The short tape loop in the RE-100 still meant that you could only affect the delay so much. The RE-201 remedied this by using a longer tape loop that was spooled freely within a chamber with no reels. This loose spool approach resulted in less tape wear and fewer transient noises.
Because of their long, curvy waveforms, low frequencies experience phase attenuation more profoundly than other areas of the spectrum. You may want to high-pass your square wave so that it gives the bass line that extra grit without stepping on the feet of your sine’s big clear lows. Additionally, many producers like to make low-end seem fatter by using stereo widening effects. Use these carefully as the phase interactions between the low end of each stereo side can cause destructive interference. Use the mono/stereo switch on your DAW’s master track to check whether your low end survives when everything’s running through the center channel.
Close relationships in music are vital, and it’s quite common that you’ll end up where you want to go because of the people you know. So dust off those handy networking skills and go take your closest cohorts out for coffee! Keeping a musical relationship solid is hard work, especially when disagreements emerge — a good way to approach things is to prioritize empathy, logic, and patience over temporary rage or disappointment, which can easily lead to permanent damage.
As we can see, the scales which are used the most in the Western musical system (the ones commonly called Major and Minor scales) are the modes built on the first and sixth degrees of a Major scale.
By repeating the root note of the chord a few times, the bass part defines the underlying harmony (E minor to A major, two bars each), before continuing into a funky outline of the scale.
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