- Side-chain compression as a compositional tool (5:22)
- Extreme modulation processing to create grit & distortion (39:21)
- Using a WHOLE HEAP of vocal compression is FUN, especially when you just.don’t.care.! (48:30)
- Transient designer on vocals! (49:40)
- Side-chaining reverb throws
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Haaaa! OMG…that has got to be the most ugly ass custom Logic skin I’ve ever seen! 
Here are some interesting things I noted: In addition to the notes Andrew made
21.47 - Compressor on each track instead of a bus - for batch export
24.16 - 3 kicks blended. One with crunchy, chunky, mid range grit. One with a lot of top…has air and snappiness. Sine wave taking care of the sub kick. Very mild processing. Using balance of the 3 kicks to shape the sound instead of EQ and compression.
36.40 - used Logics environment to custom map the Arturia controller to the ESX24. Re-Routing the midi matrix of PC, CC, and note command across specific sections of multiple plugins is unique to Logic (environment) and Ableton (max live). Can not be done in PT, Cubase, or Reaper.
39.45 - Haha!!! A mondomod running in parallel? On a vocal? Tempo synced to 7000 bpm??? Wow. Too cool
42.15
I noted some of the same observations of Andrew mentioned above on the vocal chain. I’ve started really copying this guys vocal technique. Here’s the nuts and bolts of the processing technique.
DeS
v
Anchor compressor (what I call the first compressor that smashes it like hell and makes sure if doesn’t move)
v
tone shaping compressor
v
Transient controller
v
Saturation
Ive notice this is similar to what Greg Wells does, very different than what Pensado and CLA do, and directly opposite of what Tony Maserati seems to favor.
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Actually, I think that might be the Increase Contrast setting switched on in his settings - it’s a way to get interface a little more prominent if your eyesight isn’t great.