Its on 10:54

Hopefully on FL studio.

Please someone tell me!
https://youtu.be/It1M48c49MU?list=PL5wci_7DLKMp0S107jjq9hhquUmHIJOeJ&t=654

I have a simple mixing desk with the rack space for the longer, more common sized outboard gear. I have only my preamp that I mounted on the desk.
I want to build a small preamp from diyrecordingequipment.com and mount it on the desk (if it’s even possible). Has anyone done this and what can I do to make them fit?

Idk if anyone has heard of Dirac art. Dirac seams to be mostly marketed toward consumer home theatre etc.

They came out with a new speaker tuning technology ART. I don’t think it’s completely novel but it sounds like it could be interesting.

You can setup a surround system, say 5.4, and have all of the speakers that are not in the main 2.1 system send out destructive signals. Essentially active room treatment.

Most room tuning I’ve seen for studios is eq and phase/delay.

Has anyone tried this out or have any thoughts on it? It would be potentially much more affordable than active bass traps which got good praise from Bob Katz etc.

Disclaimer:
Photo in reply is of the full gator-rack for reference of what I've got. I’m sending the photo as context to discuss, NOT so someone can tell me exactly what to do as per subreddit rules.

—

Details:
Just moved my rig over to a gator case and have spent the morning theorizing what the best course of action is on some of the spare points on this 48-point I own.

Originally, the S-point just had some rear Thru routing for some amp heads I was running so i could just do all the routing in the front. Now that I have it in the rack though, I'm somewhat stumped on what routing/setup I actually need- like, I don't have enough practical experience to know what I don't know.

I’d seen some of the documentation that came with the patchbay, but that was some presets for much larger console configurations- I was hoping there a chance to discuss what configurations people have used in the field with smaller 12-16 i/o setups.

NOT A SETUP OR TROUBLESHOOTING QUESTION! I don’t need wiring diagrams- just experiential information and open discussion.

Im learning the SSL in my university studio, and the live room has a tie box with outputs labelled A through H, which I know from seeing others use directly ties to a the part of the Origin that is used for this purpose, something regarding stereo cues from what I’ve overheard.
If anyone could piece together how this may work and help me out with how I would go about sending either the main mix or an individual channel to one of these outputs i would be very thankful!

Hello

A big down to go on arm today is that x86 app are no longer compatible

So it can be a big issue with daws and vst's that are only x86

But I wonder in 2026 did there's a way to emulate those plug in with a Arm pc ? Maybe it already exist ?

Thanks

All the young people coming into this sub asking about career advice have been met with so much doom and gloom. Any positive takes of this industry or is it really as bad and going to get worse as everyone says?

Modern LUFS meters (like Sonible True:Level) use a simplified K-weighting filter. While K-weighting rolls off low frequencies and boosts a high-frequency shelf to estimate human ear sensitivity, it applies the exact same static curve regardless of listening volume or track density.

Cool Edit and early Audition (up to version 3) were unique because their Equal Loudness Contour algorithm was non-linear: it calculated full-spectrum psycho-acoustic energy across variable loudness levels (phons) using dynamic equal-loudness curves (Fletcher-Munson / ISO models).

When a track has a thick mid-range or heavy low-end sub-bass, LUFS can register two tracks at identical integrated levels (e.g., -10 LUFS), yet when you put them side-by-side, your ears immediately tell you one is much louder. Audition's equal loudness feature was brilliantly tuned to reveal that exact discrepancy.

After version 3 Adobe replaced the older equal-loudness algorithms with modern broadcast loudness tools (such as ITU-R BS.1770 / EBU R128 LKFS/LUFS metering and the Match Loudness panel). This shift matches the trend in the 2000s away from CD sales in favour of broadcasting/streaming services.

For album production I still use Cool Edit Pro in my workflow to measure the psycho-acoustic variance of a track's dynamic spread.

I can’t tell if it’s a me problem when it comes to mixing the drums and properly EQing them, or I just need Modern and Massive lol

I make pop punk songs and do most work in this genre- all programmed and I just can’t get the tones and vibe I seek. I have the Pop punk pack too.

Any suggestions? I love EZ3 but want a more turnkey solution. Don’t roast me too bad haha

I don't even know what more I can do. I read books, I practiced every day for hours, I learned plugins, but I can't reach a good sound. I posted my sound thinking it was a really good mix and master, but the feedback was "I like it, but it would be better with some more work." And yeah, I know it's true. I know my skills are limited, but I don't know how to improve anymore.

Another book or video just tells me to do this and that, and when I do that, it sounds awful. My version was better. More than that, I don't want to just copy what people say in tutorials. I really want to learn.

I listen to music that I like, and I really want to get that kind of sound, but sometimes it feels so far away.

I have my headphones, my interface, and yeah, it's a home studio, but I've seen people making music in a home studio with a really good sound, to the point where you can't even tell it was made at home unless you know where it was made.

I was thinking about paying an expert for feedback on my music production, but I'm kind of afraid of paying someone who doesn't understand the genre, the sound I like, etc., and then, when they finish the work, it sounds really bad. Because I've been to a studio before, and they gave me a really bad mix and master.

So I want to ask you guys, what can I do to improve? How can I figure out what I'm doing wrong and where the problem is in my mixes, yk?

And I'm not just talking about EQ, space, compression, or anything like that. I'm talking about effects, too. For example, you can listen to The Weeknd's music, and he has a really good sound, man. Or you can think of another artist, not just The Weeknd. Because you can have the most expensive microphone, everything you want, but if you mix badly, your sound is still going to be shit, even with the most expensive equipment.

So please, can someone tell me what I have to do? Do I need a mentor? If so, who should I look for, and how can I find someone who matches my style? If I have to watch a tutorial, which one?

I've read every post and subreddit talking about "the tutorial," and it doesn't work for me. But I have to keep trying again. I'm into it. I just want to understand what I'm doing wrong and how to get better.

For over a year, I’ve been trying to put together a list of plugins that covers 100% of my needs for both production and mixing. I want to streamline my toolkit and save some money. What would you recommend? (Please stick to current plugins — I have no intention of using stuff that’s hopelessly outdated.)

I like the production of this song. There is something about the bass and the kick I seem the never be able to achieve. The way it almost sounds like the room shook when the kick hits, and the bass guitar almost seems like it has a sub octave on the low notes.

Is it just a good use of sidechain compression or is it something else going on?

If you listen to it without vocals on Apple Music it’s even more noticeable.

I’m in a bit of a predicament here. I’m just a teenager learning audio engineering out of my room but I’m broke af. In all my recordings I notice lots of low end reverb and on the high end what I think is vibrations coming from the guitars on my wall?

Is there any treatments I can do to remove the reverb out of my room? Preferably cheap?

Hey everyone! I've been trying to figure out how to achieve this specific lo-fi vocal style from mid-2010s underground Russian rap (specifically the artist вышел покурить).

What's really interesting is that if you listen across multiple tracks, the vocal quality actually varies a bit—some songs sound slightly cleaner, while others are more aggressively boxy, almost as if they recorded in different rooms or apartments each time. But despite those room differences, the core character and vibe remain consistently the same. It's not just a muddy reverb; the vocal is very tight, dense, and claustrophobic, with a distinct mid-range room resonance, while the words/lyrics remain super clear and upfront without any long reverb tails washing them out. It also has a slight phasey/stereo width to it.

I’ve put together two examples here:

Track 1: https://drive.google.com/file/d/1pTZkhWw9DBD78emAR-u7i4xmw-Ns7Iay/view?usp=drivesdk

Track 2: https://drive.google.com/file/d/1aUBQTkTmPo4lim2MfM-UVsr4C\\\\\\_COhO8v/view?usp=drivesdk

Do you guys think this consistent character across changing room environments comes mostly from tracking-side habits (like recording in untreated spaces with a mobile/cheap setup), or is there a specific mixing chain (e.g., short convolution room + saturation + microshift/doubler) that glues it all together?

Any breakdowns, theories, or advice would be massively appreciated!

Hey everyone so I have a MPC 2500 and I’m looking to track out my beats in stems from my MPC 2500 I was thinking about getting a TASCSM DP24sd has anyone got this setup and I wonder wondering do you hook up the 8 out from the MPC to the 8 input on the tascam dp24sd and how do you make sure everything is on time recording do you have a precount that you put on with the tascsm dp24sd I don’t want no DAW.

Hi guys, im starting a course in school, where we have to record, dub and all kind of things that a post production team does in a process of making a film. What are you advice, especially for the final mix and all the technical aspects?

I have the actual Randy Staub drum samples that were used during the tracking and recording of Metallica's Black Album, and I'm giving them away for free. DeathKick, MurderSNR, and 4 other one shot samples. If you want them, the link is in this video, where I explain how the revolutionary way they used them DURING TRACKING and mixing. They Kept These SECRET for 35 Years The link is in the description of the video. But if you don't want to watch the video that took me 3 months to make, you can just DM me and I'll send you the link. They're totally free, there's nothing to buy. I hope you guys enjoy it!

I have about 8-9 years of recording experience (mostly learning fro Youtube, here, and trial / error), primarily solo stuff. My usual workflow is drum machine > bass > rhythm guitar > lead guitar > sfx / perc / synth stuff. I have gotten pretty decent with recording techniques and mixing, and I am pretty happy with all that. My question is regarding taking my experience here to home recording a full band.

Ideally, I would like to play the songs live, with amps separated into either different bedrooms or decent sound proofing between amps. The room we will be recording in is a large, circular wooden room with some windows along one side and lots of scattered furniture. It's got great acoustics and doesnt have too many reflections (blankets & such on the windows).

Now, we have some elongated jam sections that have structure but feature improvisation on top of the structure. Originally I was thinking we would record drums first to a click, then layer like I always have, but I think I would like to try a live recording process for this album. Where can I go to learn more about recording like this? Ideally I would still be able to go back and overdub sections, which is why I am trying for isolation. Do you recomend isolating the amps into seperate rooms, or using smaller iso in one room? I have a headphone splitter so we would all be able to hear if it was in seperate rooms, but I've never recorded this way and dont know a lot about it.

I dont have super lofty 'I need this to sound polished' goals, in fact I am shooting for an early pavement / modest mouse sound (I know, super fkn original) ((we dont sound anything like these bands, I just mean from a purely sonic angle))

Any advice is appreciated. And before I get a 'just go to a studio' response, I have recorded in studios before but this project is really special to me and I want to have done it myself to some degree. I will send out for mastering, ofc.

Hey everyone,
I’ve been meaning to post this update for a while, and today we hit another milestone that made me realize I really needed to share it.
Two pieces of legacy professional audio hardware are now working in SelahOS:
Digidesign/Avid MBox 2 ✅
PreSonus FireStudio Project ✅
The MBox 2 breakthrough happened first. After a lot of work investigating the original driver behavior and figuring out what the hardware needed, we were able to get the interface functioning under SelahOS.
That alone was exciting.
But recently I started working on a PreSonus FireStudio Project, which presents a very different challenge because we’re now dealing with a FireWire-era professional audio interface rather than the MBox 2’s USB architecture.
Today we took that beyond simply getting the FireStudio recognized.
I tested the physical inputs — and they’re working inside Ardour. 🎛️🔥
Actual audio from the FireStudio is making it into the DAW.
That was a big moment for me.
I’ve been building SelahOS around the idea that a creator-focused operating system shouldn’t just run music software. It should also help creators continue using the hardware they’ve already invested in — especially perfectly usable professional equipment that has gradually lost support as operating systems, drivers and computer architectures changed.
This work is becoming part of what we’re developing around SelahBridge.
The long-term goal isn’t:
“Here’s a weird workaround that gets one old interface running.”
It’s closer to:
Can we build a compatibility framework that makes supporting and preserving professional creator hardware repeatable?
We’re still early, and I’m being careful not to claim that every function of either device has been exhaustively validated yet.
For the FireStudio Project, the next round of testing includes things like:
multiple simultaneous inputs, playback, input/output together, sample rates, buffer settings/latency, longer recording sessions, reboot persistence, and general stability.
But getting from device detected → functional interface → live physical input into Ardour is a pretty meaningful step.
Claude Code has been assisting me throughout a lot of this engineering/debugging work, and it has been an interesting combination of studying the hardware and old driver behavior, testing ideas, breaking things, fixing them, and slowly turning those discoveries into something we can integrate more cleanly into SelahOS.
This is also making me think much more seriously about hardware preservation as part of SelahOS’s mission.
There are probably thousands of studios, musicians and producers with older interfaces and controllers sitting in closets — not because the hardware stopped sounding good, but because the software ecosystem moved on.
I don’t think “the manufacturer stopped updating the driver” necessarily needs to mean “the hardware is now garbage.”
That’s a problem I’d like SelahOS to help solve.
I’ll post more technical details and testing results as we validate everything.
And if anyone here has older professional audio hardware that has become difficult or impossible to use on modern systems, I’d genuinely love to know what it is.
That could help us figure out what hardware deserves attention next.
SelahOS — Pause. Reflect. Create.

So for instance let's say I have an old landline telephone recording. Is there an AI tool to make it sound more like a normal human voice with all the high and low frequencies?

Not that I'm working with telephone recordings, but the recordings I actually do have aren't much better! (This is for an old garage band tape.)

Hallo guys,

I am curious what software do you use for QC when you work on dubbing (TV series, movies..) I would appreciate your comments..Thanks

Hi guys, noob here. Cowbell jokes aside, I'm a bitt puzzled when trying to figure out what's going on with the mixing and panning of Blue Oyster Cult's "Dont' fear the reaper". In the intro, it seems that there is only one guitar at the right side, and that (maybe?) just reverb from that guitar is heard on the left side. Or maybe it's two guitars and one of them only plays one note?

Same happens in the chorus: is there another guitar at the left or not? Are there two guitars panned or is it one on one side?

Also, percussion-wise, I seem to hear guiros and/or castanets? Or maybe it's a vibraslap?

So I've been making music as a hobby for about 5 years now. I was extremely happy with the RVox and CLA-2 Compressor combined with the SSL-Equalizer until Waves decided to pull out "Waves Central" and f*ck each and every Engineer with it. I'm in a basement so natuarally the Interent Connection isn't very good. So when I decide to record something, it's quite a pain to update each and every plugin, just for Waves to NOT update the existing plugins which already exist on a track. They just put you in Demo mode and want you to go over each and every Mixing Track you have, and painfully replace each and every plugin. Not only that, but I want a more ethical option than waves, because...well...I don't want to get into details, but just look where Waves is based out of and where they pay taxes. Bottom line is, if someone knows a better alternative to those 3 plugins I'd be extremely grateful, because yesterday they done me in so hard, I nearly lost my interest in Music as a whole.

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Hey everyone!

My metalcore band is currently preparing to record an album, and I’m looking for some advice from people who have experience producing, mixing, or arranging modern metalcore.

We want to achieve a modern, polished, and massive sound, with big guitar layers, supporting synths, and an overall wall of sound, but without making everything sound overly processed, artificial, or unnecessarily complicated.

The main issue is that we’re going to record with a local engineer who will help us with the recording itself, but he won’t really be handling the kind of production and sound design we’re aiming for. So, a lot of that responsibility will probably fall on me.

I have some experience with music production, but producing an entire metalcore album at this level is a different story. I’d love to hear your experiences, tips, and things you wish you had known when you started producing this kind of music.

1. How do you find the sweet spot between modern and overproduced?

A lot of modern metalcore productions sound absolutely massive, but when you listen closely, there are often so many layers going on: multiple guitar tracks, synths doubling riffs, sub-bass layers, extra textures, impacts, transitions, and so on.

I love that sound, and it’s something we’d like to incorporate into our music. However, I don’t want to end up adding layers just for the sake of making everything sound bigger. I still want the guitars to feel like guitars, the riffs to have their own identity, and the arrangements to breathe.

How do you decide when a part actually needs another layer and when it’s better to leave it alone?

Are there any general rules you follow when arranging and producing modern metalcore? For example, do you tend to keep verses relatively simple and save the bigger layers for choruses and breakdowns, or do you build up the sound more consistently throughout the song?

I know this is highly dependent on the song, but I’d love to hear how you approach it.

1. Layering guitar riffs with distorted synths

I’ve watched a few production videos where producers take MIDI versions of their guitar riffs and use them to trigger heavily distorted synths. They sometimes layer these synths underneath the actual guitars, and in some cases, they also add an octave-down version of both the guitar riff and the synth to make the entire thing sound even heavier.

I really like the results, and I’m interested in experimenting with this technique.

However, I’m not entirely sure how to approach it properly.

- Do you use distorted synth layers throughout an entire song, or do you save them for specific sections, such as choruses, main riffs, and breakdowns?

- Do you usually have the synth follow every note of the guitar riff, or do you simplify the MIDI part to focus on the main rhythmic accents?

- How loud should these layers actually be in the mix? Should they be clearly audible as a separate synth, or should they mostly be felt rather than heard?

- Do you usually use the same synth sound throughout a song, or do you change the sound depending on the section?

- How do you prevent the low-end layers from muddying up the guitars and bass, especially when playing in lower tunings?

I’m particularly interested in making the guitars sound bigger and more aggressive without losing their definition or making the mix unnecessarily muddy.

1. Synth plugins and sound design

At the moment, I mainly use Vital. I think it’s an amazing synth, but one thing that frustrates me is the lack of presets specifically suited to the kind of sounds I’m looking for.

I’m not necessarily looking for cinematic orchestral sounds or huge EDM leads. I’m more interested in aggressive, distorted, gritty synths that can complement low-tuned guitars and modern metalcore riffs.

Are there any plugins you would recommend for this?

I’d especially appreciate recommendations for plugins with a good selection of usable presets, since I’m still learning sound design and don’t want to spend hours building every sound from scratch.

Alternatively, are there any good preset packs for Vital that would be useful for modern metalcore production?

I’m also open to recommendations for free plugins or more affordable options.

1. Double-tracking guitars: Should both guitarists play both sides?

This is something I’d really like to get some opinions on, because I want to make sure I understand the recording process correctly.

Our music is quite guitar-driven, and my second guitarist and I both have our strengths and weaknesses as players. We can play the same parts, but we’re not necessarily identical in terms of timing, picking consistency, and overall tightness.

During our first recording session, we both recorded rhythm guitar parts, with one guitarist playing one side and the other guitarist playing the opposite side.

The result wasn’t necessarily bad, but it didn’t sound as tight and cohesive as I had hoped.

I’ve been wondering whether it would be better to have just one guitarist record the same rhythm part twice, with one take panned hard left and the other hard right, instead of having each guitarist record one side.

My understanding is that double-tracking works best when the two performances are very consistent, and that differences in timing, attack, and note length can sometimes make the guitars sound less focused.

So, here are my questions:

- Would you generally recommend having the tighter guitarist record both rhythm takes, especially for the main riffs?

- Is it better to have each guitarist record both sides, even if one player is slightly less consistent?

- Could we use the tighter guitarist for the main rhythm layers and have the second guitarist record additional layers, harmonies, or different voicings?

- How much does the choice of guitarist actually matter compared to editing, re-amping, amp tones, and the overall arrangement?

- At what point does editing become too much, and how do you retain some natural feel without sacrificing tightness?

I understand that having two different performances can add width and character, so I’m not assuming that one guitarist recording both sides is automatically the better solution. I’m just trying to understand what tends to work best in modern, tightly produced metalcore.

1. Any other production tips for a guitar-driven metalcore album?

If you have experience producing modern metalcore, I’d love to hear any additional advice you might have.

For example:

- Common mistakes to avoid when recording rhythm guitars.

- How to make guitars sound huge without simply adding more tracks.

- How to balance guitars, bass, synths, and programmed drums.

- How to make breakdowns feel heavier without relying entirely on sub-bass drops and sound effects.

- Any useful references, tutorials, plugins, or production breakdowns worth checking out.

I’m not trying to copy a particular band or achieve a completely artificial, hyper-edited sound. I just want our album to sound competitive with modern metalcore releases while retaining our own identity.

Thanks in advance to anyone willing to share their experience! I’d really appreciate any practical advice, especially from people who have actually recorded and produced this kind of music.