It's different and it's what makes it special. it's not the same as just putting a clipper in the first insert slot. However because of complaints and a PR issue they brought it back. Image-line actually hid this in version 11 and totally removed it on version 12. it's the legacy Fx "AMP" knob now called "Boost". The dirty little secret and MG has touched on this once or twice. However clipping your drums in Ableton isn't the same as in FL. That's when they told him yo you gotta clip your drums. Yet he mixed his crap, he played the loudness wars he was ready but still couldn't compete. Not because he lacked talent or skill but he said his beats sounded so wimpy compared to what the kids before him played. He said he was embarrassed when he played his beats.
He was the only guy on Ableton the rest were all FL users. He goes and meets them at a local studio and everyone takes turns playing their beats. He made a video a few months back where he said he started collabing with other local producers. There is a youtuber I won't mention names but he's got a small but growing Ableton based tutorial channel. This is coming from a Guy who mixes all genres and pretty much killed Billboard charts this past year. He then said bass out of FL comes to him at a 12. He said on a scale of 1 to 10 bass he gets from other daws come to him at a 7 maybe 8 and he has to put in work to get it to a 10. Jaycen Joshua has said multiple times on Pensado's place and instagram that he has to do a lot more work mixing bass/808's that aren't done in FL. The sonics and needs that to compete in the market place. The producer Kosine was on Psendo's place recently and he said after being in the Atl working with 808 Mafia he's now using FL for the same reason that Cool stated. He did say they still run their FL tracks into the SSL console to polish it but all in all they need FL to compete in this current market place. Cool of the grammy winning production team Cool & Dre said on blap chat podcast he and Dre recently switched to FL because even with their million dollar studio they were struggling to keep up with the kids with FL and a laptop. If you listen to a lot of different producers/engineers from the bedrooms to million dollar studios to grammy awards one thing you hear is FL has those "Sonics" of today. Sonic Texture is a real thing and it exist in the digital realm at the daw level before you even use one additional plugin. People who say DAW "SOUND" doesn't matter are lying to themselves. Can't please everyone but you gotta start with yourself and build outwards from there. Then hopefully your passion you put into that track connects with people who hear it. What really matters is you as the creator are inspired and connect with what your creating. Some people may hear a FL beat and love it others hate it. So how something sounds good/bad is really up to each listener. One of my fave songs of all time.Music is emotion and we all connect to different sounds differently. I’m sure purists would detest it but I think it’s absolutely gorgeous. “When I discovered this was a cover, I was blown away because it’s such an obscure, mature choice. “A great track but I’d really recommend listening to the original by Urban Species as it’s so much better.” - (8.5) “Love Bradley's delivery on this song.” (8) “The UK getting lucky with this exclusive.” - (8)
“I'm sucker for S Club ballads and I always loved this and thought it was a nice end to the album (before the eventual re-release.)” (7.5) It's not that different to the Urban Species version but Jo's vocals make this version so much better.” - (6) “I do enjoy Brad's rap on this but the chorus is a vocally a bit weak - they could've had the others louder and more even in the mix to give it a boost. I could be wrong but it doesn't sound right.” - Something (4) Our penultimate Jon solo gone, leaving us with In Too Deep. This one also got a 'live' performance on CiTV (can you imagine getting this many album track performances from our faves these days?) It also got a spot on the Carnival tour setlist and featured in the 'Hollywood 7' episode 'Alone Again' when the band are supposedly recording their first single. Having said that, the album does have a distinct summery feel. But Stronger would have been much more inconic. The only reason I can think for titling the album after this was to keep the run of 'S' titles. Released on 26th November 2001, this featured as the title track to their third album. Written and produced by our queen Cathy Dennis and Yak Bondy (Billie Piper, Mel C & Emma Bunton), this one also features a writing credit for the band. Lowest scorers: (2), Brightside (3), In Japan. This one shouldn't be leaving yet though. Let's hope Jon doesn't frequent these parts of the internet
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