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Rayón #245 Norte. Torreón, Coahuila, México.
8717166882
Rayón #245 Norte. Torreón, Coahuila, México.
8717166882

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This is the first of our actual walk-around tour of the Carnival Splendor. This is a Fairly Raw look at Deck 5. Clubs, Pubs, Piano Bar, Casino. Steve J Whiteley, Comedian. Bogan Prince of Australia. www.carnival.com.au www.dirtroad4x4.com.au

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These spawns are really good. I think a vault final spawn is the best final spawn you can get, getting it earlier than the vault splits the final spawn and makes it impossible to kill them all quickly. Its also quite common to get final and then have the last 1 or 2 guys be somewhere other than at the door to the casino floor. I put 10 hours into this map to try to improve the time and only got the spawns I needed for a sub 1:30 3 or 4 times. The execution here is good, but not great. Probably could have saved a second if I had reloaded before hitting the last staircase. The backup grenade was very well executed though

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First Beatles song in ages! Happy to be getting back into making them! I had been struggling to think of a good song to return with, and in my opinion, this was a good start ;) The song was recorded almost completely on the 3rd January 1970, before Phill Spector added the string and brass section in April. I decided to omit Spector's string and brass arrangement, as personally I prefer the sound of the Naked version! Although, one exception I made to the "Omitting Spector's work" rule was the lengthening of the band recording. When the song was recorded in January 1970, the runtime of the song was a mere 1:35. Spector was able to almost double the length of the track by simply taking the first Chorus of the recording, and adding it between the final verse and ending. For my version, I recorded to a shortened version (1:30ish) which I created myself by removing the 2nd chorus entirely and simply pasting in the ending section. I then mixed the song to the shortened version, before copy and pasting my version of the chorus behind the 2nd verse, and syncing it with the Naked version of the recording! (Its complicated to explain, but very simple in action!) I used as accurate of gear as I could (I even closed up the f-holes on my Casino with tape just for this! - kind of...). For George's Gibson J-200, I had to resort to using my only good acoustic, which I also used for Paul's accompanying guitar part! For George's Casino guitar part, I decided to record directly into GarageBand. (I did this because it isn't verified whether George recorded this with his Twin Deluxe Reverb, or directly into the Abbey Road soundboard, so I decided to compromise by using a variation of the two - My guitar directly into GarageBand, with a similar digital amp to a Fender Deluxe Reverb amp.) I didn't use much gain -on the amp- or overdrive pedals, I instead decided to overdrive the guitar's signal using my Focusrite Scarlett 2i2, with the gain setting FAR overloaded (Not as much, however, as Revolution!!) Both of the Electric guitars were panned hard to left and right For George and Paul's acoustic guitars, I mic'd with my Shure SM57 dynamic microphone, with added high end and a small amount of low! For George's Rhythm part, I mic'd the guitar from around 6 inches away from the end of the fretboard. George's Rhythm was panned to the centre, with an occasional volume change in mixing, to prevent clipping. For Paul and George's accompanying guitars, I mic'd them closer to the guitar, around 2-3 inches from the end of the fretboard, in order to get a clearer and fuller sound. Both guitars were panned hard to left and right. I really hope that this was useful! If you enjoyed please consider subscribing so more people can enjoy the work I put into these recreations! Thank you for watching and reading! - Luca :)

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