Drax Reborn: Update

We yet again managed to record our second song in the Neve studio. It took us about an hour to setup the studio and setting the drumset with the micing technique. This did show some level of efficiency working with time management. I can say the drum recording of the two songs is done. Our first song is King Drac’s Lullaby-Oh but now I can feel’ and the second song is Burn your cross.

We will be working on mixing the two songs by week 11 so we can have this project ready. I enjoyed the recording with my teammates despite the expectation I had for the drum was pretty high. I noticed that Egor did not really spent time practising his drum. I had to just put a little challenge on him by practicing the drum whilst he was taking a water break.

Now looking forward to working properly with a different discipline like Animation or Graphic design students.


Distortion is a processing of signal affecting amplitude, which overdrives a signal then clips it. This causes a sustain and adds both harmonic and dissonant overtones (Moylan, 2007)
In session 2 and 3, we studied the concept of distortion, what ist, how to create it, and why would you want to use it. Distortion and in this case artificial distortion, are a useful creative tool created by overdriving the signal and creating new harmonics affecting the sound of the signal.

Firstly a 450 hz sine wave signal was used as a controlled example to clearly identify each of the effects’ results on an audio signal, then the same plugin with the same manipulation of its parameters was applied to an audio recording of a vocal and a guitar, to gauge a practical application of that processing. A spectrum analyser was used for a visual understanding of the different plugins’ effects on the sine wave signal. Prior to any signal processing the sine wave shows to have no other harmonics besides its peak at 450 hz, as would be expected

The first plugin tested was the AIR Distortion plugin. This is a generic distortion plug in capable of various types and amounts of distortion across a wide dynamic range. Adjustable parameters include a drive encoder (controls the input amplitude), an output amplitude encoder, and a mix encoder controlling the dry/wet mix of the effect. There is also an option for the effect to be applied in stereo, with the left and right channels being processed separately. This plugin provides 3 modes for distortion selection, a preset of sorts; these include ‘hard’ (sharp, immediate distortion), ‘soft’ (softer more gradual distortion), and ‘warp’ (wapping the waveform on itself causing a quick change between harsh and soft, resulting in a more complex distortion

Another plugin that was tested is the precision maximizer by UAD, this plugin can be useful in increasing perceived loudness and overall clarity, along with adding warmth and increasing presence. Like the other plugins tested, the Precision maximizer has input and output amplitude control, along with a ‘mix’ parameter to mandate the amounts of affected and unaffected signal that is passed through the plugin.

Distortion can be applied on an instrument or vocal and it brings a whole new experiment. I hope to apply it on the next project we are working on.


Moylan, M. (2007.Understand and Crafting the Mix: The Art of Recording(Second Edition). Focal Press: Oxford.

Week 9

In this class session we pretty much had time to discuss with our lecturer on our group and individual progress helping us to progress on our LOs if we are getting them ticked off. As an individual I still need to have them ticked and some of the LOs that are required are group focused. Had time to talk to my group members on how we can efficiently have our LOs updated.

I also had the opportunity to discuss with one of my classmates who inspires me with his work and progress. I took time to discuss learning outcomes one by one getting his input so that I can improve myself. I valued his feedback as it gave me a jumpstart on progressing and a good challenge to manage on my time.

I also got the point of having to learn more on midi sequencing with my classmate and later on I took time at home to continue doing it and creating some music. I believe the time I spent with my colleague was very fruitful and will cherish all the input he gave me.

Drax Project Two: Update

On friday 25/7/19 we had our drum recording in the Neve studio for the second song “Oh I can feel”. We used about 7 microphones to mic the drums 5 dynamic mics and 2 condenser microphones as overheads.

Within the 4 hours booked we managed to set everything within an hour. What took most of the time was recording the drum as our drummer had a challenge on how to keep up the the timing. On our first project we had similar challenges and this was due to lack of spending time on practising the song. We hope to work on the drum recording once again this coming Monday so we can get a good recording out.

Hopefully we get some time to record drums for the second song “Burn your Cross” in the same session so that we can have time to record percussion.

Track Teardown: The Wind Cries Mary by Jimi Hendrix

As you can probably tell by now I am a huge fan of old music. When I say old I just mean before my time roughly 1960’s to late 1980’s. This come from a love of music from both my parents, my Dad’s love of Zeppelin and the Stones as well as my Mom’s 80’s side coming out with Bowie, Queen and Hall and Oates. My taste in music is a little strange for someone born in 94 but I wouldn’t change it for the world. My next tear down is going to be The Wind cries Mary by Jimi Hendrix which is actually an obsession I found myself, neither my parents were crazy Hendrix fans like I am now. I sadly only found this song around 2 years ago but since then it’s been one of my all time favourites and I want to learn as much as I can from the soothing, groove experience. I will be analysing the following aspects of the track,

The structure
The tempo and time signature
Instrumentation and Panning
The lyrics, meaning and history of the track

The Structure

So as per the norm to check out the structure of this track I put it into Pro Tools and cut it into its different sections. The song follows an ABABCABAB sequence as you can see above containing 2 verse and chorus’ before the bridge in the middle of the song. I find this helps the flow of the song greatly as it breaks up the song into two halves with the bridge being the groovy divide in the middle. As far as experimental song structure goes this is pretty simple but as I’ll explain in the history of this song it was written over a short period of time and was recorded in even less. The pre-chorus build ups are an amazing addition and definitely have their own unique part in the mix. The intro actually copies the same riff as the pre-chorus which helps to make it familiar so when it’s reintroduced before the chorus you can’t help but nod your head along to the guitar. All in all the structure of the song is very familiar in a comforting way nothing is too surprising and creates a feeling of easy listening.

Tempo and Time Signature:

The tempo for the track is 80 bpm following a moderately slow rock speed. Played in 4/4 time the track is easy to follow along with and very relaxed. Mitch Mitchell’s kit does a perfect job of keeping time and punctuating delicate drum patterns underneath the grooving guitar. For what the song is about love and remorse the tempo is a perfect fit slowly sauntering along allowing time for the feeling to come out of the expertly played guitar.

Instrumentation and Panning:

The track contains the perfect trio of electric guitar, bass and of course a drum kit. With of course Jimi Hendrix on guitar and vocals, Mitch Mitchell on drums and Noel Redding on bass guitar. The thing that interests me the most within this song is actually the panning. A typical three piece rock band would usually have at least the vocals and the kit roughly panned dead ahead keeping center stage of peoples attention but not in this track. Strangely enough taking center stage is Hendrix’s guitar, with the vocals panning hard left almost swooning in your ear. The kit as well is panned right making a very strange sensation of sitting in the middle of this band with Hendrix singing into your left ear and the drums on your right. It’s peculiar but it makes the song so much more personal some how making it feel like the song is meant only for the person listening. I think it’s because in songs with the vocals in the middle feel like they’re singing on a stage with the band around them but having the vocals in one side makes you apart of it or at least moves you to the middle of the stage being surrounded by the band. Another great use of panning in during the bridge when Hendrix’s vocals take a break and are replaced with his lead guitar again on the left side. This makes a lot of sense for Hendrix because he conveys his emotions not only through his vocals but also of course his guitar. So that bridge is basically, I’ve sang enough let my guitar tell you how I feel so it makes sense to have it replace his voice in terms of positioning. This use of unique panning has actually taught me a lot about the power of positioning instruments within music, I can’t be too afraid to break away from the norm.

The Lyrics and Meaning:

Finally the segment to tie it all together, I’ve talked about a lot of aspects of this song but none of it makes sense until you look at the lyrics and the feeling behind this song. Anyway the lyrics are as follows:

After all jacks are in their boxes And the clowns have all gone to bed You can hear happiness staggering on down the street Footprints dressed in red And the wind whispers Mary A broom is drearily sweeping Up the broken pieces of yesterday’s life Somewhere a queen is weeping Somewhere a king has no wife And the wind, it cries Mary The traffic lights they turn a blue tomorrow And shine their emptiness down on my bed The tiny island sags downstream ‘Cause the life that they lived is dead And the wind screams Mary Will the wind ever remember? The names it has blown in the past And with its crutch, its old age and its wisdom It whispers “no, this will be the last” And the wind cries Mary

So allegedly this song was written by Hendrix after a domestic row with his partner at the time Kathy ‘Mary’ Etchingham:

We’d had a row over food. Jimi didn’t like lumpy mashed potato. There were thrown plates and I ran off. When I came back the next day, he’d written that song about me. It’s incredibly flattering.

(Source Q magazine February 2013)

After a shouting match over something trivial ‘Mary’ stormed out and left Hendrix alone for a day or two. While he was alone he wrote this song for her as an apology. You can really get that just from the speed and key the song is written in but lyrics like “You can hear happiness staggering down the street” really emphasize the fact that two people have separated in some way. Also interesting is the song’s name sake “And the wind whispers/ cries/ screams Mary”. This escalation to me is Hendrix saying that the more time went on the more remorse was around him the wind being the voice in his head reminding him Mary was gone. All in all the the feeling of his song holds so much remorse and regret that it’s enchantingly beautiful, my favourite line being “The traffic lights they turn a blue tomorrow, And shine their emptiness down on my bed” leading me to believe that Hendrix saw the world as blue and nothing made him sadder than going to bed to find it empty


After analysing this song I’ve learned more than I thought I would. The lesson I’m taking away from this song mainly is the panning. Not being afraid to put the parts of your song in a unique place rather than following the way everyone else does it is something I’m now keen to right. Song structure is something I’m still trying to learn but it’s good to know that doing something as basic as verse and chorus x2 add a bridge and repeat is still a valid way of making a song. I sometimes get too caught up in making something far too repetitive or experimental. This song will always have a place in my top 5 and I hope you’ve learned something from this as well.


Field, R. (2010). The Poetry of Jimi Hendrix (II) – “The Wind Cries Mary”. [online] Richard Warren Field’s Blog. Available at: https://creativeeccentric.wordpress.com/2010/12/08/the-poetry-of-jimi-hendrix-ii-%E2%80%93-%E2%80%9Cthe-wind-cries-mary%E2%80%9D/ [Accessed 9 July. 2019].

songfacts.com. (2019). [online] Available at: https://www.songfacts.com/facts/jimi-hendrix/the-wind-cries-mary [Accessed 11 July. 2019].


Mix Session with Adrian & Guy Cooper

Session 2 and 3, the class was divided in two, one half was doing an activity in the studio, a mixing workshop where we were given a drum recording of 14 audio tracks and a bass audio track and mix on the desk. Adrian our lecturer did his mix first and then challenged us to do our mix as group so that we can compare contrast the two mixes. This activity, in my opinion, was really useful, interesting and important, we all mixed on the desk before but it is different doing it in small groups because people have different approaches that you might not have thought about and to me it’s a great experience learning from others and seeing it first hand.

The track we were given was an upbeat Indian rock song with a punchy kick without all the really low frequencies so, punchy but light living the most room for the snare hits that were really tight without any odd resonances and quite a low sounding for a snare. The feedback we got for the lecturer was that we got quite close to his mix track and agreed that our mix was better than his because his mix had a bleed or spill from the talk back mic. I found that to be hilarious. The second half of the class we had Guy cooper in the Neve studio showcasing some of the mix he did in England at Albion road studios. I really enjoyed how the mix were so solid and solid. He also showed us a couple of plugins he used for delays and reverb. This brought me to a whole new thinking level and put my perspective in a different dimension which hopefully would implement it in the next projects.

Drax Project Two

For project two, the plan is to work together in a group (with Roy, Dec, Tom and Tegan), and try to find another interdisciplinary project to work on like a Graphic design student.

We had our project pitch as a team for project 2 which is recording two songs that have two genres merged together similar to project one. My role in the team is to record some percussion which may include bongos, congas and shakers.

We hope to start recording by end of week 9 the two songs and hopefully tidying up the tracks and mixing by end of week 10. I am hoping that we can also collaborate with animation students. We had two Animation students who presented themselves in class and they are keen to work with group. Hopefully we are able to sell the idea to them and work together.

I am thought working with my young brother who is currently studying Bachelor of film on a short story project as my side project. I have started my pitch to him so that he can process the idea and we can brainstorm it. Hopefully by the end of the week we would have come up with a tangible idea.

Project 1 Post Mortem

CLO1 (Soft Skills/Transferable Skills – Project Management)

We spent week 1 finding a project and create a plan, we then created weekly objectives to always be on track with the project, chose 1 scratch track as final deliverables and finally reach out to Animation student to create the cover artwork and animation.

Issues that happened: personally, it was my first time playing two genres mixed together to make one track and so I lacked experience and I believe it slowed down my work, I also never used Ableton and Logic Pro X before so had to learn from class tutorials from scratch and the genre, electronic lo-fi songs that I am not familiar with. The positive outcomes of the project are for me the feeling of fulfilment, having delivered what is said I would, I gained more experience at teamwork in general, and communication, as well as planning a project on a long period of time. I Learned how to use Pro Tools efficiently and I am more experienced at composing.CLO2 (Hard Skills/ Creative Work)

 The creative process of our project was pretty on personal as we all had different skills which did compliment a lot. With a theatrical reference I sampled different kinds of sounds such as organs and pianos that do have the theatrical feel in them and then played along with the guitar that Roy had played to give me an idea of chords and style of the song.

Things that could be improved are the decision making, I think that in my creative process I take too much time choosing what I want to incorporate and it does slow down the whole process, this problem can be fixed by being more experienced at composing, knowing what works and what doesn’t. I also think that my lack of knowledge of that genre of music was an issue for, I am not familiar with it and so I do believe that my work would have been better if I did more research on the genre.

Finally, I think that I have a lot of improvement to make on mixing, I know that my final deliverables could have been better if I was more qualified, skilled and familiar with mixing. CLO4 (Reflection on the Planning – Usually done at final stages)We had our plan all together in week 1 to have live drums recorded by our drummer and unfortunately there was quite some technical issues he faced that weekend. Therefore we resort to recording drums in week 2 in the Neve studio. After this plan in mind, we created a weekly objective format plan to follow. So the pre-production plan was only finalised when all the planning was done so we wouldn’t have to change it afterwards.  Having the pre-production plan made knowing that this is how the whole six weeks are going to be, really helped us working efficiently without having to stress unnecessarily, and helped us know what was done and what was still to be done. The intense planning we made before starting the project was really helpful and we did stick to it really well by respecting the due date we made for ourselves.CLO6 (Interdisciplinary Activity)

For our Interdisciplinary Activity, we collaborated with Sarah an animation student from SAE, She did take a little bit of time to come up with a design choice of animation and I feel probably that the brief was not explained thoroughly to her. For the next project I think it’s best to explain the brief to whoever we collaborate with and allow them to have the freedom come up with options on the designs they come up with after we explain to them or even show some sketches.

CLO7 (Teamwork)
In regards to teamwork, I believe that as a group we have good teamwork and communication, creating messenger group and a google drive folder shared by all of us to share ideas and progress on the project. We had weekly meetings to talk about how the overall project is going and checking if everyone was alright or had any difficulties with anything, regarding the project or personal. This experience taught me many hard skills as well as soft skills, I learned my way around Ableton with Lynda but also with my practising more. However, I value the soft skills that I improve more, like group planning(agreeing on a set of objectives that are achievable for everyone taking in count the strengths and weaknesses of all the members)  and the responsibility we all had as individuals that ultimately affected the project, how to share ideas (through regular meeting in person, via messenger at any time and via google drive to implement new ideas on others work) and implement them efficiently, how to disagree with a team member productively(For example to keep the project on track we had to disagree once or twice about reshaping the project again to ensure the quality of the deliverables), how to keep the excitement of the project going and how to fairly distribute the workload.

Track teardown: In the Air Tonight

Artist Background

The song “In The Air Tonight” was written and recorded by Phil Collins. Collins started his career as drummer for the band Genesis. Following departure of the band lead singer Peter Gabriel and failure to replace him, Collins took the front man job and became Genesis new voice. In 1978, the band took a break after touring the USA and all the three remaining band members, Collins included, started working on solo projects (Fielder, 1979)

Collins wrote and started the recording in his home studio using a Brennel “mini 8” one inch – eight tracks reel-to-reel tape machine. Collins built the song out of a drumbeat he had configured on a very early days drum machine, a Roland CR-78. He then added synths and piano using a Sequential Circuits Prophet 5 and a Fender Rhodes.
Brennel mini 8 Advertisement
Collins came up with the lyrics as he was singing, basically improvising. A drum track was also recorder for the final choruses but with neither the iconic sound nor drum fill we all now know the song for (Flans, R., 2005).
The “Face Value” album was recorded and engineered by Hugh Padgham at the now closed Townhouse Studio in London (Baker, 2015). The original home studio eight-tracks recording was transferred to the studio Ampex MM1200 24 tracks 2 inches tape recorder. Collins sang and re-recorded the voice’s tracks, as the original demo did not carry sufficient quality. Bass lines and guitars were also added there after and in a L.A. studio. The Stone room at Townhouse Studio, London (but not Collins’ drum kit)


Instruments Used

Roland CR-78
Drum Machine – Roland CR-78
Guitars – high distortion and delays
Pads – Sequential Circuits Prophet 5
Prophet 5
Guitars – high distortion and delays
Electric Piano – Fender Rhodes

Released: 1981
Duration: 5:36 min
Tempo: 95 Bpm
Key Signature: 4/4
Key: D minor

The Song Structure

The Song structure is quite simple. A long Intro leads to first a Chorus, first Verse, a second Chorus, the second Verse and then the Chorus is repeated three times with fades out in the last one. The opening picture gives a better overview. The song starts with a slow single instrument, the drum machine, and gradually builds up in to a climax of drums, bass and keys. The overall volume of the mix is constantly increasing until the final choruses.

The Intro is 20 bars long. It starts with the drum machine, the Roland CR-78, on its own for the first two bars. The toms like sound are are pan to the left but the kick and snare are more centered. There is also a hi-hat sound. Then the first guitar “growl” comes in like a razor sound stretching over the next 6 bars.
Then the pads are introduced, maintaining a single chord during 4 bars and opening the space for some guitars leads notes sounding like whales songs. The pads are pan on the left with a 100 msec delay applied to the right channel. Keyboards start play the chorus distinctive chord pattern for another 8 bars.

This is not really a hook properly say but it is the first melodic component we hang on too. Still in the intro, the electric piano start playing single notes in the background making it sound like “Morse code” contributing to a broader sonic landscape. This sets the sound for Collins to start signing the Chorus for a first time.

The Chorus is 16 bars long. It basically carries on with the intensity, the sound and instruments introduce in the intro. More piano sound is brought up half way in and the same initial guitar “Growl” is re-introduced for the last 4 bars of this first chorus. Then Collins jumps right away in the first verse for more sound built up.
Verse 1, also 16 bars, is supported by more piano notes and a slow build up of guitar sounds, repeating the growling and introducing more whales like sound licks.
The build up carries on in the second chorus. More guitar licks are introduced and the overall mix volume is increased. More importantly, half way in this chorus, at bar 60, a second melodic pattern is introduced using high pitch notes. This melody also contributed to building the rhythm build up within the song. Then the last chord of the chorus is held on for 4 bars to introduce the second verse.

The opening line of the second verse, the “Well I Remember” is sang through a Vocoder. This instrument allows the voice to electronically shape the “envelope” of a keyboard sound. This results in a dramatic effect. It creates a “stop” like effect while maintaining most of the other instruments, enforcing with the audience that something big is coming, but not yet.
In verse 2, delays and echoes are use to add on the sound complexity, another form of build up. On the vocal, a ¼ note dynamic delay is use to extend the end of phrases . The guitar licks and always present in multiple layers. The Vocoder is re-introduced for more dramatic effect.

Finally, the iconic drum fill comes in at the end of the verse and lead to the final choruses, 3, 4 and 5. Another unusual aspect of this song is the fact Collins did not use any cymbals for such a dramatic finish. Collins is known for using Gretsch drums, amongst others but in the early 1980 was endorsing Pearl drums. He plays left hand and normally use single headed toms. His preferred kit includes 20″ Bass Drum, 18″ Floor Tom, 16″ Floor Tom, 15″ Mounted Tom, 12″ Tom, 10″ Tom, 8″ Tom, 14″x4″ Snare. On the initial drum fill, the toms are pan from left to right, which correspond to what you would hear if you were standing in front of the kit, contrary to a right handed drummer.
Also at this point, bar 89, the Bass guitar and bass drone are introduced followed soon at bar 91 by high pitch string drones. The string drones introduce another melodic part, which contribute to the overall rhythm and “motion” effect of the chorus .

The recording

The drum sounds is another important element of the songs. It was recorded at the Townhouse Studio. It is based on a technic call “Gated Reverb” Padgham had developed during previous studio session with Peter Gabriel. It is based on placing the microphones (room mics) several meters from the drum kit and sending a highly compressed signal to a reverb effect unit via an automatic “gate” control. The session was conducted using a mixture of high quality microphones, with only two close microphones for the kick and snare, and the SSL mixing console reverse talkback microphone, already highly compressed.

The elements of the song that I will take inspiration for my own work are the distorted sound of the guitar, I will try to recreate this distorted guitars sound by using gain structure and a couple of plugins.The use of dynamic range is a powerful tool as it brings interest to the ear panning vocals and instruments to flavor the song.


AllMusic.com, Phil Collins Face Value Credits. Retrieved from
AZLyrics (n.d.), Phil Collins Lyrics, Retrieved from
Baker, Keiligh, (2015, December 1), ‘World’s best’ recording studios where Sir Elton John made Candle In The Wind are converted into £2million luxury townhouses, Daily Mail, UK. Retrieved from
Brennel mini 8 Tape Recorders, Retrieved from
Drummer World (n.d.), Phil Collins, Retrieved from http://www.drummerworld.com/drummers/Phil_Collins.html
Fielder, H. (1979, October 27), The return of… Getting it together in the Country. Sounds. Retrieved from
Flans, R. (2005, January 5th), Classic Tracks: Phil Collins’ “In the Air Tonight”, Mix Online, Retrieved from
Owsinski, B. (2012, April 12th), Phil Collins “In The Air Tonite” Song Analysis, The Big Picture Music Production Blog, Retrieved from
Songfacts website (n.d.), In the Air Tonight by Phil Collins
Retrieved from
The Tonight Show with Jimmy Fallon, (2016, October 26), Phil Collins Shares the Real Story Behind “In the Air Tonight”, Retrieved from
Vintage Synth Web Site, Sequential Circuits Prophet 5, Retrieved from
West, D. (2014, February 5th), Classic Drum Sounds:”In The Air Tonight”, Music Radar,


What is Copyright:
The definition of copyright is “the exclusive legal right to reproduce, publish, sell, or distribute the matter and form of something (such as a literary, musical, or artistic work)” according to Merriam-webster.com. In other words, copyright is one word describing a number of laws on an artistic product such as music, painting, literature, etc… Those laws aim to protect the property of the original content creator from plagiarism and others stealing his work. Copyright is also an important tool for the financial side of the product, more specifically in the music industry, copyright rules over royalties. Royalties are a certain amount of money that the artist will perceive every time his song will be played on the radio in bars or other places where his music is played. Those royalties ensure the financial survival of the artist and only balances the equation as the bar, for example, would not be successful without any music and so it is only fair that some money is being given to the creator of that music.
Talking specifically about the music industry copyright is really powerful as an artist, to ensure your property on your song and to avoid having other people taking too much “inspiration” from your work, those people are getting accused and in most cases sued for plagiarism. Here are some of the most famous cases of plagiarism:

Marvin Gaye performing Got to Give it Up

US$ 5.3 million lawsuit was against Pharrell Williams and Robin Thicke. They accepted a trial court judge’s instructions to jurors to decide the case based only on the sheet music to the two songs, and not the recordings. The two songs resembled each other only in style, not substance, and that the decision was detrimental to the future of artists and creativity.

Miley Cyrus was hit with a US$300 million lawsuit after a Jamaican born singer Michael May claiming that about 50 percent of Cyrus hit comes from “We Run Things,” which was a No. 1 single in Jamaica. He accused Cyrus and Sony-owned RCA Records, her label, of misappropriating elements including the phrase “We run things. Things no run we,” which she sings as “We run things. Things don’t run we.” He added that Cyrus’ hit “owes the basis of its chart-topping popularity to and its highly-lucrative success to plaintiff May’s protected, unique, creative and original content.

Furthermore, I believe that copyright in the music industry is a bigger threat the more famous the artist is, if an unknown person starting to play music starts using another artists song for a cover, the artist has no interest in taking action as no money will be made by the cover, however, if an artist already well established in the industry releases a song that resembles a little too much another well known artist they will for sure be taken to court as the product made from plagiarising will make a fair bit of money and the original creator is legally right to ask the product to be taken down are having royalties. The easiest way in this industry to avoid having any problems with copyright is to write a clear contract on the ins and outs of the final product, how many people are involved and the percentage of money each of those people will get.
Sum up:

Copyright is really important as it gives every right to the person that created a product and it avoids any plagiarism, However, in other areas, copyright is taken a bit too far and stops people from creating content in fear of being legally pursuit, a good example of that problem is the new law concerning any youtube videos created in the EU and the content creators are already struggling and now with this even stricter rules are being discouraged.