Hello and welcome to the Sound On Sound recording and mixing podcast channel. I am Eddie Bazil. In this podcast I am going to foray into the world of sound design using some of the creative tools software manufacturers have graced us with.

What Makes A Tool Creative?
So what makes a tool creative? This is one of those questions that can either be met with a staccato slap sequence or a tsk tsk depending on who you ask but I think it’s fair to say that just about any tool can be used creatively. Back when the earth’s crust was still solidifying a clever engineer called Norm the Neolith decided to experiment with the sidechain of a gate. The gene jump idea was to use a hi-hat pattern to trigger the gate on a pad sound and thus was born the trancegate effect. It wasn’t long before Norm was spinning vinyl to huge crowds of 3-4 hunter/gatherers……well…. mainly gatherers. Almost all jokes apart, we have always adapted tools for creative purposes. BUT in the world of sound design, and now production, when we talk of creative tools we are referring to modulators that drive and shape sounds, effects and dynamics. When I was contracted to Emu/Ensoniq as a sound designer what drew me to their company, apart from their amazing product base, was the modulation matrices that existed in their hardware and later software. Deep and detailed it was the modulation matrix that breathed life into staid sounds and samples. Nothing has changed bar the fact that we have more detailed control and of course variety in our structuring of the matrix. The modulation matrix of a synthesiser is where all the clever routings take place that shape and define the sounds. So, what is a modulator? A modulator is something that controls something else. This is the most simplistic and apt modern day definition that I can come up with. In the virtual world just about anything can be modulated and just about anything can be a modulator. All modulators need a source and a destination.  Source is the modulator type used to affect a target destination. A simple example of a source modulator is the pitch wheel on a keyboard with pitch as the destination. In other words, the pitch wheel when moved alters the pitch of the sound being played. Another simple and instantly recognisable example is that of the tremolo effect. An LFO acts as the source modulator and the destination is volume. The LFO shape controls, or modulates, the volume. If the destination is changed to pitch then we refer to the effect as vibrato. It is safe to say that almost all source modulators are shape driven. The shape of the modulator source, be it an envelope or an LFO, a sequencer or even a single dynamic/effect parameter, shapes the response and behaviour of the destination.  
And with this in mind I am going to share with you some mix sound design examples using some of the intuitively creative tools available today. I will start gently with some very cool reshaping exercises .

Example 1: A Cinematic Piano Effect
In example 1 I am using Cableguys Shaperbox 3 and Eventide’s delicious Mangleverb,  to dramatically alter a boring piano line into an interesting film effect piano.
First the dry version (audio example).
And now the processed version (audio example).
Cableguys have cleverly structured a set of destinations using all manner of source modulators. From time-based modulation to stereo widening and everything in-between, just about every modern day flavour destination is provided. The GUI is large and easy to follow and navigate...a Godsend for an elderly like me. And to top it off there is a compressor that can be used both as a destination or a global dynamic to shape the overall result and a very useful oscilloscope which comes in handy when analysing the effect of each destination or the global resultant waveform. Source modulators can be selected from shape based menus or the user can simply draw in a shape to taste. There are multiple trigger modes, multiple sync division modes, multiple this and multiple that.....TBH it would take me the whole podcast to cover the features on offer and the detail manipulation of every feature. 
For this particular example I have used the ‘basic’ source modulator to modulate Time, Filter and Liquid destinations. You can hear how I have changed the timing of the piano sequence and slowed it to halftime by using the Time destination. I have then high-pass filtered a specific range from 65-388Hz using a cutoff of 1kHz and 23% resonance. The filter creates these lovely resonant peaks but only to the specified range. The whole signal is then topped off with a phaser from the Liquid destination. I am using 8 stages for the phaser with centre frequency set to 2.3kHz and feedback at 53%.
But it doesn’t end there. Everyone who knows me knows I am a real fan of Eventide effects and their Mangleverb is as offensive as it is gorgeous.  I am using almost maximum decay for the generously sized reverb preset but I have shaped that decay with bandpass filtering. This is then modulated using the wobble feature and the whole effect is run through a soft clipper for some gentle distortion. The texture comes across as an endless abyss of grainy reverb. Beautiful.
The whole piano line now sounds perfect as a backdrop for a lamenting movie sequence. I have altered the timing of the piano line simply to display how well Shaperbox can manipulate Time in realtime.

Example 2: Creating A More Dynamic Beat
In example 2 I am using Shaperbox again to spice up a very basic drum beat into a more dynamic beat with additional percussive elements generated via the matrix.
First the dry version (audio example).
And now the processed version (audio example).
I fully appreciate the fact that some people are not adept at constructing drum beats from scratch. After all, a writer/producer cannot be expected to be proficient in every discipline and thankfully we have tools nowadays that can sidestep any beat construction limitations. Shaperbox offers the user potent sound design tools to help hone existing sounds into new textures.
I have used five distinct destinations: Time, Filter, Noise, Pan and Width with each being driven by a custom source shape.
I am using a gently undulating shape that I have drawn in to modulate ever so slightly the timing element of the beat. This pulling and pushing of time values has lent itself to generating an interesting beat sequence. If you use more pronounced shaped modulators with Time you can create lovely scratch and glitch effects. It is remarkable how well this destination works for adding time based motion to static sounds.I have then fed this into a peaking filter with a cutoff value of 3.73 kHz which is modulated by a cycling saw shape. This gives a nice and gentle closed to open filter effect. Next up is the Noise destination and I have selected, from the extensive noise menu, a snare texture that is modulated at a range of 140Hz to 1.7 kHz. The Time sequence from destination one is triggering additional percussive elements within the existing sequence, in this case a secondary snare, and adding to the existing beat. This is then fed into the Pan destination with a variable square shape modulating the added percussive elements into intermittent pan locations. This entire sequence is then sent to the Width destination with a ramp up shape modulating the width which comes across as a swelling and contracting of the drum elements within the sequence every time the modulator cycles. 
The result of this simple modulation matrix is an interesting new drum beat that houses additional percussive elements that dynamically move across the stereo panorama whilst swelling and contracting.

Example 3: Sequencer-Based Multi Effects On A Drum Beat
But why end there? Let’s take the same uninteresting drum beat from the last example and this time run it through a very intuitive and detailed sequencer based effects plugin. I present to you DS Audio’s Tantra 2.
First the dry version (audio example).
And now the processed version (audio example).
Tantra is a two layer rhythm based multi-effects plugin that houses a selection of the most popular modern day destinations: Filter, Distortion, Delay, Flanger, LFO and Glitch. The order of effects can be changed using a simple drag and drop approach. Their basic 8 source modulators on offer are all sequencers with extensive control over speed, depth, order, length, smoothness, tension, shuffle and so on and on… The sequencers can modulate any parameter of the allocated effects and at varying time divisions, and further sculpting potential is provided with a dedicated routing matrix that can manage all sources and destinations and runs into 4 pages… Add to that a randomise generator, a global reverb, an equaliser, a clipper and parallel mix features for both layers and the master out, and you have a weapon at your disposal.
With this particular example I am using 4 modulators with each one using a different time based shape to modulate various effects parameters with the exception of modulator 1 which is used to play an 8 bar sequence on top of the existing drum beat. This is synced to tempo at 1/8 subdivision. This has the effect of triggering various drum elements within the beat, in effect, adding them to the existing beat. Modulator 2 is also synced to 1/8 subdivision and is modulating both the distortion effect and distortion parallel mix. Modulator 3 is synced to 16th sub division and is modulating the filters hi-cut and modulator 4 is synced to 2 bar divisions and is modulating the distortion’s drive and the lo-fi effect’s sample rate. All other effects are being used but in static mode, ie no modulators controlling effects parameters.
I must say, I like what these simple effects have done to a clinically boring beat thanks to the realtime changes that are driven by the well detailed modulators. Tantra2 can work its magic on any sound, so give it a run and experiment. Trust me, you won’t be disappointed.

Example 4: Reshaping A Musical Sequence
In the next example I am going to use quite a few of these creative tools to reshape an existing musical sequence into something a tad more sexy.
First the dry version (audio example).
And now the processed version (audio example).
What I will do is to cover each sound and the effect used. This will hopefully demonstrate to you how effective modulators are at creating new and exciting textures from existing sounds.
First off the noise loop - the dry version (audio example).
And now the processed version (audio example).
I am using the powerful Fabfilter Saturn 2 distortion plugin. I am using a combination of different modulators: an X/Y pad, an LFO and an Envelope Follower to modulate a ton of different distortion band parameters. Each band is using a different distortion mode. I have opted for band 1: gentle saturation, band 2: destroy, band 3: smudge, band 4: old tape and band 5: gentle saturation. The really fun and creative part of shaping the distortion effects in Saturn 2 is to play with the feedback frequency. This can change the tonality and behaviour of the band quite dramatically and musically. The idea is to thin the loop and add acres of dirt and that has been achieved quite easily using this powerful plugin.
Next up is one of the drum loops. Here is the dry version (audio example).
And now the processed version (audio example).
I am using two plugins in series here. The first one is Devious Machines Wonderful Texture and the second one is Baby Audio’s Spaced Out. Texture synthesises new layers which track the dynamics of the sound being processed. Layers can be selected from an extensively supplied library from a drop down menu or created from scratch using the user’s own samples. There are modulators and effects and dynamics available to further shape both the layer and the sound being affected. I am using a Bass Rasp layer which I have edited to taste using the onboard tools and the drum beat I am affecting has a bunch of modulators doing weird and wonderful things, most notably a saw shaped LFO which is modulating the filter cut off. The scanned cut off effect provided by the LFO gives the impression the rasp effect is opening and closing. I have further shaped the overall response with the dedicated envelope.  This os then fed into Baby Audio’s Spaced Out, an insane delay and reverb plugin that has a bunch of x/y modulators and a 16 step delay sequencer. There are lots of different texture based reverb and delay effects to choose from and detailed control is made easy with a lovely GUI that makes you want to grab things and move them about. I am using the step sequencer to trigger the delay intermittently. This offers great variety and tempts the user to steer clear of repetitive synced delays. I opted for the space reverb mode which doesn’t add too much coloured reverb but affords a nice space for the delays to explore. I have shaped the effect to offer a less pronounced delay and reverb effect but have made sure to dial in a ton of dynamic motion. This drum loop has now morphed into a completely different texture.
Let’s move onto the weird reverse loop. I am using two plugins in series again. The first one is the mighty Audio Things The Orb followed by the gorgeous Spaced Out.
Here is the dry version (audio example).
And now the processed version (audio example).
I have covered The Orb in detail in one of my other podcasts on the subject of Filters, so if you need a little more in-depth information head on over to Sound On Sound and dig up that particular podcast.
The Orb is one of those plugins that ignites the creativity in the user. Formant filters, when processed correctly, can add an evocative dimension to a sound that standard filters can’t. Colouring a beat with human vowel dips and peaks and then feeding it through a classy reverb and delay plugin evokes both emotion and offers the user a unique weapon in the effects silo. I have shaped both effects to exhibit exactly this, a moving and interesting texture that stands out above all else and if you listen to the complete song sequence you will note that this particular sound takes centre stage.
Next we have the not so exciting 4x4 drum beat that I have added life to by using the wonder that is Fabfilter’s Timeless 3.
Here is the dry version (audio example).
And now the processed version (audio example).
There are lots of delay plugins out there in the sonic wilderness but if it is sound design potential coupled with sheer unadulterated power you are after then look no further than Fabfilter’s Timeless 3. 
In this example I am using 3 LFO modulators to modulate all manner of parameters from crossmix feedback to pitch and pretty much everything in-between. I have synced all three modulators to tempo but have selected various cycle rates. This helps to keep modulator behaviour in check. Random values can be interesting but when more than one modulator is used you need to factor how modulators interact with each other, especially is more than one modulator is used to modulate the same source as another modulator. I have made sure to keep things subtle and not to extreme any particular destination. The idea is to afford a grainy dynamic delay that acts as a bed for the beat rather than boasting a pronounced repeat effect. Modulating delay times, pitch and the 4 filters ever so gently has helped to give dynamic motion to this beat. Timeless can do the whole grainy pitchy delay motion effect thingy beautifully. The overall affected sequence of nomadic sounds has homogenised into a nice sound design effect.

Example 5:
In the 5th and final example I have taken a great track by my friend John Walden and reimagined it as a sound design exercise. This is not a remix, or a full on mix or anything that remotely resembles a mix. This is about taking the existing sounds and reshaping them using a few very potent creative tools. 
Here is the dry version (audio example).
And now the processed version (audio example).
I will run through each sound and list the effects used.
Let’s start with the hi-hat pattern - first the dry version (audio example).
And now the processed version (audio example).
I wanted the hi-hat pattern to sound a little dirty and grungy and iZotope Trash 2 fulfilled my dreams. I have to say Trash 2 surprises me every time I use it. It is both deep and detailed, offering not just every type of distortion mayhem you can think of but also provides some very cool dynamic tools to further shape the distortion, effects and dynamics provided by this beast. I have drawn in 3 custom modulator source shapes to modulate the following distortion modes which are triggered using 3 bands of a multi band equaliser. Band 1 encompasses 20Hz to 1kHz and uses fuzz distortion, band 2 ranges from 1kHz to 8kHz and uses drive distortion and band 3 ranges from 8kHz to 20kHz and uses saturation. This is then peak filtered and run through a vowel impulse response named schwa and that in turn is run through a mic emulator. I told you it was deep. And finally, the whole shebang has been heavily compressed to accent the dirt element. I now have crispy dirty hats. Yay.
Next up the kick 1 sequence - first the dry (audio example).
And now the processed (audio example).
I wanted the kick to exhibit a deep thump and this was easy to achieve thanks to Boz Digital’s Transgressor 2 fed into Brainworx VSC – 2 VCA compressor. I love Transgressor 2 and have used it in a number of my podcasts. It is a great shaper tool and I have used it to highlight the peak transients of the kick which is prominent at around 60Hz or so.  I’ve carved out some of the sustain as I have other low end layers to consider and any boominess exhibited by the kick can mar the overall low end layering processes. I have then fed this into the VSC-2. I have shaped the compressor to exhibit a tight thudding type of texture. People often think VCA compressors offer smoothness and transparency. They do but they can also be used in anger for hard grit. I have gone for hard grit. The kick sounds tighter and more focused now and perfect for layering with other low end sounds.
Following on, kick 2. First the dry (audio example).
And now the processed (audio example).
With this particular kick sequence I wanted to take away the acoustic quality and colour it with a deep dampened effect, much like a bouncy pillow, and simple EQ and low pass filtering just didn’t cut it. When equalisation doesn’t cut it I often opt for distortion and if you are after controlled distortion then look no further than Fabfilter’s Saturn 2. Apart from the fact that it is well designed and has a powerful modulation matrix the plugin is band based in that you can work on specified ranges of frequencies rather than a single blanket full spectrum range. I split the kick into two bands and chose the warm tape mode for the prominent frequency range of this particular kick which lay at around 200Hz, and clean tape mode for the rest of the kick’s frequencies. I mixed the drive of each mode to taste. I always start with lots of drive so I can hear what a mode is doing to a sound and then back off until I achieve just the right amount of distortion. I then shaped the overall response using Waves Renaissance Compressor. RenaissanceComp, or RComp, does this bounce thing really well and always delivers great results on percussive sounds. The kick sounds detailed, dynamic and warm, perfect for layering with the first kick and the bass.
Ok, let’s look at the bass now. First the dry (audio example).
And now processed (audio example).
As you can hear I have completely changed the bass, both in texture and phrasing. In effect, the bass now acts as a single note sub hit and sounds nothing like the original. There is a lot going on in terms of processing, so let me start.
It all begins with Unfiltered Audio’s Bass-Mint. I love Unfiltered Audio products, they are intuitive and powerful and Bass-Mint is no exception. Designed to process all bass tasks it is eloquently easy to use and yet deceptively powerful. I worked around the 90Hz sweet spot of this bass sound and using the overfold mode I was able to change the electric bass texture to resonate like a big metallic string in a bathroom. I used the shelf feature to heavily boost the selected cutoff and because it is a dedicated shelf filter the response is consistent and uniform across this range. I topped this off with the anti rumble feature which filters, quite dramatically, everything below 30Hz. This helps to keep the sound clean. To control and shape the overallbass response I used T Racks Opto compressor. Opto’s are great for keeping attack transients intact due to their slow behaviour. I decided to drive into the compressor and use a ratio of 8:1 with a fast release. This pronounced the attack response of the bass whilst attenuating some of the woolly body generated by Bas-Mint.  You’d think that that would be enough huh? Nope. I wanted to generate more harmonics and Waves Renaissance Bass fit the bill nicely. This time I decided to drive around 50Hz which generated some lovely additional harmonics in supplement to the driven frequencies of the previous processes. As you can appreciate, with all these harmonic generating processes you need control and reshaping, otherwise everything starts to sound over inflated. Enter one of my favourite kick and bass processors, the mighty Sasquatch 2 by Boz Digital. Sasquatch splits the sound into two distinct sections: the attack portion which is referred to as the click and the body which is teasingly referred to as the Oomph with each section affording further shaping and modulating tools. I selected a sine shape to modulate a 50-330Hz range with a sustain of around 475ms for the oomph or body. This gave that nice sustained clean sub effect. I then exaggerated the click section so the bass has a very distinct 808 type of attack. The result is that the well played electric bass is now a big hitting 808 sub with no phrasing whatsoever, prefect for this ambient sound design exercise.
Let us now address the 2nd snare. I have left the first snare as it is.
First the dry (audio example).
Now the processed (audio example).
As you can hear the original snare has completely changed in both dynamic motion and texture.
I started with SSL’s Drumstrip plug-in to completely reshape the snare sound. If you are serious about drum work then you need this plug-in. It simply delivers and delivers with quality. I used the gate to remove the low end frequencies of this particular rich acoustic snare. Next came the transient shaper, which further highlighted the peak transients of the snare to give it more bite. I then reintroduced the low end frequencies I wanted to pronounce, notably at around 160Hz, and followed that with a hefty drive at 3.9kHz using the high frequency enhancer. I then narrow band compressed the whole snare. All this within a single plug-in. Lovely. Once reshaped I ran the snare though iZotope’s Trash 2, using a combination of heavy distortion and negative fuzz and pushed it through one of its supplied cabinet modes which helped to achieve that dirty cabinet space texture. I then topped this off with Trash 2’s delay effect which added some nice motion to the whole snare sequence.
Let’s move onto the really meaty stuff and first in line is the DX sequence. First the dry version (audio example).
And now processed (audio example).
I used Devious Machines Infiltrator 2 to maul this DX sound into something very film-esque. Infiltrator 2 is a modulator based multi-effects and dynamics processor on steroids. It has endless capabilities thanks to its detailed and well thought out modulation matrix. Modulators come in all shapes and sizes from custom drawn shapes to sequencers, from midi triggers to parameter driven modulators… in fact the list is endless. Destinations are equally impressive and it would be futile to list them all. My suggestion is to give this amazing plug-in a spin. It really doesn’t matter if you are into sound design or production, with a little thought and prep this plug-in can literally do anything.
I started with one of the supplied presets and edited it to taste. I used a number of custom shaped modulators to modulate a variety of different filters to give that nice resonant peak motion effect and I topped this off with modulated delays and reverbs to afford the cavernous ambient texture. One of the coolest tricks with creating peak modulated filter effects is to select a few different bandpass filters and set them to varying bandwidths and all in series. Modulate each filter’s cutoff at different rates synced to tempo. This will give the undulating filter peak effect you hear here. The modulated delay and reverb effects further add to the existing filter peak motion. If you make sure to modulate the delay taps around the cut-off timing values you end up with an even more dynamic and interesting overall response. In this example the time driven tight cut off values and modulated delay taps gives the impression that the sound has little tinkly textures dotted across the sequence.
Next up, the synth hook line. First the dry version (audio example).
And now the processed version (audio example).
I started by using Fabfilter’s Q3 dynamic equaliser. I created two dynamic bell bands at 351Hz and 2.13kHz respectively and structured them both to use expansion. Band 1 was set to expand at 351Hz but doing nothing else yet yet Band 2 was set to sides and lifted using expansion to perceive a wider response to that specific range of frequencies. The effect is a dynamic lifting of the specified ranges at certain points in the sequence. This was then fed into Infiltrator with the following selected destinations: FM, Stretch, Varispeed and Delay. A staggered drawn modulator source controls FM frequency and this cycles through different values and is tempo synced. A ramp up modulator controls the speed element of stretch and modulates the grain setting, both synced to tempo. A customised sine LFO modulates varispeed and is againsynced to tempo. And finally, a basic two tap delay is used to add some motion to the overall sequence. The manipulation of time based effects always delivers dynamic motion and expression and Infiltrator delivered both seamlessly. The result is an unworldly concoction of grated metallic textures that bob along in time and pitch.
I will end with the main vocal example. First the dry (audio example).
And now the processed (audio example).
With almost all vocal stems I start by removing plosives and taming sibilance, and the plug-in that I can always rely on to deliver the goods is SSL’s Vocalstrip 2. It is a powerhouse of a plug-in that offers a compander, a deploser, a de-esser and an equaliser. The order of dynamics can be changed to suit the processing workflow but it’s the results it delivers that are so impressive. I used the compander to drive the vocal response so as to give it an edge. This was then run into the de-esser to remove sibilance. I selected a ballpark frequency of 4.6kHz and attenuated it by 24 dB and using lookahead resulted in a more controlled process. Finally, I reshaped the vocal response using the equaliser. I generally always use an equaliser post vocal processing to rebalance the attenuated and boosted frequencies. This was then fed into Softube’s Summit Audio TLA110 tube levelling amplifier. I have been using this plugin for years. It always delivers a silky smooth driven response that lends itself beautifully to colouring vocal lines. I used a very gentle drive of 7.9db with peak reduction at 4.3 to smooth out the driven response. The result is a vocal line that is veiled in a silky smooth blanket.
This is then fed into iZotope’s Nectar which is a plugin designed specifically to process vocals. Cleaning and optimising vocals is an ongoing process. The colouring, or sweetening, comes at the end but at every stage the vocals must be processed and optimised for the next process. If you leave sibilance in place and follow it up with distortion then you will highlight the sibilance and actually make it sound harsh and painful. This is a classic example of what can happen if vocals are not continually cleaned and optimised.
Nectar comes with a gazillion correcting and colouring tools. I usually start off with correcting pitch anomalies, if any. This vocal line didn’t need any correction but I left Nectar to find and correct anything irrespective of how subtle. But TBH, it’s a testament to the vocal delivery that no correction was required. However, the next processor, saturation, was used albeit gently. Saturation, when used subtly, can add a whole new dimension to a sound. With this vocal it lifted it and gave it some depth and an edge. With any distortion process, it pays to have an equaliser to address any issues generated by that particular process. I used an equaliser to filter out everything below 120hHz and I also applied a gentle high frequency shelf boost to highlight everything above 4.2kHz. Quite often I will use a compressor post saturation to tame any errant peaks and to glue and tighten the entire bandwidth and Nectar’s digital compressor accomplished this without any fuss. Finally, a dose of delay and reverb were applied simply to add presence. 
All of this vocal prep work has taken place to accommodate my final creative plug-in Unfiltered Audio’s Tails. Tails is billed as a shimmer plug-in but it is far more than that. It is a very good algorithmic reverb plugin in its own right. The entire vocal whispering grainy effect you here in the processed take is all down to this one plug-in. Yes, all the other plug-ins in the chain are critically important but they have all been prep work for tails.
Tails comes with 4 reverb modes: renoun, deep, spatial and shimmer. It has powerful features like reverb swap which flushes and reinitialises the reverb buffer after each transient. Tails adopts multibuffers to give you a smooth clean and, as stated by the developer, harmonic reverb decay. Sensitivity which links nicely to ducking behaviour which in itself is another very cool tool and is customisable, retrigger which controls the triggering of transients and algorithm which governs transient detection, are very useful starting points but can also be used musically. For example, retrigger can be used to rhythmically trigger the reverb buffer. It has a reverb saturator and a sample rate tool which can alter the reverb texture quite radically. In fact, the features go on and on and on. Whether you think Tails sounds natural and smooth is not really what Tails is about, or rather what I think it’s about. Traditional reverb spaces will always have a place in mixing and production but it is refreshing to have a reverb effect that behaves differently and can be used creatively, which is really what this podcast is about.  I decided a heavily saturated deep reverb with an 1/8 retrigger and 56% samplerate mauling would be perfect for the type of grainy reverb effect I wanted for this vocal. Once saturated I used a high frequency shelving lift at 3.16kHz. The whole reverb effect was then dampened to give a smooth response. The result is an interesting, grainy yet deep reverb effect which I have to say sounds lovely.

Outro
We have now come to that point where we part as friends. There are many more wonderful creative tools out there and I simply do not have the time and podcast space to cover them all. I have tried to stick to the ones I regularly use and hope that sharing some of these tools in this podcast has helped fire up your creative juices.
That’s it for now. Thanks for listening. This has been Eddie Bazil for Sound On Sound magazine.