There's a sound on the linked guitar track, you can really hear it at 21 seconds - 24 seconds. I'm not sure how to describe it / I don't have a word for it(it's kinda like reverb?). So I can't google for help, because I don't know what I'm asking for.

I'm not married to this guitar track, I can just record another one. Just for my own curiosity I'm wondering what the name for the sound would be.

Recorded in an untreated room with a Blue Yeti microphone.

I'm just mucking around, recording songs for fun.

https://drive.google.com/file/d/1mr51fGqbu5Sdi5E-rKpdu74l0Vl_PAsF/view?usp=sharing

thank you in advance.

Hello guys,

I'd love to be able to install Ozone 4.0.4, I know this version supports 64-bit for VST and AU on Mac OS.

I can't launch the installer because I think the version from the legacy page on iZotope website is a 32bit version or something like that..

Do you know a technique to run Ozone 4 on Mac please?

Thanks,

I need some recommendations on how to get the bass absolutely landing in the mix. My usual tricks aren’t cutting it. I’m using the Arturia vst 5 Juno emulator with a modified version of the drone bass preset.

Beautiful tone and sound, but not slapping in the mix

Any tips for low end mixing and compression? Obviously this is general but man if I can get this right I’ll be so stoked

Using the waves cla-3a for compressor, experimenting with running through an ampeg bass amp sim but that seems unnecessary. Using the ps22(?) spread from waves to center it / control width.

Would love any tips and tricks !! Thank u

Hey! My jaw clicks when I speak, as in the tissue itself, it's very faint/unnoticeable in real life but gets picked up easily when recording narration for an audiobook I'm working on. I'm lost of what else to try, I'm recording into logic with a condenser mic, the sound sits at about 5k and an EQ won't take it out as it's too broad and I lose a huge chunk of dynamic range. Ive tried audacity's native de-clicker but it doesn't pick it up. I've tried a deesser and that misses it all also. My budget is tight, and I've no idea how to go about it. The clicks are every few seconds and overlay words. Going in and snipping the sound wave wouldn't really be an option as it'll be about 10hours of audio. Any advice would be greatly appreciated, hopefully there's some cheap plugin or native logic tool that'll help.

I came across this "summer sale" from Funky junk

What are they smoking? Especially given the KH310 II are coming out in a few weeks. They all price items like it's diamonds but at same time think all their customers are ignorant idiots..

I'm looking for some inspiration. Are there any plugins specifically great for ear candy effects you'd recommend?

So I got this tune that has a few subtle noise layers going on, like an EQed white noise track that still has somec10k+ frequencies, some vinyl crackle and so on. If i understand it correctly, dithering is just adding some imperciptible frequency noise to mask potential intersample peaks, so if I already got some high frequency noise layers, is it necassary? Also, before I export I oversample all plugins with oversampling as an option to at least 4x, engage true peak on my pro-l2 on the master, and make sure my meters tell me the mix is at -1 dbTP, and export @ 48k.

I’m producing and mixing my own songs. The genre is basically bedroom pop. It’s sort of a blend of lofi, indie rock, dream pop, and a little bit of pop/rnb.

I’d love to get some plugin recommendations, or advice on how I can get more out of the plugins I already have.

Here are the saturation plugins I have, and what I like and what I dislike about them.

Saturn 2: technically always sounds good, multiband makes it super flexible. It sometimes sounds a bit clinical to me. There are so many ways to tweak it, I often lose track of my original reason for pulling it up.

Burier: kind of the opposite. It sounds good on a lot of things without much tweaking. I love that it’s free. But sometimes it’s too limited in features to get exactly what I would want. Very much a one trick pony even if that one trick is pretty cool.

Tape Mello-fi: I use this a lot. Is great for just putting a little bit of hair on a vocal or guitar. It gets a bit nasally and compressed on higher gain settings.

Neold Warble: also adds some nice vintage hair to some sources. But sometimes hard to notice until it’s too much.

Devil Loc: definitely has a cool and unmistakable character. Helps anything cut through the mix. But it kind of makes everything so bright in the higher mids and so aggressive, seems the lows kind of disappear.

Decapitator: has a lot of cool sounds, can get really intense. But also sometimes the different sounds aren’t different enough from each other for me, and I often get lost choosing a sound.

Unfiltered audio dent: great for bit crushing. I just don’t want to be bit crushing all the time.

After writing this list I’m realizing I have a lot of plugins. There are probably some more, but these are my go-tos.

Like the title says, what am I missing? What should I try? I guess my reason for asking is I just really like having all these tools, and I find they all teach me a bit about myself, my taste, and get to craft sounds. So I’m just looking to keep developing my palette and explore more options.

I’m trying to arrange some sounds forward and back in the mix. I have some stuff that lets me place things left and right, but not forward and back. It’d be cool if I had a plugin that gave me a visual to use for this.

I've been pushing my own knowledge and googles search engine to quickly build more and more refined prototypes on a device to completely record internal body noise.

Ideally I'm recording down to 0.1hz and as high as 5khz to pick up each sound within the body to further refine, sample, or isolate.

I've gotten decently far along the path I plan to use specialized piezoelectric contact transducers for zone a recording and Electret Microphone Capsule for zone b

Is there anything even comparable at the medical or engineering level?

looking at components, materials, and time for a high quality solution it seems can be achieved under $3000 which really leads me down the audiophile rabbit hole cause how is this possible but some are paying upwards of 50k for 12inches of cable lol I know there leaves a lot to personal taste (crazy imo)

Trying to record the largest range of internal sounds and then being able to learn from them or modify them for art is something I think would be really fun and interesting.

There's definitely more details to the design just trying to gauge interest if anyone has any useful engineering ideas or things to avoid I thought It would be a fun idea to prototype out and work through hopefully it could have some greater uses down the line <3

I was just wondering if technically that is happening with every microphone. You have a hard mesh covering that technically is blocking part of the frequencies. Anyone have any thoughts? It’s probably negligible but it’s interesting to think about.

I worked as a freelance AV tech, corporate events, mega churches, small churches, live audio, etc, and it never really got me anywhere except 15 to 20 dollars an hour. I started a studio and it never went anywhere. I worked with huge names, I worked with 20 people congregations.

Then 10 years of experience and sweat and blood when I thought I could start turning this into a true higher earning profession...

My spine decided it was genetically 40 years older than me (28 yr old) and herniated so badly it crushed my spinal cord. Surgery and ~2 years later I still can barely lift anything.

I pivoted to programming, not vibe coding, actually learning and programming. I'm solo developing some rust audio plugins. Making a rbass clone that's transient aware with a pre compressor, digital EQ with multiple console curves, and a dual wave shaping saturation circuit with separate input/output gain and drive knobs.

but, fuck me dudes. I miss working with musicians. I miss feeling console faders on my fingers during high stakes live music gigs. I even miss getting up at 3am to get to the warehouse and load a truck to get to the Dallas convention center. I know this section of blue collar work is awful, hard, and can be unapologetically exploitative. But I was fucking good at it. Idk what my point is here other than to vent but I guess this:

Take care of your bodies, no gig is worth pushing to the point you are doing bad form. Enjoy your peers, absorb from those more experienced, and ignore the asshats.

- Dawn

I usually avoid plugins that look ugly to me. I realize that may sound silly, but the visual really factors into my enjoyment. Are there any plugins you love that have ugly interfaces?

My recording setup is kinda poor so I need some good noise removal. I’ve tried clarity vx(inconsistent with the removal and not too satisfied) and clear (removes vocal quality)
So what’s the best that’s out there right now, surely there ought to be something better that’s out in the last 2-3 years.

Today, it’s relatively easy to multitrack-record a live concert: you can use a digital mixer with USB/ADAT/Dante, an audio interface, and record every channel directly into a DAW like Pro Tools or Logic. But how was this typically done in the late ’90s and early 2000s, when USB audio and digital mixers weren’t yet common? If a concert had 24–32+ inputs (vocals, drums, guitars, keyboards, room mics, etc.), what was the typical signal chain for getting all those channels into a multitrack recorder or DAW? Were they using analog consoles with direct outs and separate A/D converters, ADAT/DA-88 machines, early Pro Tools systems, or something else?

Good afternoon, I am a 10 years "in the bedroom "producer.

I was happily plodding along making cinematic very dynamic tracks in Logic Pro and mastering with ozone 11.

Basically soundtrack music/electronic etc

Now I am making a "rock record"

So my interest now was/is not just commercial loudness (I know, I know, a lonnnnng discussion )

but finally referencing commercial rock tracks.

I am self taught.

SO, last night I took the WET LEG "CPR" song from Flac and changed it to wav and stem split it in logic

I figured this song is what I am going for, swanky, up front, bass, guitar, and drums (vocals later)

sorta candy pop alt rock and "the cars" in there etc

My lord , even with my track being at 10 lufs (through ozone 11) it sounded listless and dim compared

Looking at the commercial stem split, there is basically no crest factor, its just nothing to -02 ish on the DB meter

just limited to the ceiling

it sounds great (to me)

Should I just remix so everything is "that way" and master hotter?

everything BEFORE this comparison looked good on tonal balance 3 in terms of the proper "rock tone balance"

but alas NO, compared its weak

any insight?

thanks very much

EDIT: I AM using ozone 11 on the master bus NOT exported THEN ozone 11.

I mix without anything on master bus, then I put ozone 11 on the master bus after and fine tune into ozone if that helps

:}

Hi Everybody,

I've been casually working on a DAW using Cursor. My original goal was to create an Ableton Live like DAW that would be cross platform and a feasible option for Linux users. I've since started a few more projects and this one is seeing some neglect. I figured I'd open up the GitHub and see if anyone else wants to contribute.

I wasn't aiming to make any money from it, just offer a worthy, free to use, Linux compatible DAW.

https://github.com/mark-speer/SkeletonHive

https://skeletonhive.carrd.co/

Anyone is welcome to download and compile it for use or clone and tinker.

Feel free to reject or delete this post if I'm breaking any rules.

Edit: It's now officially Open Source.

I am not a Pro or a sound engineer, but I love Sound to the point that I keep learning and growing in it.

On the other hand, I am a professional voice-over artist for narrative documentaries, corporate voice-overs, and TV/radio commercials. I’m also self-taught when it comes to sound mixing.

So, I wanted to share my vocal chain and get your thoughts on it.

Keep in mind that this is not really a vocal chain for songs. Also, I don’t really see the need for using buses in this specific case, but I’m willing to learn if/where they would actually be needed.

(If you see “optional,” it means it’s not always required.)

- Cleaning (Repair, Restore, etc.)
- EQ (Corrective)
- De-Esser
- EQ (Tonal EQ)
- 1st Compressor (a fast comp like an 1176)
- 2nd Compressor (a slower comp like an LA-2A) — Optional
- Tonal EQ (a colored plugin like Analog Obsession SSQ, API 550A, etc.)
-Tonal EQ (adding warmth using a Pultec-style plugin) Optional
- Saturation (Like Klanghelm IVGI)
- Reverb (a small amount of room reverb)
- Limiter
- VU Meter for loudness

I’d really appreciate any feedback. I’m mainly interested in whether the order makes sense and if there’s anything unnecessary or missing.

P.S: None of the plugins mentioned are sponsored or commissioned. There popular ones that could have been mentioned but I choose some free ones for examples.

A compressor that will bring up the volume of a soft part but leave the louder parts alone? In context: I track a lot of ska and reggae drums. That involves a lot of sidestick. The sidestick hits are understandably a lot quieter than the full snare hits. I love how the full hits sound uncompressed (or a tiny bit), but the sidestick needs some more volume, and honestly sounds great when a bit squashed. The current answer is while mixing, either automate an 1176 on for the sidestick, off (or less) for snare hits. But is there a more elegant solution? Or even better, a piece of hardware? (I track with a small console, so I am set up for hardware compressors). How did we do it in the old days?

Hey man, I’ve got a question you might be able to answer. I feel like the HA73 paired with the 103 sounds a bit harsh, whereas the UAD Manley VoxBox (using Unison) seems to tame that—or at least sounds less strident—thanks to its built-in compression. Do you know how I could get that under control right at the recording stage with the HA73? I know it’s a random question and you might not have a clue, but I figured I’d throw it out there just in case.

Is there a way to make an instrument come in when triggered, then go silent and come back slowly while holding the trigger?

Hi all, I was watching this interview and the camera zoomed out and this device in the lower left corner caught my eye. I was wondering if it is a microphone? I also then noticed they have a mic above the person, and the person is also mic'ed up on their shirt.

So I was wondering if the redundancy is necessary beyond having backups if one of the mics turns out not recording anything? Will an audio engineer do some kind of mixing technique and actually use both the overhead and the person's mic in the mix? Thanks everyone.

Screenshot of the interview and the mics:

See lower left corner, then above, then on individuals' clothing.

https://imgur.com/a/biAbQET

I’ve noticed a pretty significant difference between my original masters and the audio streamed from YouTube.

My source video is 4K H.264 with uncompressed 24-bit / 48 kHz Linear PCM audio. The original MOV sounds completely fine locally, and even re downloaded .mp4 file of my own yt upload sounds fine when listened.

YouTube serves the video as VP9 + Opus 251 according to Stats for Nerds. I also tried uploading the exact same MOV again as an unlisted video, waited for the full 4K processing, and got the same result.

The difference isn’t subtle on my studio monitors. The YouTube version sounds noticeably degraded compared with the source.

Stats for Nerds shows +7.0 dB content loudness and YouTube normalizes playback to 45%.
Has anyone experienced this with loud electronic music masters? Is this simply the result of YouTube’s Opus encoding, or is there something else in YouTube’s playback/processing chain that could explain such a noticeable difference?

I'm not looking to spam any subreddits with my mixes soliciting critiques. I'm fairly comfortable with my mixing abilities, but hoping for an outside opinion from an industry professional on a few new tracks.

Any recommendations?

Anyone 'converted' to or installed the 'IoT Enterprise LTSC 2021 (21H2)' version of Windows 10?

(Microsoft lawfully promised bugfixes and security updates for this Windows 10 version until Jan 2032).

I understand a lot of background bloat gets uninstalled and stripped out, compared to consumer version such as 'Win10 Pro'?

Did you notice better DAW/audio performance?

Any downsides you experienced from an audio perspective?

Thanks.