”: “public”, “emailrecipientfilter”: “all”, “createdat”: “2024-06-13T17:06:01.000Z”, “updatedat”: “2024-06-16T13:04:18.000Z”, “publishedat”: “2019-12-05T00:00:00.000Z”, “customexcerpt”: “EP – Released 12/05/2019”, “codeinjectionhead”: null, “codeinjectionfoot”: null, “customtemplate”: null, “canonicalurl”: null, “newsletterid”: null, “showtitleandfeatureimage”: 1 }, { “id”: “666b3b0222df6500011739ed”, “uuid”: “31f7d3a5-7233-40ae-bc0a-b5e6d9495471”, “title”: “The Isolation Sessions”, “slug”: “the-isolation-sessions”, “mobiledoc”: null, “lexical”: “{\“root\”:{\“children\”:[{\“children\”:[],\“direction\”:null,\“format\”:\”\“,\“indent\”:0,\“type\”:\“paragraph\“,\“version\”:1},{\“children\”:[{\“detail\”:0,\“format\”:0,\“mode\”:\“normal\“,\“style\”:\”\“,\“text\”:\“Track Listing: (\“,\“type\”:\“extended-text\“,\“version\”:1},{\“children\”:[{\“detail\”:0,\“format\”:0,\“mode\”:\“normal\“,\“style\”:\”\“,\“text\”:\“Digital Download & CD\“,\“type\”:\“extended-text\“,\“version\”:1}],\“direction\”:\“ltr\“,\“format\”:\”\“,\“indent\”:0,\“type\”:\“link\“,\“version\”:1,\“rel\”:\“noreferrer\“,\“target\”:null,\“title\”:null,\“url\”:\“https://angershade.bandcamp.com/album/the-isolation-sessions-special-bonus-ed"},{"detail":0,"format":0,"mode":"normal","style":"","text":")","type":"extended-text","version":1}],"direction":"ltr","format":"","indent":0,"type":"paragraph","version":1},{"children":[{"children":[{"detail":0,"format":0,"mode":"normal","style":"","text":"Isolation (Remastered)\“,\“type\”:\“extended-text\“,\“version\”:1}],\“direction\”:\“ltr\“,\“format\”:\”\“,\“indent\”:0,\“type\”:\“listitem\“,\“version\”:1,\“value\”:1},{\“children\”:[{\“detail\”:0,\“format\”:0,\“mode\”:\“normal\“,\“style\”:\”\“,\“text\”:\“Isolation – The Malefic Possession – Part I – The Changeling\“,\“type\”:\“extended-text\“,\“version\”:1}],\“direction\”:\“ltr\“,\“format\”:\”\“,\“indent\”:0,\“type\”:\“listitem\“,\“version\”:1,\“value\”:2},{\“children\”:[{\“detail\”:0,\“format\”:0,\“mode\”:\“normal\“,\“style\”:\”\“,\“text\”:\“Isolation – The Malefic Possession – Part II – The Consummate\“,\“type\”:\“extended-text\“,\“version\”:1}],\“direction\”:\“ltr\“,\“format\”:\”\“,\“indent\”:0,\“type\”:\“listitem\“,\“version\”:1,\“value\”:3},{\“children\”:[{\“detail\”:0,\“format\”:0,\“mode\”:\“normal\“,\“style\”:\”\“,\“text\”:\“Isolation – Heroin Hotel\“,\“type\”:\“extended-text\“,\“version\”:1}],\“direction\”:\“ltr\“,\“format\”:\”\“,\“indent\”:0,\“type\”:\“listitem\“,\“version\”:1,\“value\”:4},{\“children\”:[{\“detail\”:0,\“format\”:0,\“mode\”:\“normal\“,\“style\”:\”\“,\“text\”:\“Isolation – Live Demo\“,\“type\”:\“extended-text\“,\“version\”:1}],\“direction\”:\“ltr\“,\“format\”:\”\“,\“indent\”:0,\“type\”:\“listitem\“,\“version\”:1,\“value\”:5},{\“children\”:[{\“detail\”:0,\“format\”:0,\“mode\”:\“normal\“,\“style\”:\”\“,\“text\”:\“The Sample sessions- 9-30-2018 @ 10.10PM\“,\“type\”:\“extended-text\“,\“version\”:1}],\“direction\”:\“ltr\“,\“format\”:\”\“,\“indent\”:0,\“type\”:\“listitem\“,\“version\”:1,\“value\”:6}],\“direction\”:\“ltr\“,\“format\”:\”\“,\“indent\”:0,\“type\”:\“list\“,\“version\”:1,\“listType\”:\“number\“,\“start\”:1,\“tag\”:\“ol\“},{\“children\”:[{\“detail\”:0,\“format\”:0,\“mode\”:\“normal\“,\“style\”:\”\“,\“text\”:\”not available via streaming\“,\“type\”:\“extended-text\“,\“version\”:1}],\“direction\”:\“ltr\“,\“format\”:\”\“,\“indent\”:0,\“type\”:\“paragraph\“,\“version\”:1},{\“type\”:\“html\“,\“version\”:1,\“html\”:\”<iframe src=\\“https://play.wavekit.app/embed/audio/03prn7WpJf?type=compactwave&border=false&theme=auto&hideCover=true&transparent=true&lazy=true&accentLight=black&accentDark=white\\” allowtransparency=\\“true\\” style=\\“border: none;\\” width=\\“100%\\” height=\\“120px\\” referrerpolicy=\\“origin\\” title=\\“Wavekit audio player\\” loading=\\“lazy\\“>\n
\n

This is the original track opened up and remastered. This version is exactly how I meant it to be heard when I mixed and mastered in the studio in 2019 only to have the process of distribution and compression fuck it up. In this version the bass surrounds you, instead of being lost and crushed down to an audible, you can feel it in this version. The overdriven sound is allowed to breath, and there is depth in-between with a clear midrange, you can detect the space compared to the original. I\u2019ve gotten messages on how this piece has served as a meditative tool for some of you. This version will be even more immersive on just about any system you play it on.

\n
\n
\nISOLATION: THE MALEFIC POSSESSION I & II – These tracks were produced originally to be one complete track.\u00a0even though it flows very smoothly, each half was significantly very different from one another.In an effort to no longer have long intros & \u201cget to the intensity quicker\u201d in my music, I didn\u2019t want make someone have to sit through the pure sadness and sorrow of PT. 1 to get to the madness and intense chaos of PT. 2. So I split them\u2026 right at the key change. Engineering this one produced 77 individual instrument tracks of sounds designed & (Tesah\u2019s voice samples)\u2026then had to be rendered in chunks & spliced together all in 24bit resolution at a 96Khz sample rate. \u00a0See below the Track Analysis on how they're different musically.
\n\n
\n\n
The definition of \\“Live Demo\\” as it pertains to this particular version is basically me playing live on the keyboard using the sampled vocal sounds with no pre written material, what you are hearing here is me writing the track in real time on a first time run. I almost always have the tape rolling when I'm writing because I never know what might come out. This was one of those moments on a cold January afternoon in 2019. After I played what you hear, I realized that was the piece... it's done... the rest was just production.\nThere is no leveling here of anything... only some compression and limiting to make it even, but what you hear is unprocessed for the most part. This track is 3 minutes & 56 seconds, and that's how long it took to write the track. Even though the final production is 4:14.\nI almost always have the tape rolling when I'm writing because I never know what might come out. This was one of those moments on a cold January afternoon in 2019. After I played what you hear, I realized that was the piece... it's done... the rest was just production.\n\“,\“visibility\”:{\“emailOnly\”:false,\“segment\”:\”\“}},{\“type\”:\“html\“,\“version\”:1,\“html\”:\”\“,\“visibility\”:{\“emailOnly\”:false,\“segment\”:\”\“}},{\“type\”:\“html\“,\“version\”:1,\“html\”:\”\“,\“visibility\”:{\“emailOnly\”:false,\“segment\”:\”\“}},{\“type\”:\“embed\“,\“version\”:1,\“url\”:\“https://youtu.be/HGHCkkKJS2o?si=rG9EkSg9V96q7UZP","embedType":"video","html":"\“,\“metadata\”:{\“title\”:\“Isolation (music video)\“,\“authorname\”:\“Angershade\“,\“authorurl\”:\“https://www.youtube.com/@Angershade","type":"video","height":113,"width":200,"version":"1.0","provider_name":"YouTube","provider_url":"https://www.youtube.com/","thumbnail_height":360,"thumbnail_width":480,"thumbnail_url":"https://i.ytimg.com/vi/HGHCkkKJS2o/hqdefault.jpg","html":"\“},\“caption\”:\”\“},{\“children\”:[{\“children\”:[{\“detail\”:0,\“format\”:0,\“mode\”:\“normal\“,\“style\”:\”\“,\“text\”:\“Purchase CD & Digital Download\“,\“type\”:\“extended-text\“,\“version\”:1}],\“direction\”:\“ltr\“,\“format\”:\”\“,\“indent\”:0,\“type\”:\“link\“,\“version\”:1,\“rel\”:\“noreferrer\“,\“target\”:null,\“title\”:null,\“url\”:\“https://angershade.bandcamp.com/album/the-isolation-sessions-special-bonus-ed"}],"direction":"ltr","format":"","indent":0,"type":"aside","version":1}],"direction":"ltr","format":"","indent":0,"type":"root","version":1}}", “html”: “

Track Listing: (Digital Download & CD)

  1. Isolation (Remastered)
  2. Isolation – The Malefic Possession – Part I – The Changeling
  3. Isolation – The Malefic Possession – Part II – The Consummate
  4. Isolation – Heroin Hotel
  5. Isolation – Live Demo
  6. The Sample sessions- 9-30-2018 @ 10.10PM

not available via streaming

\n\n\n
\n

This is the original track opened up and remastered. This version is exactly how I meant it to be heard when I mixed and mastered in the studio in 2019 only to have the process of distribution and compression fuck it up. In this version the bass surrounds you, instead of being lost and crushed down to an audible, you can feel it in this version. The overdriven sound is allowed to breath, and there is depth in-between with a clear midrange, you can detect the space compared to the original. I\u2019ve gotten messages on how this piece has served as a meditative tool for some of you. This version will be even more immersive on just about any system you play it on.

\n
\n
\nISOLATION: THE MALEFIC POSSESSION I & II – These tracks were produced originally to be one complete track.\u00a0even though it flows very smoothly, each half was significantly very different from one another.In an effort to no longer have long intros & \u201cget to the intensity quicker\u201d in my music, I didn\u2019t want make someone have to sit through the pure sadness and sorrow of PT. 1 to get to the madness and intense chaos of PT. 2. So I split them\u2026 right at the key change. Engineering this one produced 77 individual instrument tracks of sounds designed & (Tesah\u2019s voice samples)\u2026then had to be rendered in chunks & spliced together all in 24bit resolution at a 96Khz sample rate. \u00a0See below the Track Analysis on how they're different musically.
\n\n
\n\n
The definition of \“Live Demo\” as it pertains to this particular version is basically me playing live on the keyboard using the sampled vocal sounds with no pre written material, what you are hearing here is me writing the track in real time on a first time run. I almost always have the tape rolling when I'm writing because I never know what might come out. This was one of those moments on a cold January afternoon in 2019. After I played what you hear, I realized that was the piece... it's done... the rest was just production.\nThere is no leveling here of anything... only some compression and limiting to make it even, but what you hear is unprocessed for the most part. This track is 3 minutes & 56 seconds, and that's how long it took to write the track. Even though the final production is 4:14.\nI almost always have the tape rolling when I'm writing because I never know what might come out. This was one of those moments on a cold January afternoon in 2019. After I played what you hear, I realized that was the piece... it's done... the rest was just production.\n\n\n\n\n\n\n\n\n\n\n
Purchase CD & Digital Download
”, “commentid”: “666b3b0222df6500011739ed”, “plaintext”: “Track Listing: (Digital Download & CD)\n\n 1. Isolation (Remastered)\n 2. Isolation – The Malefic Possession – Part I – The Changeling\n 3. Isolation – The Malefic Possession – Part II – The Consummate\n 4. Isolation – Heroin Hotel\n 5. Isolation – Live Demo\n 6. The Sample sessions- 9-30-2018 @ 10.10PM\n\nnot available via streaming\n\n\n\n\n\n\nThis is the original track opened up and remastered. This version is exactly how I meant it to be heard when I mixed and mastered in the studio in 2019 only to have the process of distribution and compression fuck it up. In this version the bass surrounds you, instead of being lost and crushed down to an audible, you can feel it in this version. The overdriven sound is allowed to breath, and there is depth in-between with a clear midrange, you can detect the space compared to the original. I\u2019ve gotten messages on how this piece has served as a meditative tool for some of you. This version will be even more immersive on just about any system you play it on.\n\n\n\n\n\n\nISOLATION: THE MALEFIC POSSESSION I & II – These tracks were produced originally to be one complete track.\u00a0even though it flows very smoothly, each half was significantly very different from one another.In an effort to no longer have long intros & \u201cget to the intensity quicker\u201d in my music, I didn\u2019t want make someone have to sit through the pure sadness and sorrow of PT. 1 to get to the madness and intense chaos of PT. 2. So I split them\u2026 right at the key change. Engineering this one produced 77 individual instrument tracks of sounds designed & (Tesah\u2019s voice samples)\u2026then had to be rendered in chunks & spliced together all in 24bit resolution at a 96Khz sample rate. \u00a0See below the Track Analysis on how they're different musically.\n\n\n\n\n\n\nThe definition of \“Live Demo\” as it pertains to this particular version is basically me playing live on the keyboard using the sampled vocal sounds with no pre written material, what you are hearing here is me writing the track in real time on a first time run. I almost always have the tape rolling when I'm writing because I never know what might come out. This was one of those moments on a cold January afternoon in 2019. After I played what you hear, I realized that was the piece... it's done... the rest was just production.\nThere is no leveling here of anything... only some compression and limiting to make it even, but what you hear is unprocessed for the most part. This track is 3 minutes & 56 seconds, and that's how long it took to write the track. Even though the final production is 4:14.\nI almost always have the tape rolling when I'm writing because I never know what might come out. This was one of those moments on a cold January afternoon in 2019. After I played what you hear, I realized that was the piece... it's done... the rest was just production.\n\n\n\n\n\n\n\n\n\n\n\n\nPurchase CD & Digital Download”, “featureimage”: null, “featured”: 0, “type”: “page”, “status”: “published”, “locale”: null, “visibility”: “tiers”, “emailrecipientfilter”: “all”, “createdat”: “2024-06-13T18:31:30.000Z”, “updatedat”: “2024-08-07T21:04:05.000Z”, “publishedat”: “2022-07-16T11:03:00.000Z”, “customexcerpt”: “RELEASED: 07/16/2022”,