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thetapelessworld · 7 years

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LiquidSonics’ Release Seventh Heaven and Seventh Heaven Professional

LiquidSonics’ Seventh Heaven is dedicated to the reproduction of thirty of the best reverbs from the legendary Bricasti M7 in an incredibly easy to use and extremely powerful native reverb plug-in. Every preset has been meticulously sampled to provide unparalleled flexibility true to the original hardware to produce rich, organic reverbs of up to thirty seconds with full control over the early, late and very low frequency components.

Taking its core technology from Seventh Heaven Professional, the more affordable Seventh Heaven is an indispensable tool for the budget conscious producer whose primary focus is achieving the very highest acoustic quality from a simple and highly versatile native reverb plug-in.

Extraordinary Power and Simplicity

With Seventh Heaven thirty of the Bricasti M7’s finest ever reverbs are available at your fingertips. A selection of the best halls, plates, chambers, rooms, spaces and ambiences accessed through a single dial makes it incredibly quick and easy to find a beautiful reverb for any track from drums, to vocals to orchestral ensembles.

Its simplicity belies the power within. The realism and quality achieved by the Fusion-IR processing is breathtaking, and the most crucial parameters of a reverb such as decay times, levels and delays are fully controllable freeing producers from many of the limitations associated with convolution technologies.

Reverb decay time freedom

Complete control of early, late and low frequency reverb levels

Synchronisable pre-delays and reverb delays

High quality 2-band supplementary reverb equalisation

The revolutionary capabilities of Seventh Heaven have been achieved though meticulous multi-sampling and characterisation of the Bricasti M7. Thousands of pristine captures are combined intelligently to very closely match the sound of the original hardware. Never before has this level of focus, detail and control been possible in a convolution based product and combines to make Seventh Heaven the ultimate go-to reverb perfect for any mix.

System Requirements, Specifications and Presets

Requirements

Specifications

Presets List

Compare to Professional

Seventh Heaven supports all major DAWs on Windows and macOS

iLok 2 or iLok 3 *

Windows 7 and above

OS X / macOS 10.9 and above

VST 2.4, VST3, Audio Unit and AAX Native plug-in formats

64-bit DAWs are recommended (32-bit is supported)

500 MB hard disk space is required

At least 8 GB of main memory is recommended

A dual core i5 processor or above is recommended

* Copy protection is via physical iLok (host-based licenses are not supported)

Purchasing and License Information

Available to buy from the LiquidSonics Store

New licenses are priced at £49 (a special introductory price until 14 May, usually £59)

Product licensing is via iLok with a dual authorisation code delivered by email. An iLok must be purchased separately from an audio retailer if you do not already own one (these are not produced or supplied by LiquidSonics). No option for computer based licensing or Reverberate style license files is provided.

LiquidSonics’ Seventh Heaven Professional is dedicated to the reproduction of the most sought after hardware reverberation tool of a generation – the Bricasti M7. By combining the realism of Fusion-IR with an extensive multi-sampling of the legendary hardware reverb, Seventh Heaven Professional truly redefines contemporary producers’ expectations of any native software reverb plug-in.

The Next Generation of Native Reverb

The best software recreations of classic hardware capture not only the sound – they capture the experience. They blend reproduction with reimagination. Seventh Heaven Professional’s advanced digital signal processing techniques intertwine with controls that closely mirror those of the M7 presenting the freedom of an algorithmic reverb with the breathtaking clarity and authenticity of a Fusion-IR reverb.

Production techniques that were previously impossible with a convolution reverb can be accomplished with ease. Now you can experience the power to change reverb early reflection patterns, decay times, delays, and the tone of the roll-off filters just as thousands of leading producers do on the actual M7 hardware. All in a beautiful, modern and immediately approachable graphical interface. See and hear for yourself in the audio and video clips.

Absolute freedom of reverb decay times

Authentic early reflection and late reverb roll-off filtering

Customisation of early reflection timing characteristics

Complete control of early, late and low frequency reverb levels

Addition or removal of synchronisable pre-delays and reverb delays

High quality 5-band supplementary reverb equalisation

The revolutionary capabilities of Seventh Heaven Professional have been achieved though meticulous multi-sampling and characterisation of the Bricasti M7. Tens of thousands of pristine captures are combined intelligently to very closely match the sound of the original hardware. Never before has this level of detail been possible in a convolution based product, and no other algorithmic reverb approaches the finesse of the Bricasti M7. LiquidSonics is proud to present a defining landmark in native reverb capability.

System Requirements, Specifications and Presets

Requirements

Specifications

Presets List

Seventh Heaven Professional supports all major DAWs on Windows and macOS

iLok 2 or iLok 3 *

Windows 7 and above

OS X / macOS 10.9 and above

VST 2.4, VST3, Audio Unit and AAX Native plug-in formats

64-bit DAWs are recommended (32-bit is supported)

10 GB hard disk space is recommended (3 GB minimum) **

At least 8 GB of main memory is recommended

A dual core i5 processor or above is recommended

* Copy protection is via physical iLok (host-based licenses are not supported)

** Data files can be resident on any non-system disk if required, and partial installs can be undertaken

Purchasing and License Information

Available from the LiquidSonics Store

New licenses are priced at £199 (a special introductory price until 14 May, usually £249)

Existing LiquidSonics customers may be eligible for license discounts in the store (for more information please visit this link)

Seventh Heaven

£59.00 £49.00

Special Offer

Seventh Heaven Professional

£249.00 £199.00

Special Offer

Seventh Heaven with Professional Bundle

£308.00 £225.00

https://www.liquidsonics.com/software/seventh-heaven/

#news #liquidsonics #reverb #vst #mixing #musicproducer #musicproduction #fx #production

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earpeeler · 7 years

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Pro Tools Expert – Review – Seventh Heaven Reverb Plug ins By LiquidSonics In this video review, Pro Tools Expert Deputy Editor Dan Cooper takes a look at the new reverb plug-ins Seventh Heaven & Seventh Heaven Professional by LiquidSonics.

#LiquidSonics #Seventh Heaven Reverb

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davidesonten · 1 year

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I love my new 🔥🔥😋 go to reverb ... Cinematic Rooms Pro @liquidsonics.plugins Thanks to @_controlroom_ soundengineering #soundengineerlife #soundengineer #mixerengineer #masteringengineer #onlinemixing #onlinemastering #producer #musicproductions #musicproducer #music #singersongwriter #audio #audioengineer #mixer #fiverr #soundbetter #davidesonten #avid #protools #protoolsultimate #mixing #mastering #recordingstudio #mixingstudio #mixerengineer #liquidsonics #controlroom https://www.instagram.com/p/ClsNNILKRta/?igshid=NGJjMDIxMWI=

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yellowatlas738 · 3 years

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Download To Usb On Mac

Download kerio connection for mac. May 19, 2019. Kerio VPN Client (32-bit) 9.85 MB: DOWNLOAD UPDATE: Kerio VPN Client (64-bit) 9.94 MB: DOWNLOAD UPDATE: macOS. Kerio VPN Client: 15.59 MB: DOWNLOAD UPDATE: Debian and Ubuntu Linux. Kerio VPN Client (32-bit) 2.88 MB: DOWNLOAD UPDATE Installation Instructions: Kerio VPN Client (64-bit) 2.89 MB: DOWNLOAD UPDATE Installation Instructions. May 16, 2018. Go to the Kerio Connect download page. On the Clients tab, locate Kerio Connect Client application for Windows or Mac. Click Download update. Run the installation. On Windows, click Run to install Kerio Connect Client. On Mac, drag the Kerio Connect Client icon into the Applications folder. Clicking on the Download Now (Visit Site) button above will open a connection to a third-party site. Download.com cannot completely ensure the security of the software hosted on third-party sites.

Jul 15, 2020. How to create a bootable macOS High Sierra installer drive Put the macOS High Sierra installer on an external USB thumb drive or hard drive and use it to install the operating system on a Mac. Click the Windows START button, and click WINDOWS USB/DVD DOWNLOAD TOOL in the ALL PROGRAMS list to open the Windows USB/DVD Download Tool. In the SOURCE FILE box, type the name and path of your Windows ISO file, or click BROWSE and select the file from the OPEN dialog box. DisplayLink macOS Software. DisplayLink Manager is a new way to enable your DisplayLink dock, adapter or monitor on macOS platforms. It's an application that combines our latest driver with features that streamline the setup of mutliple displays up to 4K.

Install Mac Os From Usb

Download To Usb Mac

https://yellowatlas738.tumblr.com/post/662619793144397824/download-sims-complete-collection-mac. With a bootable Ubuntu USB stick, you can:

However, the $20 bundle discount for both plugins feels a bit mean - standard should be included with Professional.While one of Seventh Heaven’s big selling points is the quality of its interpolation between Fusion-IRs as the Decay Time knob is adjusted, each preset presents a menu of certain (usually nine or ten) specific times between 0.2 and 30s (most clustered at the shorter end of the range to optimise for small edits around the original preset time) at which it’s been sampled. Thus, it’s easy to achieve totally accurate recreation at those settings with no interpolation, when required.Using just the main controls, you can get where you want to be with a well-chosen preset most of the time. Liquidsonics seventh heaven download mac. Despite its cut-down preset list and feature set, Seventh Heaven still sounds totally Bricasti and comes in at a much more palatable price for most. The metering is similarly pared back, losing the Early, Late and VLF ‘LED’ ladders of Professional, and retaining just the Input and Ouput meters.

Install or upgrade Ubuntu, even on a Mac

Test out the Ubuntu desktop experience without touching your PC configuration

Boot into Ubuntu on a borrowed machine or from an internet cafe

Use tools installed by default on the USB stick to repair or fix a broken configuration

Creating a bootable USB stick is very simple, especially if you’re going to use the USB stick with a generic Windows or Linux PC. We’re going to cover the process in the next few steps.

Install Mac Os From Usb

Apple hardware considerations

Download To Usb Mac

There are a few additional considerations when booting the USB stick on Apple hardware. This is because Apple’s ‘Startup Manager’, summoned by holding the Option/alt (⌥) key when booting, won’t detect the USB stick without a specific partition table and layout. We’ll cover this in a later step.

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20xincome2 · 4 years

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Simple Houseware 8 Pack - Microfiber Ultra-Soft Applicator Foam, Blue

Simple Houseware 8 Pack – Microfiber Ultra-Soft Applicator Foam, Blue

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Extremely soft & non-abrasive microfiber cloths Used for a variety of cleaning jobsSuper absorbency, quickly pick up water and liquidsOne of SimpleHouseware microfiber cloth/towel seriesRecommend to wash in plain water before first use. Laundry Guide: Machine Wash Cold, Line dry, Do not Bleach,…

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#accreies

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stereoillusion · 5 years

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Convolution reverb tools

SIR Audio Tools SIR2

LiquidSonics Reverberate

LiquidSonics’ flagship convolution processor is filled to the brim with flexible features, offering a true stereo reverb signal using separate IRs for the left and right channels. Post-processing effects like chorus, delay and EQ (with LFOs) allow you to customise IRs even further.

Audio Ease Altiverb 7

Aimed at the higher end of the market, Altiverb 7 is the convolution reverb of choice for those wanting a mammoth selection of high-quality IRs painstakingly sourced from around the world. Advanced picture browsing, keyword searching and ‘chaos’ function come as standard.

Apple Space Designer

Possibly the best reverb plugin you’ll find bundled with any DAW, this can often be seen popping up on top producers' kit lists. A broad collection of versatile impulse responses and tweakable parameters give Logic users a definite advantage straight off the shelf.

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defyrecordings · 4 years

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❤️#Repost @liquidsonics.plugins with @get_repost ・・・ We ‘add reverb’ because we want the listener to be in a specific place and feel a certain way. This virtual space and feeling has to be transparent, yet still have soul, in my opinion. I appreciate effects that can feel like nothing or everything, whichever I choose. Seventh Heaven by LiquidSonics is all this and more. Great plugin!⁠ Robert L Smith⁠ Oscar and Grammy winning, Emmy nominated Producer/Engineer/Mixer⁠ ⁠ #reverb #bricasti #m7 #hardware #grammy (at New York, New York) https://www.instagram.com/p/B8wwLZWB6X9/?igshid=3pty282c2rsh

#repost #reverb #bricasti #m7 #hardware #grammy

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es-ki-mo · 5 years

Video

youtube

Illusion | New Reverb Plugin from LiquidSonics - Hear it in Action

リバーブ

#vst

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severeathletemughero-blog · 6 years

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BUCKS NEW UNIVERSITY

“Audio Production Techniques: Studio”

Course Title: Audio & Music Production Tutor’s Name: Gerard Gormley

Student’s Name: Alexandros Charalampous Assignment: CW1

Introduction

The track produced for the purpose of this assignment was made to match the style and aesthetics of famous rapper and producer Dr. Dre. Dr. Dre could be considered as one of the best producers in hip hop, with various hits and who has helped some of the best hip hop artists' careers to take off. These include Eminem, 50 Cent, Kendrick Lamar, The Game and many more. Dr. Dre's unique sound, using either clasical, or soul-based samples and compositions and strong drums has helped in order to create an impact in hip hop music, as well as a unique character that can be easily identified in the "West Coast" version of hip hop. According to a user in gearslutz.com, the main things noticed in Dr.Dre's music by the user were clarity, smack and wideness. Another source like Youtube channel BeatsbyVanityTV, claims using other references, that one mixing technique Dr.Dre uses is basically mixing in mono, as it helps translate the mix better into real-world environments without being based on stereo panning. Therefore, taking into consideration some of these references these techniques were put to the test, but must importantly, our aim was the Dr. Dre "vibe". We based our production and mix in Dr. Dre's music in the early 2000's, or to be more specific, in songs like The Game - Westside story, Dr.Dre - The Watcher and many more.

Production

The song was created using Fruity Loops 12, mixed using Pro Tools and Studio One and mastered in Studio One. The samples include various parts from The Jaggerz's song "Memoirs of the traveller" as well as James Brown Vocal saying "hey" and many more for the purpose of minor, but precise aesthetic purposes. The drums were arranged in an Akai MPK Mini MK II and the FPC plugin, as they would be arranged in an MPC as Dr. Dre used this technique in the past. The synth, subwoofer and piano sounds were provided by plugins like Nexus and Sytrus, using different packs. The production on its own could be considered a bit repeatible, however in a hip hop track the instrumental's purpose is usually to create an atmosphere, or vibe, and a rhythm, while the emphasis is given to the lyrics of the rapper. Thus, even though the song does not change massively from start to finish, it does give minor changes so that it supports the lyrics and the changes of attitude. Being creative the piano composition were very simple, but the reason the sound more complexed was because of a pitched down delay, which ended up bonding very well, giving a certain "darkness" in the end. The drums were picked from different sampled packs, with enough smack and tension in order to match Dr.Dre's tough drums. Because of the genre, the drums would be ideally digital, with enough mixing to give a slight analog feeling, creating an atmosphere close to the soulful sample, and still related to the strong kicks and snares the define hip hop. The lyrics on the other hand, were simply one big verse that was written within two hours, while the chorus was an off the top freestyle. The verses are in English, while the chorus is in Greek, and they express feelings certain skill and ability in rap itself, and that being humble is far from being unable, but even though the need to prove certain things to random people was not there, it came to a point of a exhaustion and anger about the subject, leading the lyrics to be aggressive. The samples include vocals, guitars and other instruments wich were reamped in a studio using the amp Tiny Terror Orange amp, and a Shure SM57 in order to create more space in the feeling of the track. The Vocals were recorder under tough circumstances and limitations, so the vocals were recorded in one take, and a bit silently. That created a lot of problems, but they were kept in the song nevertheless.

Mixing

Production was a bit easy compared to the mixing. A lot of techniques, skills and time were put into the track in order to create something decent out of the song, and also aiming for Dr. Dre's sound. From equalization, to compression, to consoles and mixing in mono, it was mostly about making a track with strong low end, snares with enough smack, and warm melodies for the sample. The mixing was mainly done in Studio One with a lot of organization. Stereo tracks were mixed in mono with, sometimes, different mixing between Left and Right in order to give a more detailed outcome and experience listening to it. While reading a discussion in gearslutz.com, the song was tested between stereo and mono monitoring, in order to have a nice result in different circumstances and equipment.

Drums:

For the kick, the SSLE module was used in order to give warmth, accompanied by digital and analog equalization and compression. The analog eq was also an SSLE model, in order to keep the flow. The same goes for the snare, hihat and shakers, using an SSLE console and equalization. The toms, that can be noticed in the intro of the song, had the same console and equalization, with the addition of Earth equalization to give more air into them. All of the drums had various levels of LiquidSonic's Verbsuite Classics reverb plugin.

Samples:

Four different parts of The Jaggerz's song were taken for sampling. Two were used for the intro, one for the main part of the song (main part is the one used during the verses and the end of the song), and the last one for the chorus. The samples were reamped once more, digitally. The main sample had, once more, the SSLE console and equalization, as well as a tube saturator to give more warmth. The same applies to the other sampples, with the differences in the EQ. The main sample had changes in the low-mid end at around -6 kHz, with a dicrease of -3 dB with a tight q, another decrease of -1 dB at about 5.25 kHz for the high-mid frequencies, and -3 dB at 10 kHz for the high end.

Bass:

The bass is could be considered as one of the most significant parts, when it comes to this genre of music and this producer. In my opinion, it defines tension, aggression and can completely change the attitude a song shares. That is the reason why the aim was a strong subwoofer for the mix. The mixing for the bass was done in conjuction with the kick in a way to control the mid low and low frequencies of the bass and work well with the low and mid frequencies of the kick. This time the plugin for the equalization chosen was FG-N's Brit N EQ, with boosts of 4.5 dB at 60 Hz, 12 dB at 1.6 kHz, and 13.5 dB at 3.2 kHz.

Synth and Keys:

The target for the hammond-like synth add a nice old school touch and provide the song a more melodic, funky sound. The SSLE console was once again used, with equalisation focusing on the high end on the right mix, and the high-mid end on the left, to create some sort of diversion and melody. In a way, slightly confusing the listener. Trying to provide the synth mix with an analog touch, the hollywood console emulation was used with very few modifications, but precise nevertheless. The same plugins were used for the keys, along with the FG-401 VCA compressor, with the threshold set at about -23 db, a 3:1 ratio, slighlty slower attack and faster release going 100% in the mix. After the slightly more melodic touch to the chorus, we wanted to add a twist and change of attitude for the ending of the song, so in order to achieve that kind of "darkness", reverb, delay and the low-mid end of the keys were given more emphasis as some would, mixing keys. Both the keys and synth had some level of delay and reverb, using the Verbsuite Classics plugin for the reverb, and the Repeater Vintage Modelled Delay plugin for the delay.

Vocals:

As mentioned before, the recording session for the vocals was under many difficulties and limitations, and in order to get a decent result, a lot of effort had to be made in the mixing even though the result was still not satisfying in terms of quality and aesthetics. Using the SSLE console and equalization plugins with en emphasis given in the high and high-mid frequencies, and a slight reduction in the low-mid end. The use of London Tube Saturator ofr warmth, and the FG-116 Modern Blue Edition FET compressor was an extra push to get a more decent result. Because the result was still not decent enough, with the vocals feeling a bit too empty and dead, we duplicated the vocals and pitched them down with a transpose of -1 and the tone reduce by 3, for the sake of giving an impression as if back vocals were recorded. The same effects plugins used for the keys and synth, were used for the vocals with the goal of creating a space and environment into the vocals. Still not having the ideal sound in the vocals, the idea of distortion seemed to be helpful to give a certain level of aggression. Thus, the vocals were reamped with a digital version of the 59 Tweed Lux amplifier. The gain was set to max, with changes in the middle, going from 5 to 7 and the presence from 5 to 3, living everything else balanced at 5. That was as good as it got, as a certain point was reached, in which the vocal mix was already too much and should not go further than this.

Master

Having little experience and knowledge in mastering, I started doing research, learning techniques and asking for opinions and tips from friends, The mastering took place using Studio One. The compression was set to a rate of 1.5 to 2 with auto release and an attack se between medium and fast. When it comes down to the equalization, a tight q was se at 500, with a -0.5 in frequencies were ring was noticable. Some other changes include a low cut at 40 kHz with a 12 dB shelf and a boost of 0.8. As for the limiter, 4 dB were added with a peak set to -1, having in mind that the ideal outcome that we aimed for was for commercial release. Once again, a tube saturator set at 25% was applied, giving a nice and balanced atmosphere and warmth to the master. Lastly, a tape emulator helped in giving an aesthetic boost in mid-low frequencies.

Conclusion

My personal goal was to achieve was to end up with a track that is a balance between a good hip hop mix, a good Dr. Dre-type of production, and a musical piece that can be enjoyed by many different music fans. Personally, even though the song achieved a vibe and sound close enough to some of Dr. Dre's records, the vocals devastate the whole experience. By having a normal and proper recording session, the result could be way better. With vocals and back vocals, different takes for the chorus, not only the troublesome mixing would be easier with a greater result, but the song would have more natural flow as well. Hip hop seems like an easy genre of music in terms of performance, production, mixing, even if it is or not. Whatever the case is, another problem is that music producers in this genre do not share many techniques and secrets, which was the case with me trying to find Dre's techniques as references for the track. Therefore, apart from a few techniques I managed to find, the main key to the creation of this track was my own critical listening. However, being a fan of this artist's work in music since a young age, the result was a bit easier to achieve. The samples are like a shadow of the strong kick, snare and sub bass. I think of the kick, snare and sub bass as really close to how the mix intended to be, I would prefer if they stayed on the same levels. Instead, I would prefer to experiment with different amplifiers that give a brighter outcome to the sample. Something brighter, giving more emphasis on the core of the sample, instead of adding a huge amount of reverb and delay, an amplifier that just makes the sample sound old school.

References: Online Sources: Gearslutz.com. (2018). Dr dre mixing techniques ! - Gearslutz Pro Audio Community. [online] Available at: https://www.gearslutz.com/board/rap-hip-hop-engineering-and-production/1110386-dr-dre-mixing-techniques.html [Accessed 16 May 2018]. Gearslutz.com. (2018). Dr Dre Still using mpc 3000 - Gearslutz Pro Audio Community. [online] Available at: https://www.gearslutz.com/board/rap-hip-hop-engineering-and-production/1086003-dr-dre-still-using-mpc-3000-a.html [Accessed 16 May 2018]. YouTube. (2018). The Mixing Tip I Learned from Dr. Dre. [online] Available at: https://www.youtube.com/watch?v=iRNiVBtrCeM [Accessed 16 May 2018]. YouTube. (2018). Discover Classic Samples Used On Dr. Dre's 'The Chronic 2001'. [online] Available at: https://www.youtube.com/watch?v=enf4QVynQfk [Accessed 16 May 2018]. YouTube. (2018). Westside Story-The Game feat. 50 Cent-The Documentary. [online] Available at: https://www.youtube.com/watch?v=HiMC0IEym6w [Accessed 16 May 2018]. YouTube. (2018). The Watcher - Dr Dre (Chronic 2001). [online] Available at: https://www.youtube.com/watch?v=GLp-gOXvGrg [Accessed 16 May 2018]. This work was completed for module AP508 of my undergraduate studies in the faculty of Design, Media & Management at Buckinghamshire New University

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