00:00:23 I think I can lay down a pass
of automation here.
00:00:27 I've been sort of rehearsing all the moves,
I've been kind of moving around
my pencil marks a little bit.
00:00:34 In this first pass I won't do
anything at all.
00:00:39 Excepet for do the 'mirror'.
00:00:41 And then probably
the fade at the end,
there's a little bit of a fade at the end.
00:00:47 The SSL automation
I've probably gone over this
before, the SSL automation works
in a very tape
centric sort of thought.
00:00:57 So, the concept of
playing from a point
and then a second later,
playing from another point.
00:01:03 The physics and math,
you didn't have to deal with that.
00:01:07 You kinda have to lay down,
you have to play through it,
lay down a bed
of automation
for the computer really understand
where you're going at all times.
00:01:19 Think of it like the biggest
spreadsheet you've ever seen.
00:01:22 And on this spreadsheet
there's 48 rows.
00:01:28 and then there's a column
every 30th of a second,
there's a column.
00:01:35 Alright?
So, you've got all
these rows and columns
so every 30th of a second
it moves to the next column.
00:01:43 Next column, next column.
00:01:44 So as it goes down
it puts a number in.
00:01:46 So here, at 25 it puts in
a number.
00:01:50 I don't know what it is,
I can tell you what it is,
I can look it up,
but I don't know what it is.
00:01:54 It puts a number in.
00:01:55 So as time-code goes along
it just fills these whole
huge spreadsheet of numbers.
00:02:00 And one of the other things it does is
whenever you hit the mute
it takes those numbers away.
00:02:06 It's pretty simple, it puts them at zero,
it's like turning the fader off.
00:02:10 When you play through the whole thing,
it fills the whole spreadsheet up,
we save it.
00:02:15 And when we save it
that's our beginning,
that's our static pass.
00:02:20 This desk pretty much requires you
to do a static pass of automation.
00:02:24 So, I'm gonna do that right now,
I'm not gonna say all of these
stuff is at the right place
where it's gonna be,
but it's the right idea.
00:02:34 And then I'm gonna store that.
00:02:38 While it's playing
I'm gonna get a drink
and I'm just gonna sit here
and wait and hit the buttons on and off
every time there's a Chorus.
00:02:48 So, we're gonna do that right now.
00:02:52 So, I go over here to my
little beautiful keyboard here
and I play the track
from that SSL start marker.
00:03:03 It's 145, 145 29 13.
00:03:06 And I say 'Set up Mix'.
00:03:08 I hit 'Execute'.
00:03:10 It comes over here and says:
'You're gonna adjust the status'.
00:03:13 Which is fine,
I've already done it.
00:03:15 It's all good.
00:03:16 And then is where we get the
VCA bar graph.
00:03:20 Alright.
00:04:07 Done, like that.
00:04:10 I'm gonna listen right here at the end.
00:04:32 Yeah.
00:04:33 Alright, cool.
So now I hit 'End'
And I name it.
00:04:39 'Static'.
00:04:40 It stores
on a floppy disk,
back there.
00:04:46 Now what I'm gonna do is
listen to the track,
stick my head in a little bit of automation
and see if I can move some things
or make this mix sound better.
00:06:48 Cool, I'm gonna get this right,
I feel like...
00:06:53 I feel like they poke out.
00:07:14 OK, cool.
00:07:15 Now I'm gonna use,
I know you've seen
this probably here,
in this camera up here,
but I'm gonna use this,
I'm gonna go after the solo.
00:07:24 I'm gonna go to the end here.
00:07:28 Trigger playback.
00:07:32 On this third chorus.
00:07:34 I have this
Faderport here
because it has big buttons.
00:07:38 I have this here because it has
the 'Memory locations',
I really don't use it much.
00:07:42 Sometimes I do use the
transport.
00:07:44 I really don't ever
use the tracks mode
and I really don't ever use this fader.
00:07:50 Unless I have
a situation where
I just need to ride
a little bit of automation
inside a group
that comes up on my desk
like, you know.
00:08:01 I mean, at one point there was
six of these, I bounce them down to 2.
00:08:05 But if there was
a background vocal or
something,
an ad lib that I needed
to ride in this group
I'd probably do it over here.
00:08:13 So,
I'm gonna fast forward it.
00:08:15 I'm just getting the
vocals here at the Chorus.
00:08:17 I'm using the Faderport
because it's got these big buttons
and it's pretty awesome.
00:08:23 I'm gonna ignore the
solo at the moment,
we're gonna come back to it.
00:08:58 Right at the end here,
I kind of want to make that last 'way'
sort of disappear into the reverb.
00:09:33 I want it to sort of feel
like it falls off the cliff.
00:10:01 So, I'm just kind of
experimenting here,
I'm actually just gonna punch this,
the Moogs,
up a little bit on the last 'way'.
00:10:32 I want that last note,
the last 'way', to be more implied
than actually
saying it quite so hard.
00:10:41 Cool. You dig that Jeff?
Is that cool?
OK, cool.
00:10:45 Alright.
00:10:46 Cool.
00:10:47 So, let me listen to the first chorus,
because I think I...
00:11:39 What's great is that,
because of the delay,
that 'way' there at the end,
the 'wayyy',
it cuts off,
it goes 'way'... 'aayy'.
00:11:48 It kind of just echos up in the space
pretty great.
00:11:52 And so it feels like I hear it
even though it's not really there.
00:11:56 That's kind of cool.
00:12:00 Now I'm gonna do a little bit of
individual,
in the vocal group,
in this choruses.
00:12:35 Jake's vocal there, a little bit.
00:13:09 You feel the vocoder enough there?
Yeah, I think it's great.
00:13:13 A couple little things here,
when it goes to the solo.
00:13:15 There's a guitar that goes...
00:13:18 Alright, cool.
I wanna kind of
punch that up a little bit.
00:13:21 Then it goes in the solo,
the solo is awesome,
we're gonna do some
rides in the solo.
00:13:26 But then the main guitars
kind of come up.
00:13:29 I have done this main guitar rides
in the original pass,
I'm gonna do them again where I'm
actually moving them a little bit.
00:13:36 So, we're gonna do that right now.
00:13:42 One of the cool things about this
and one of the shitty things
is that I don't really know
where these faders are.
00:13:48 They are virtual faders.
00:13:50 So, I have to hit a button,
the mix button, which totally makes sense
and it goes into a mode
called 'level-match'
and I hit the fader
and it tells me if the fader
is too low or too high.
00:14:01 It's actually telling me it's
right about perfect right now.
00:14:05 Let's push it up a little here.
Oh, not to loud, there you go, right there.
00:14:08 OK, cool.
00:14:09 So now, this is where the
fader is at this point
which is exactly where I want.
00:14:34 These guitars here.
00:15:28 OK, cool.
00:15:56 One of the great things about
this automation system,
it has two modes,
there's absolute and trim,
I'm not gonna go into them
right now but absolute means,
wherever the fader is,
that's absolutely what the levels gonna be.
00:16:05 And sometimes you can
just do really cool stuff
because you have to punch in to
the automation and punch out.
00:16:10 I just turn the fader up on the solo like,
3 dB,
and then I'm just playing back
these little feedback things
and kind of
hitting the automation in
to kind of make this little bit
level jumps that a little awkward.
00:16:58 Now,
yesterday,
there was a moment
where
I thought at the very end of this track
that solo guitar could
suddenly a Leslie could come on.
00:17:11 So let's see if we can do that.
00:17:14 Oh, look!
Here's a rotary speaker plug-in.
00:17:17 I've got it turned on.
00:17:19 But I don't have it
automated.
00:17:23 Let me
turn it on.
00:17:27 And then build the automation.
00:17:30 OK, cool.
I'm just gonna solo this solo.
00:17:34 And turn the rotary speaker
and what I'm gonna do is
turn the mix up
so, right at the end of this solo,
if you remember from earlier kids,
we cut a couple pieces
of the solo together.
00:17:46 So right here at the end,
we did a big delay throw
at the end of it. And that's
exactly where I'm gonna throw this
rotary right here.
00:18:10 This is either gonna be
the coolest thing ever
or the dumbest idea in history.
00:18:28 It's pretty cool.
00:18:30 Alright.
00:18:31 I recently worked with
Trey Anastasio from Phish
and he had an interesting thing
and that was
one of his early music teachers
told him that,
when he was writing compositions that,
the most important part
of the composition was knowing
when to use the other
end of the pencil.
00:18:53 He is really pretty brilliant
and I think that's a little bit of it here
in engineering too, you know.
00:19:00 Sometimes we need to know
when to erase things,
when to take things out.
00:19:06 And so, right now,
I'm just cleaning up a
little of the tracks.
00:19:10 There's a part in me that has
this sort of old-school, analog,
you know, maybe I shouldn't
clean up these tracks but,
at the same time,
I really want the lead vocal
to be really clear.
00:19:24 A couple a little breaths and things that
I think maybe just
might be better if we clean up.
00:19:29 I'm gonna use the other
end of the pencil here
on some of these.
00:19:37 The other
great thing that
I heard and I'll repeat is that
just because we can it
doesn't mean we should.
00:19:48 Alright, so.
00:19:51 I'm gonna check this.
00:20:10 We've come to the point of the show
where we're ready to print the mix.
00:20:14 I've gone through it
quite a few times.
00:20:16 I'm sure there's
something I'm missing
but that's what recalls are for.
00:20:20 And for the sake of brevity
and clarity
I'll explain everything
that's about to happen.
00:20:27 I wanna print this mix.
00:20:29 My normal prints
are
a master,
a master tape,
I'll explain that in a minute,
an instrumental,
a vocal down,
a vocal up, I mean,
seven tenths, both vocals,
a vocal down,
seven tenths.
00:20:47 And then we do a vocal
stem of the lead vocal
and a vocal stem of
the background vocals.
00:20:53 So,
that's our normal print system.
00:20:57 But before we print
there's a couple things I have to do.
00:21:00 One, I have to save this automation file,
that's in memory.
00:21:05 There is no backup to this.
00:21:07 There's no safety net,
if the power was to go off,
everything I just
did would just go away.
00:21:13 You know,
it's exciting.
00:21:15 So, let's save it, alright?
I hit 'End'
and I name it: 'Mix one'.
00:21:24 Today is
18
11 10.
00:21:29 That's our
weird backwards annotation.
00:21:31 I hit save,
and it saves to a floppy
disk, it's so exciting.
00:21:37 And then I'm gonna save the desk.
00:21:39 So, 'Name', 'Set up'
'Mix 1',
181110.
00:21:47 Store.
00:21:48 Now, you'll see some lights
go across the desk here.
00:21:53 Boom, there it just went.
00:21:55 And it tells me:
'Please, store it'.
00:22:01 And we have found
and had
'Begbroke'.
00:22:06 Now,
there's a little bit of back story here.
00:22:10 This photo that comes up, this 4 bit,
crappy graphic,
there's two of them
that come up when you save the desk.
00:22:19 One of them is 'Night in the wood',
we saw that earlier,
the other one is called 'Day at the beach'.
00:22:25 And then,
randomly,
and rarely,
we get the legendary
often talked about,
'Begbroke'.
00:22:33 Begbroke was the county
in
Oxford, I think,
that area,
where SSL's factory was.
00:22:43 This is a
cheesy version of the factory.
00:22:47 With trees and the
factory in the background.
00:22:49 Now,
why is this you don't come
up with it very often?
If you've ever played roulette,
and this actually works a little bit,
you have a red and a black.
00:22:58 Alright? It's a 50-50.
00:23:00 Except for
smart people
who ran numbers and ran casinos
figured out that if
you added a green zero
and a double zero
that actually tilted the
odds towards the house.
00:23:12 Begbroke is the green zero and double zero.
00:23:15 If you and I were to bet
on which picture would come up
every time I store this
every now and then the house would win.
00:23:24 And that's what 'Bigbroke' is.
So, it's kind of a rarity.
00:23:27 It's pretty awesome
that we've got it on this
and you guys actually saw that happen.
00:23:32 I'm acting like it's a big deal
but it's not a big deal to anybody
but it's just kind of
cool that it comes up.
00:23:36 Because
it comes up quite rare.
00:23:39 We've gone months
without getting it.
00:23:41 And then we get
it twice in a day,
it makes no sense.
00:23:45 So, there you go, Begbroke.
00:23:49 Now, I stored it.
00:23:50 So, what I have to do is, I have to now,
load the automation
time again, 145 28.
00:23:57 Play mix from here.
00:24:01 And then what I'm gonna do here,
if you see
in Pro Tools,
it's that I'm gonna make
a... selection.
00:24:10 Now notice that rough
mix that's there.
00:24:11 That rough mix is there for a reason,
I'm gonna leave that rough mix there.
00:24:14 Any revisions to this mix,
these two tracks here,
will be 'mix 1',
this will be the 'rough',
and there'll be a 'mix 2'.
00:24:22 So that I can version back
through all of these at any time.
00:24:26 And because I've
actually had people say:
"Man, we loved mix 2
but you know that thing
we wanted you to do in the Bridge?
That sucked.
00:24:33 Can you put that
in from Verse 1?"
And boom, we can do it,
and we can do it on all playlists
at once and it's super easy.
00:24:40 Alright, cool.
I'm gonna make a selection here,
I'm gonna call this 'Mix',
I am going to make a selection,
and I'm gonna set the zoom settings.
00:24:48 Why would I wanna do that?
Every time I open this
to print or whatever
it will zoom to this setting
right here where I can see everything.
00:24:57 There's a few things to see here,
there's a track called 'THE HEATER'.
00:24:59 This track called 'THE HEATER',
it sees
my 2192 right here,
that's a UA, Universal Audio 2192.
00:25:08 And that goes out to a bus called
'THE HEATER'.
00:25:10 Now, what 'THE HEATER' is?
'THE HEATER' is an L2
with these settings:
-7,
-0.1.
00:25:18 This is nothing more
than faux mastering.
00:25:21 A little bit of L2 just to raise the level
so that when I send it to you
and you put it in your car stereo
it doesn't suck
and be 7 dB too quiet.
00:25:33 I don't get too deep with this.
00:25:35 I don't try to
level my masters,
I don't try to do anything like that
because I would much rather
allow a master engineer
to do that for me.
00:25:45 You know, sometimes that bites
me in the butt, but it's OK.
00:25:48 People should be smarter.
00:25:50 So that's what that is.
00:25:52 And right next to that track,
this track here,
let me go back here.
00:25:59 There's two print tracks,
one of them is,
'MIX 1 HEATED'.
00:26:03 That's the 'HEATER'.
00:26:05 And the other one
is the not 'HEATED'.
00:26:07 Because we're here at Mix 1
I will always add this.
00:26:11 This is the master.
00:26:13 OK?
So we're gonna add that in
to this track.
00:26:18 I'm gonna put these tracks on line.
00:26:21 Here.
00:26:22 You're gonna see me switch this button.
00:26:26 When I switch this button
that is the playback
of
the printed track
back through my converters.
00:26:34 I'm gonna switch it a
couple times so you can hear
the output of the desk
versus the input
of the print bus.
00:26:42 Alright?
No criticism because
I don't care.
00:29:48 Alright, cool. So that's gonna stop.
00:29:50 Now,
what I'm gonna do is,
I'll change the playlist,
I'm gonna make a new playlist.
00:29:57 I'm making a playlist
and then we're gonna
put here at this track,
we're just out here on the end.
00:30:04 I'm gonna add the word tape.
00:30:07 OK?
So, how does this work, exactly?
Well,
the SSL has buffered outputs.
00:30:15 And those buffered
outputs actually go to 6
2-track machines.
00:30:20 Except that I don't have six
2-track machines.
00:30:23 I have three.
00:30:25 One of them I'm not using,
it's back here,
you're gonna see it in a minute.
00:30:29 But one of them I am using
and the other is the 2192.
00:30:33 So, I'm going to come
out of my console,
it just buffers out,
it's gonna go straight to my
ATR 102,
it's gonna come out of the ATR 102
and it's gonna come back
in to the 2192 input.
00:30:45 I'm gonna set that up right now.
00:30:47 It's a simple patch at the patchbay
that we have semi pre-patched.
00:30:53 And I'm just gonna patch it in.
00:30:55 And then I'm gonna go over here
to the tape machine.
00:30:57 And I'm going to
put it in record.
00:31:03 So, the first thing I wanna do here is,
I'm just kind of clean the head.
00:31:08 I'll give the head a little bath here.
00:31:16 It's a little tight over here.
00:31:20 I'd be lying if I didn't say that
normally this is Mike's job.
00:31:25 But, I gave him the afternoon off.
00:31:28 So...
00:31:30 He's coming to the show, Vance.
00:31:33 I know, we gave him the afternoon off
but he has some stuff to do.
00:31:36 Alright.
We cleaned the head,
the head looks actually in
pretty good shape.
00:31:40 A small conversation about tape.
00:31:44 There's not a lot of really great tape.
00:31:46 ATR is pretty good tape.
00:31:49 Mike Spitz was a close friend,
I love him to death.
00:31:53 His passing was really tragic
for the audio industry.
00:31:57 Because with him passing a lot of
great Ampex technology passed with him.
00:32:02 But they're still making tape
and they're still fixing machines
and Betty is moving on
and I applaud her.
00:32:09 That being said,
I was never a big fan of the ATR tape.
00:32:13 It's kind of one
those tough ones,
I really love Mike but
I didn't really love his tape.
00:32:17 So, what I use for tape is
I have a bunch of 3M 250.
00:32:23 You see them in the boxes up here.
00:32:25 And that's what this is.
00:32:26 This tape is from 1984,
somewhere between mid, early 80s
and 89.
00:32:33 I buy new old stock tape
which is tape that's sealed in the bag.
00:32:37 It's sealed in the bag so,
it can't get moisture in it
and that's the thing that kills tape.
00:32:43 So,
that's what's going on here.
00:32:45 I do reuse this tape
because I don't have very much of it.
00:32:49 It's a non-renewable thing.
00:32:55 But I don't use it to death.
00:32:58 So, we're gonna see,
I did a record last week,
I used this and it was all fine.
00:33:03 It's being here since.
00:33:05 This could fail spectacularly
or it could be, you know,
tape and it will sound great.
00:33:10 So what I have to do here is come
to the patchbay and make a patch.
00:33:14 This is not too nerdy is
just I'm patching out of
the tape machine's output
into
2192.
00:33:23 I'm gonna punch this into record
and when I do it,
whatever was on here before
you're gonna hear a little bit of it.
00:33:29 Just like that.
00:33:31 I'm gonna come back over here.
00:33:33 And I'm gonna hit record.
00:33:54 Notice they are not in time.
00:33:58 The reason why they're not
in time is because of the tape head.
00:34:03 This is the tape.
00:36:34 - Perfect.
- Yeah, cool.
00:36:36 I'm not gonna get too deep
into the sound of that tape
versus a non-tape.
00:36:40 You know, everybody has their things.
We're gonna print it
and we're gonna keep it
and then we're gonna move on.
00:36:45 Because later we'll listen to it and go...
00:36:49 Yeah, it's great or not.
00:36:50 So now I'm gonna stop
that and then patch it.
00:36:53 So, that was the master.
00:36:55 That was the exciting part.
00:36:57 And now we have
the inevitable and often
talked about versions.
00:37:02 So,
we take away the word
tape out of our session.
00:37:05 This is all very important.
00:37:07 Here, and we put in,
this is an instrumental.
00:37:13 I kind of got schooled once
by Joe Chiccarrelli about this.
00:37:16 He schooled me a little bit on
my titling of tracks.
00:37:20 And to be honest with you,
he was 100% right.
00:37:23 So now we label everything very clearly.
00:37:27 Every mix is labeled clearly.
00:37:29 So,
that was the tape mix.
00:37:32 It was the master, it's the master mix
tape.
00:37:35 The one before was just the master.
00:37:38 It's fine, it's 'Mix 1'.
00:37:39 It's the today's date
so everybody knows the date.
00:37:42 The next one is
a 'Mix 1' instrumental.
00:37:46 Alright.
00:37:47 So what we're gonna do here,
is we've got some trim plug-ins,
here in the old
Professional Tools.
00:37:54 And we're gonna basically
put them on this
vocals that are actual vocals.
00:38:01 Now, I want the Vocoder
to be the Vocoder, I don't want it to be
a vocal sound.
00:38:08 I want it to be a keyboard sound.
00:38:10 So, there is gonna be
a little bit of
the vocal feel in that.
00:38:16 But that's fine.
00:38:17 So, what we're gonna do
is make a group here
of this trim plug-ins.
00:38:23 Oh, look!
Someone has actually made that.
00:38:26 And we're gonna
go down here
and I believe it is going to be
the...
00:38:33 this one right here.
00:38:37 Jake
BGV, that one right there.
00:38:41 And I think it's going to be
'BIG DL'?
'BIG DL'.
00:38:49 There you go.
00:38:50 OK, so,
what's gonna happen here is
we're gonna set
these attributes to row E.
00:38:56 Fine, and then
we're going to
look at them,
I'm gonna spread them out a little bit
on here,
it's a little crowded because of the
screen resolution but not too bad.
00:39:07 I'm gonna put them all in
some presets that I've made for this.
00:39:12 All instrumental,
notice everything
muted.
00:39:15 So this are all the vocals muted.
00:39:18 And that's what this is gonna be,
the instrumental mix.
00:40:22 OK, the 'Nah, nah nahs',
I'm not gonna deal with that as a vocal,
I'm gonna deal with that as a sound.
00:40:28 That's a sound, it's not...
00:40:30 I mean, it is a vocal but
it's not really a vocal,
it's not like something
I wanna turn up or down.
00:42:17 I think that
we're pretty much done here.
00:42:20 There's a couple more
things to print,
there's a vocal up version.
00:42:24 I'm gonna do all vocals up, 7 tenths.
00:42:27 I'll do it with this trim plug-ins
and there's going to be a vocal down,
I'll do the same thing,
and there will be a lead vocal stem
and background vocal
stems, all of those stems
and pieces are usually
for sync licensing.
00:42:42 In case, you know,
an ad agency wants to use it
for a Ford F150
with my assistant
Mike driving it.
00:42:51 And...
00:42:52 they wanna use the chorus
but then they wanna use the verse
without the vocals
and blah blah blah, whatever.
00:42:59 So, we can put those all
kinds of different versions together
with the stems.
00:43:05 But that's pretty much it,
I hope you guys have enjoyed it.
00:43:08 Jeff, I've enjoyed.
You have enjoyed it?
You took Jake and I whacky little
two part song idea
and blew it in outer space.
00:43:16 You guys played four
whole chords in this song.
00:43:18 I know, it's a big deal for us.
00:43:21 Yeah, I mean, you guys moved out
of the two chords zone.
00:43:24 That's right.
00:43:24 It's crazy.
00:43:25 Yeah.
00:43:26 So,
thank you puremixers, for watching.
00:43:30 Thanks to Fab and his fabulous
crew for putting up with us here.
00:43:33 And it's all great to
have them here in town
and, you know, I'm looking
forward to do this more often.
00:43:40 You guys be careful, stay out of trouble
and, you know, keep mixing.
Alright. See you.
Once logged in, you will be able to read all the transcripts jump around in the video.
Vance studied eletrical engineering in Misouri and started his carreer in live sound as a front-of-house engineer. In 2002, he moved to Nashville in order to become studio manager and chief engineer at the legendary Black Bird studios in Nashville. In 2006, he co-founded Sputnik studios along with Grammy winning engineer Mitch Dane, still in Nashville.
Vance Powell has won 6 Grammy awards working with rock artists such as The Raconteurs, Kings of Leon, Jack White, Pearl Jam, The White Stripes, The Dead Weather and more.
Powell's domain of expertise is definitely mixing and producing rock music. As shown in his pureMix videos, Vance likes to experiment and create new fuller and exciting sounds using all kinds of pedals, echos, analog outboards and plug-ins. Vance was used to recording to tape and definitely has an analog approach that makes him commit to fewer good sounding tracks rather than piling up takes in Pro Tools.
His goal is to make something new and warm that fits the band's vision with upfront snare drums and powerful guitars. Rocking.
I just wish this year could've been as awesome as these Puremix classes we had so far...
2nibroo
2020 Jun 08
Stupéfait du talent créatif artistique de Vance Powel que je découvre.
j'ai pris un plaisir immense à regarder le travail fourni par ce groupe de musiciens talentueux mis en lumière et en couleurs sonores par ce grand ingénieur qu'est Vance ..
Merci à L'équipe de PureMix beau travail j'ai encore beaucoup appris ..encore encore
de belles vidéo avec tous ces grands du monde de la musique ..impatient du prochain tuto
take care, love you
Denis
reddirt
2020 Jun 06
Thanks to all of you for freely showing warts and all - we could all aspire to that openness and generosity.
Vance, as always your drum sounds raised the track big time. I also particularly liked the quasi retro, almost 60's yet modern dimension of the chorus; also the little highlighted " feedbacky" guitar pieces are very cool amongst others.
If it was my band I'd be rapt with the finished product.
Cheers guys, Ross
Pearlpassionstudio
2020 Jun 06
Absolutley outstanding series. Congratulations with this winner song.
