{
  "creator_name": "KOAN Sound",
  "topic_category": "Sound design",
  "moments": [
    {
      "summary": "Layering snare transients by combining a high-frequency click from a Popcorn Snare with a mid-body from a pitched-down 808 rim shot, blending at -6dB relative offset.",
      "transcript_excerpt": "So what I'll do is take the Popcorn Snare — that's got this really sharp click at like 4k — and then I layer underneath it a rim shot pitched down maybe 3 semitones. You blend those together and suddenly you've got this snare that cuts through everything but still has weight.",
      "topic_tags": ["snare layering", "transient design", "sample stacking"],
      "topic_category": "Sound design",
      "start_time": 124.5,
      "end_time": 158.2
    },
    {
      "summary": "Using Serum's noise oscillator with the 'Analog_Crackle' wavetable at 12% mix to add organic texture to bass patches, followed by OTT at 30% depth for glue.",
      "transcript_excerpt": "One trick I always come back to is Serum's noise osc with Analog_Crackle. You don't want it loud — like 12 percent mix — just enough that the bass feels alive. Then slap OTT on there at maybe 30 percent depth and it glues the whole thing together without squashing it.",
      "topic_tags": ["bass design", "Serum", "OTT", "texture"],
      "topic_category": "Sound design",
      "start_time": 203.1,
      "end_time": 241.7
    },
    {
      "summary": "Resampling technique: bounce a bass patch to audio, chop the best 2 bars, then re-pitch in Simpler with warp off for tighter timing and consistent tone.",
      "transcript_excerpt": "I'll resample everything. Bounce it down, find the two bars that sound best, throw it in Simpler with warp completely off. Now you've got this tight, consistent thing where every hit is exactly the same energy. The pitch tracking is way more predictable too.",
      "topic_tags": ["resampling", "Ableton", "Simpler", "bass production"],
      "topic_category": "Sound design",
      "start_time": 312.0,
      "end_time": 349.8
    },
    {
      "summary": "Parallel compression chain for drums using Ableton's Drum Buss at 40% drive into a return track with Valhalla Room at 1.2s decay, mixed at -12dB.",
      "transcript_excerpt": "The parallel chain is dead simple — Drum Buss, crank the drive to about 40 percent, send that to a return with Valhalla Room. Keep the decay short, like 1.2 seconds. Mix it in at minus 12 and your drums just... breathe. They've got this room sound without getting washy.",
      "topic_tags": ["parallel compression", "drum processing", "Valhalla Room", "Drum Buss"],
      "topic_category": "Sound design",
      "start_time": 421.3,
      "end_time": 462.1
    },
    {
      "summary": "Frequency-specific sidechain using Trackspacer plugin instead of volume ducking, targeting only 100-300Hz so the bass ducks under the kick without losing high-end presence.",
      "transcript_excerpt": "Everyone does volume sidechain but honestly Trackspacer changed everything for me. You set it to only affect 100 to 300 Hz so when the kick hits, the bass ducks just in that low-mid range. The top end of the bass stays right there — you keep all the character and harmonics, you just clear the mud.",
      "topic_tags": ["sidechaining", "Trackspacer", "frequency ducking", "mixing"],
      "topic_category": "Sound design",
      "start_time": 498.7,
      "end_time": 534.2
    },
    {
      "summary": "Using Ableton's Utility plugin to check mono compatibility at every stage, specifically toggling mono on the sub bus to catch phase cancellation from layered bass patches.",
      "transcript_excerpt": "I'm almost paranoid about mono. I've got Utility on the sub bus and I'm flipping to mono constantly. If your layered bass sounds thin in mono you've got phase issues — doesn't matter how fat it sounds in stereo, it'll collapse on a club system.",
      "topic_tags": ["mono compatibility", "phase checking", "club mixing", "Utility"],
      "topic_category": "Sound design",
      "start_time": 567.0,
      "end_time": 598.4
    }
  ]
}
