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Masta Conga - Masta Conga Remix.rar

Screen shot 17 mute groupsAnother important point is the use of mute groups with percussion. Even the slightest of overlaps of resonant sounds can make a percussion part sound unnatural. I have used three mute groups on this Latin set. One for the Cowbell and the other two for two of the Conga drums. The open tone on the conga has been left out of the mute group because it sounds more effective in this instance with that millisecond resonance. Experiment with this yourself and see how you get on. Depending on the set of Conga sounds you use, you may need to put different sounds in respective mute groups.

Masta Conga - Masta Conga Remix.rar


Screen shot 18 Panning the partsPanning of the parts is really important when you have lots of percussion parts. It can get really cluttered and unclear otherwise. It is amazing as you pan instruments around how they disappear and then suddenly pop out with great clarity. It is especially important when you have a number of similar sounding frequencies such as a number of congas. I think a great deal of clarity can be obtained from careful panning and is something that should not be rushed. The sends are going off to a reverb.

Formed in New York City in 1970, the Fatback Band was the concept of Bill Curtis, an experienced session drummer, inspired to merge the "fatback" jazz beat of New Orleans into a funk band. In addition to Curtis, the band's initial line-up included guitarist Johnny King, bassist Johnny Flippin, trumpet player George Williams, saxophonist Earl Shelton, flautist George Adams, and keyboardist Gerry Thomas.[2] The band specialized in playing "street funk". The group also later included conga player Wayne Woolford, vocalists Jayne and Gerry, Deborah Cooper saxophonist Fred Demerey, guitarist Louis Wright and George Victory.[3] 041b061a72

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