1: Vocals
All vocals were recorded using the 'Neumann U 87' microphone, with added compression and slight reverb. AutoTune was also applied during the vocal recording process.
    The vocal stack in the chorus consists of the lead vocal and its backing vocals (harmonies) at +3rd, -4th, -6th, and -8th intervals. Each of these vocal parts will be recorded three times separately and then panned to the center, left, and right, respectively. This recording approach also applies to the background vocals occurring on each backbeat (on beats 2 and 4). They consist of high-pitched top vocals and harmonies at -3rd, -5th, and -8th intervals.
   In the bridge part before the final chorus, featuring the pure 'oh' section, the vocals include the lead vocals and its -8th backing vocals. The two parts will be recorded five times, panned at center, mid-left, mid-right, hard-left, and hard-right, respectively.

2: Bass                                                                                           
Verse (Layering): 
• Vintage Brassy Bass — Alchemy (Logic Pro X)
• Vintage Attack Synth Bass — The SUBSEQUENT 37 (MOOG)
• Dark Low-end piano octaves —Numa Player (MIDI)
Pre-chorus:
•808 Bass — ES2 (Logic Pro X)  
•Sub-Bass (lift) — Omnisphere (Spectrasonics)
Chorus:
• Dubstep (Wobble) Basses — Massive (Native Instruments)

Given that the arrangement heavily relies on MIDI instruments, meticulous sound design for each instrument's timbre before recording them to MIDI in DAW becomes crucial. For instance, for the timbre of the piano, I opted for the MIDI VST 'Numa Player' for its 'Acoustic modeling,' enhancing the realism of acoustic piano sounds by reproducing string resonances, duplex scale, release note, key off, damper noise, pedal noise, etc. To attain the desired timbre for the piano in this song, I customized these parameters to impart a more metallic, brighter, and dry quality.

Also, in order to make the kick sound punchier and fatter, I adjusted the built-in 'Beater/Front' parameter to get more clicks on the kick. Additionally, I applied compression with a 'slow attack and fast release' to shape its envelope, giving it a more pronounced transient quality. Simultaneously, for the lows, I initially selected a larger kick with a 24x16 size to provide more low frequencies, and I further boosted the lows using EQ, etc.

The above explanation is solely for designing the timbre of different virtual instruments before recording them internally to MIDI in the DAW, without involving anything about the later mixing phase.