A Beautiful Mind by Sylvia Nasar

By Sylvia Nasar

 “HOW may YOU, A MATHEMATICIAN, think THAT EXTRATERRESTRIALS have been SENDING YOU MESSAGES?” the customer from Harvard requested the West Virginian with the movie-star seems and Olympian demeanour. “Because the information I had approximately supernatural beings got here to me a similar manner my mathematical rules did,” got here the reply. “So I took them seriously.”

Thus starts off the genuine tale of John Nash, the mathematical genius who used to be a legend by way of age thirty whilst he slipped into insanity, and who—thanks to the selflessness of an attractive lady and the loyalty of the math community—emerged after many years of ghostlike life to win a Nobel Prize for triggering the sport conception revolution. the muse for an Academy Award–winning motion picture, Sylvia Nasar’s now-classic biography is a drama concerning the secret of the human brain, overcome adversity, and the therapeutic energy of affection.

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11. I used a higher Q on the mid tom track to boost a narrower range of frequencies so that I didn’t make it too boomy. To dial in the tom EQs, I looped the playback over the pre-chorus and tried different frequency, boost, and Q settings until I was happy with where they were sitting in the mix. 11 The EQ on the mid tom (left) and low tom (right). I’ve found that the hi-hat mic often captures much more than is needed for the mix. You have hi-hat in the overhead mic as well as bleed on the snare and tom mics.

If a particular track doesn’t appear in the list, then I haven’t put any plug-ins on it. Drums In my experience I’ve found that at least half the battle in getting good drum sounds is using a good drummer who’s playing a good kit. In this case, I definitely got both. The other big factor is recording in a nice-sounding room. Beyond that, there are numerous ways to record drums. I’ve recorded them with as few as three microphones and as many 15. Because I recorded these in a great-sounding room, I went ahead and put up some room mics in addition to the overheads and the normal close kit piece mics.

Unfortunately, that was not the case for the bass track on this song. Because bass is not my primary instrument, my playing technique leaves a lot to be desired. The bass itself is a swap-meet special that may have been an Ibanez once upon a time. I initially tried using RenAxx on the bass, but it didn’t seem to help much. 16) because it gave me more control over its behavior. I set it up with a 2:1 compression ratio and a low threshold so that most of the time it’s acting to even out the dynamics of the performance.

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