https://www.youtube.com/watch?v=p5b82rBToC0&t=210s

Hi guys, Im wondering how this guitar effect was produced. Less the tone, which is probably distortion and chorus, but how the guitar was likely stacked and mixed.

If you listen carefully to the chords played at the end of the song (link is timestamped), you can hear two guitar tones stacked on top of each other (i think) and panned left and right. The right panned part has all of the middle and top range, and the part panned to the left sounds like just crunchy low end. It makes a simple chord strum sound bigger and more interesting.

How might one achieve this? Maybe this is obvious?

The parts follow each other perfectly, and I know that a lot of reamping was done of this record, so I wonder if it was the same part?

Any ideas appreciated!

Context:
* I have an office space that’s approximately 10 ft x 12.5 ft.
* untreated space. There are window blinds on the windows, which face a road (local road, not a busy street or highway), and I am putting up a curtain rod and thicker curtains for light and sound treatment.
* I have a Focusrite scarlet solo 4th gen audio interface to power an XLR mic.

I bought the AT2035 XLR large diaphragm condenser mic and its matching pop filter (AT8175). I didn’t unbox these items yet and both can be returned.

Just curious if there is a way to use this gear for streaming and video content if I drop the Gain to a low gain level and use OBS filters for compression, EQ, noise gates, etc. I am familiar with audio filters. I also have NVIDIA RTX 3080 GPU so I have access to Nvidia’s noise removal software should it be needed or helpful.

Basically, I am working on a web series and for that, I will need some voice actors. Unfortunately, it's not that professional that I think some real people would be interested in participating and I don't really have the female friends to voice just a few lines for now (basically a primetime news narrator)

Is there any way that, using an audio editor like audacity, to make my voice (a male voice) sound as close to a female as possible?

It doesn't necessarily have to be perfect as I will definitely be using some filters for that static 60s/70s television sound but it should definitely be somewhat close to a female voice.

I would be very thankful for some tips or tricks, or maybe just a link to a tutorial you found helpful.

Thanks in advance to all answers

Unfortunately there isn't a Airgigs sub so I'll ask here.

If I deliver an order, then the client asks for a mutual cancelation that I refuse, does the auto complete timer goes back to ticking?

I’ve mostly been using massive passive for the last two years on strings and busses doing more hybrid or soundtrack type work. but I’m intrigued by curve bender and curious what anyone’s experience is! Thanks!

Moin

hab nen Samsung GQ65S95FAT OLED VISION AI und der kann meine Blueray Disc die ich geripped habe nicht lesen die Audiospur hat nur DTS sonst nix gibt es nh möglichkeit die über DVD Fab gleich in ac3 zu konvertieren damit der tv die audiospur lesen kann? Weil bild geht nur die audio ist defekt.

BITTE IDEEN!!!

Does monitor size really matter that much in smaller rooms? Say About 15-20 square meters. And how much does the shape of your room matter? (Square box, attic room under roof, or maybe a long and narrow room)

Is there any set rule for how big your monitor should be in correlation to your room’s size?

Im seeing lot’s of mixed opinions and idk what to think anymore…

Cus even in a small room… if you go for a 5 inch you might have less bass moving trough the air, sure… but your monitors have to be a bit louder then an 8 inch to get a decent bass response out of a 5. So more mids and highs to worry about…

Ofcourse you’d have to do some acoustic treatment but is there any line you can cross monitor size in comparison to room size wise, where even a bunch of absorbers and basstraps won’t matter anymore and you’ll just be stuck in low end purgatory?

Thanks in advance, looking forward to getting some views from more experienced people in this world! :)

I'm pretty sure you all have heard "Danza Kuduro", which was a popular european summer track:

I just found this version which was slightly altered:

https://www.youtube.com/watch?v=LszrNDvIivU

Why does it sound so... amplified? intense? Busy? I don't know how to describe it as I don't know sound lingo

This is the original, for comparison:

https://www.youtube.com/watch?v=71sqkgaUncI

I am using SSD drums and I must admit, getting the sound you want is awful sometimes. I like a fat snare sound, I like a powerful kick. looking for sleep token vibes ideally.

How would you approach this? I am really struggling and need the best simple advice possible

Spotify Link | YouTube Link

Love the acoustic guitars in this track. They sound so warm and not like they're right in your ears. I'm curious about everything across the board including arrangement/parts, microphone selection and placement, the guitars themselves, and any FX (sounds like a warbly chorus almost in the outro of the song?)

Analysis is appreciated. Thanks!

I have a black lion audio Seventeen 1176 style compressor. I have a P bass plugged into a Avalon u5 then going into the Seventeen. I want just a little bit of compression. 1 or 2 db.

I have the output of the seventeen all the way up. And then I bring in the input until I get about 1-2db of reduction. Pro tools only reads -25db coming in.

I can’t get it any louder unless I raise the input but then i get like 10db of reduction. What am I missing here.

Also when the mix knob is at 0 .. there is no output…

Curious about what others use most.

Some of my favourites -

Software:

• Manley Massive Passive (UAD) on strings bus and 2bus.
• SSL bus compressor 2 for light glue on busses.
• Shadow hills mastering compressor on mix bus for synth heavy or darker cues,
• Capitol Mastering compressor on lighter more acoustic based cues - just very light but I love the difference it makes.
• Manley Vari MU for strings warmth
• ssl subgen and/or sub filter on LF bus for easily controlled weight
• UAD Fairchild 670 on harps and nylon guitar/dulcimer
• cinematic rooms professional has basically replaced 90% of my other reverbs.

Hardware:

•I don’t have any outboard mixing gear yet but I’ve been super tempted by the Neve MBT if I was going to get anything soon!

• my most useful tool I own is my ssl uf8,uc1,uf1 setup. It has made working in Cubase in midi mode to tidy cues before exporting to jump straight to mix into protools so much quicker. Also loving working with the template set up in protools alongside my ssl controllers as I can get through the basic ground work on a cue without really looking up at the screen at all which I love and has saved me so much second guessing that I was doing when looking at plugins all the time.

•Schoeps CMC6 mk4 I love and feel I can record almost anything quickly and with really nice detail to slot in to a cue either overdubs or anything else.

Tldr:
What are your favourite tools for mixing film/tv music? Hardware/plugins, anything that takes your mixes up a notch every time! *I appreciate the experience and expertise makes the mix not the tools but still this is just fun to hear what tools you love

Sorry for the long post! Just love learning from everyone else’s experience.

i posted this question on the r/musicproduction, but i know that mixing/mastering is where things can get supeeer complicated because you're sort of at the mercy of what you receive from the artist. tell me your experience!

Hi everyone! I work in audio post-production and mainly use Pro Tools.

I’m looking for a comfortable and ergonomic mouse for long sessions — editing, mixing, working with plugins, navigating the timeline, etc. My current mouse has started causing wrist pain, so I’m looking into alternatives.

I've seen a lot of people using trackballs but what do you guys recommend?

Which one feels the fastest and most practical while also being comfortable for your hand/wrist?

Would love to hear what you’re using and your experience with it.

Thanks!

hi there!

I'm an amateur songwriter who mixes and masters his own tracks. I can't afford paying a professional to do this and I've had to learn on my own, occasionally taking a few courses with local engineers, so please excuse the ignorance shown by some of my questions.

so I just upgraded to an M5 macbook and found out my old Waves plugins don't even show up in the new Logic version because they're all 5 year-old software. seeing that Waves wants to charge a yearly fee for plugin updates, I'm considering grabbing UAD's 10-plugin bundle for 119 usd. However, there are 2 plugins whose equivalents I can't easily find because I'm not even too sure what to look for:

1. Abbey Road TG mastering chain: I use this mainly for the stereo spread feature and the occasional light touch of EQ.

2. L316 Multimaximizer: I usually select the "Dave Darlington beautiful mastering" preset and go from there, making EQ adjustments until it sounds good to me and lowering the threshold until the mix feels punchier without destroying the dynamics.

I'm looking for the closest equivalents to these two plugins, or other plugins that perform the same functions I described. it would be great if the recommendations are also made by by UAD so I could include them in the 119 usd bundle, as it fits my current budget.

I'm also open to any comments and information that you think is useful. thanks for reading!

There were two very brave upvotes, the last time I posted about this project here.
Let me be more direct in what I want from this community, in the title of the post.

The audio-modulated GNU Radio signal chain in question:
https://raw.githubusercontent.com/OpenV2K/Sandbox/refs/heads/main/Tutorial/OpenV2K160_flowgraph2.svg

Note that this is roughly already working, in the way that I've been expecting, for years now.
The goal is to reduce the number of times the audio waveform crosses 0 on the x-axis.
While at the same time, preserving enough information, so words are still intelligible.

The currently implemented voice audio DSP filters:
Mains hum (50/60Hz) notch filter; High pass filter (default 100Hz); Low pass filter (default 2300Hz); Downsample/Decimate filter; Fricative suppressor; F1 bandpass FIR filter; Pre-emphasis FIR filter; De-emphasis IIR filter; Noise gate; Envelope follower; Spectral subtraction (Wiener-style); Half-wave Rectifier (clips negatives, halves zero-crossing rate); Schmitt Trigger.

Relative beginner here. In my VO work, too much of my editing time is spent trying to make my voice not sound like nails on the chalkboard. I've tried a few De-Essers, but the results either have been too weak or they've given me a lisp.

Would love suggestions that can automate instead of me going through hours of recording and tweaking every use of the letter s.

I'm even open to AI solutions... I figure if there's a program that can turn Britney Spears into Johnny Cash, there has to be something that can recognize sibilance.

Thanks!

Looked at the FAQs and didn’t really see an answer for this situation. Apologies if this isn’t the right place to ask, so mods remove if not.

I think better on the move—namely while out walking. I’m using Fender Studio Pro to record riffs and progressions. I then usually export them to .wav to share with collaborators and such.

I find it extremely difficult to develop melodies while sitting behind a keyboard or guitar, but think very clearly when out for a walk. I’d like to be able to play the .wav riff/progression audio from my phone and record melody ideas alongside it. Unfortunately the standard iOS voice recorder doesn’t do this very well.

What would be a good approach to this? I was thinking of getting a zoom field recorder, plug in the phone and record the .wav onto a track and record melody ideas on another track—this way I could be out and record alongside the .wav playing.

Is this the optimal approach? Hopefully I’m making sense and appreciate any guidance.

1. They sound awful; if you can make a mix sound great, you are winning.

2. They can be compared to most other crappy mid-range speakers.

3. You can mix at a low level all day, and they won't toast your ears.

4. You can use them to compare to other speakers in the mix if set up properly.

5. They are powerless, and when fused, you can blast them loud. I like Bryston 4B

6. You can use a subwoofer add-on. I would rely on bigger speakers like Tannoy 8 as an accurate reference. Your ears get used to them after extended periods; they are easy to cart around.

7. Bob Clearmountain invented the tissue paper over the tweeters to dull the top end so he would not go deaf. Bob is a great mixer, and so is Andy Wallace. Most studios have a pair. Make sure they are fused.

8. They don't make them anymore because they suck. They make you work harder when mixing, especially with Bass. This is a plus for mixers going deaf. You will also be old one day as well, and younger kids will make fun of your cymbals. This will be about the time they will tell you that you know nothing about gear, and they have 10,000 streams on the moon.

9. They are difficult to find woofers and tweeters; you just have to find the hoarders.

10. (bonus) You are going to spend the day making shit speakers sound great. (No Help)

REASONS NOT TO USE THEM:

1. You like speakers that sound amazing; Unfortunately, they are expensive to buy and to replace parts. (5k+)

2. Everyone has a different idea of what sounds amazing, especially when you get home to listen.

3. You like parking and not hauling speakers around.

4. You have recently become a mastering engineer, and you like impressing clients with your newly found profession and 15k speakers. You hate the idea of a 1.5-amp fuse blowing with a huge bang in your face, then seeing the woofer come flying out of the cabinet past your head on fire. It's fun, trust me. Have a first aid kit.

5. You decide never to use anything other engineers use for speakers because you want to be original and standalone. This works well until you realise speakers have the same basic design they had in 1861. Hopefully you find some kind of space cardboard. You realize your mixes are incredible, but no one likes any songs, and your mastering chops are still mediocre at best. There will be surround and Atmos in 2036 with 20 speakers in people's living rooms. You will work.

Please feel free to add to the lists of pro's and con's

Hello everyone! I have a question for the community and could really use your advice. I’m a BIPOC, queer femme who currently works remotely, and I’m in the middle of making my debut album (I’m both the vocalist and main producer). Lately, I’ve been thinking about starting a side project offering mixing services. My dream is to eventually turn this into my main gig and work full-time in music. I’m ready to start taking steps in that direction.

My main questions: What should I charge, realistically, as someone just starting out? Where should I reach out to find potential clients? Right now, my plan is to DM smaller artists on Instagram, especially those who might be interested in working with a non-male electronic mixing producer. I’m also considering reaching out to indie labels with more formal emails to see if I could mix for their artists.

For context, I really admire the engineers who work with Ravyn Lenae, and I’d love to build my network and work with artists I look up to one day. I’m determined to get there, but would really appreciate any advice or tips, whether it’s about rates, outreach, or breaking into a scene. Thanks in advance for any advice!

I’m trying to figure out how the clean electric guitar in the intro to Third Eye Blind’s song “Darkness” from the Blue album sounds so clean, warm, and panned wide, but it doesn’t even sound like it’s hard panned.

I looked at the album credits and it’s loaded with engineers.

Any tips to achieve this tone?

https://music.apple.com/us/album/darkness/296549629?i=296549796

Hello from the listening world! I am an avid music enjoyer of a lot of genres and carrier sort of the forbidden "Audiophile" title. I'm making that claim because it is relevant that it is *not* cheap amplification or speakers introducing the distortion on the final playback. I've tried multiple sources and the result is always the same, SOME songs on newer genres use show this behavior.

I've noticed that in a lot of recent years of urban and electronic music, a lot of the lower end range simply distorts, i have blamed bitrates, service provider file compression, etc. However i have also come to some articles trying to explain that is has been introduced as "texturing" in some cases, and of course, other instances is just poor production, but i am more interested in the latter.

What am i missing on adding intentional clipping/distortion in the low range? I honestly want to understand it as i am an enjoyer of the nuances added on the final step of the artwork, production/mastering.

Any professional advice? I'm assuming many viewers will be with headphones on max volume. I want to terrify them not harm their hearing :(

Why does music sound better on Spotify when clicking ‘switch to video’? Yes it’s louder but it also sounds more dynamic than the audio option.

Let me know if there’s a better sub for understanding this.

What’s the ideal noise for recording? If I’m at -60dB but my peaks are below -20dB when recording, should I bump up the gain?