will be checking out tomorrow! congrats on the release and first big step along your journey. will be rooting for you kat you already kno!

@Kat V. KAT IS BACK! THIS IS NOT A DRILL

@Kat V. we're thrilled to have ya bud you already know!

We could attack this many ways but a ton of times its just the patch, layering and or cutting anything above 12khz. If you check out Illangelo's twitch streams/ youtube ((The Weeknds producer, He's also Joy Odyssey) he does a ton of arp work and 9/10 its the patch and cutting highs. That said, its also good to remember that when referencing, you're referencing against a mastered track. Tracks often come in a bit darker which isn't a problem but the reason for this comment is that the darkness allows mastering engineers to boost the highs cleanly as a whole with an analog style EQ. So that brightness may be done post-production/mixing. Q: Do you set up a mix bus when you're mixing? Q: Do you have an audio demo or snippit that you can share with us?

you should prob sign with a PRO like BMI or ASCAP. If not, definitely form a contract agreement of some sort. The whole "possibility to negotiate" after the body of work has been published makes no sense. Negotiations happen prior to any work being done because A.) If there's no contract in place, it's he-say-she-say, and B.) The work on your end has already been done. Even if your work wasn't made specifically for them, it's valuable to them for their project, so you should be compensated in some way prior AND after publication. That's if you care for payment and recognition. I think doing things for fun and the opportunity is cool if that's what you wish to do, but if you're looking for payment or something in return, like notoriety, make a contract. AI can help form the structure of the contract if you feed the right things into it

@Rich Owensby for sure bud! I do think even if they come up with a contract it still may be good to form a contract yourself that way you know what you'd like and if they offer something to you, you wont have to think as much in terms of "is this what I want from this exchange?" you'll be able to just reference your own document. Either way good luck man I hope you guys both end up doing something cool with this opportunity🤘

I'm sure there's an explanation online or in this group from someone who hasn't answered yet, but instead of thinking of their differences, focus on the use case. Multiband - Good for controlling large areas of the frequency spectrum and adding overall cohesion to an element or group. They're often used when a balancing issue is reoccurring/constant. And since they're a compressor, they're often used to tone shape with level prior to actual processing or after as a final balancing tool. E.g., Vocals are a bit muddy and all over the place, throw a multiband compressor on to shape the tone and to add some balance -> EQ -> compress again or w/e other processing you'd like to do -> if still moments of control issues MB again. The only real negatives that I've come across are that 1) if they're not linear phase, they will cause phase shifts at the crossover points even if the band is not in use/turned off. 2) They can be hard to dial in esp if hearing compression is an issue (been there and still there some days lol) Dynamic EQ - Good for controlling tonal moments in time (controlling rumble, sidechain function, deesing, random frequency spikes etc) instead of statically removing an element. Can be used broadly, but they're regularly used surgically to remove fine frequencies. They're often less aggressive but can be used more aggressively than a multiband compressor due to their flexibility (if your EQ has 7 bands you can use all 7 dynamically vs a MB usually only having 4 bands). On top of this, they often can be used as expanders, and they only cause phase shifts when they're working-unless in linear phase modes, then not at all. Also, dynamic EQ's are EQ'S! So if you're tone shaping and realize that something is poking out momentarily and may cause an issue pre compression or the next phase(s) in your chain, this is where a dynamic EQ comes in to play. TLDR: All of that to say, think of using Multiband Compressors globally for balance and Dynamic EQ's for tonal clean up. Although they can be used interchangeably, until they're second nature to you and how they work in your workflow, I think thinking in this way may be helpful.