Once I got my new microphone, the Bluebird by Blu, I knew it was time to get serious about my craft. The weight of my past failures only served to fuel my determination. I’d spend countless days getting hammered in front of my computer, diving deep into Logic Pro X, and embracing the creative process with an enthusiasm I hadn’t felt in years. The first track I decided to work on was “6 Ride,” a song I’d released previously on my 2016 album “Free The Goat.” The original version had a rock vibe, but I felt it was time to give it new life. I opened the old session file on my big screen iMac computer and stripped the track down to its bare bones. With a fresh canvas before me, I began to rebuild the song piece by piece, infusing it with an uptempo energy that would make it feel brand new. As I worked on the track, I found myself consumed by the process. The alcohol flowed through my veins, making me feel invincible as I navigated the vast landscape of Logic Pro X. The software offered countless tools and features that I could use to manipulate and enhance the sound of “6 Ride.” My eyes darted across the screen, studying the waveform as I added layers of instrumentation and vocals. I spent hours meticulously adjusting the equalization, making sure that each element of the mix had its own space to breathe. I played with compression settings, ensuring that the dynamics of the track were consistent and punchy. My fingers danced across the keyboard as I tweaked the panning, placing each instrument in its own place within the stereo field. In my intoxicated state, I believed that I was crafting a masterpiece. Late into the night, I’d sit back in my chair, headphones blaring with the sound of my creation. The alcohol clouded my judgment, making me feel as though every decision I made was flawless. In reality, my intoxicated focus led me to overlook critical errors in the mix. But in those moments, I didn’t care. I was drunk off the thrill of creation, and my newfound confidence made me feel as though I was unstoppable.

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