"The better your source audio is, the easier it is to manipulate in post."
"If you like this, go ahead and pull in your limiter. Get the mix rough mixed and as hot as you can as soon as possible, so that you can then work backwards, as opposed to keep pushing things up, and you're running out of headroom and all of that."
"I made some different length versions of the sound and then I stretched... so it was functioning musically."
"The compressor is really good for boosting up low ends where stuff is quiet and it's also good for not clipping those high ends."
"By setting the pre-delay properly, you can maintain the dry signal while still adding all the ambience that you want within your mix."
"We've got two stereo pairs of mics capturing a sense of the stage and then we've got a whole bunch of closed mics which are all being sent through to three apogee symphony interfaces."
"Creating the designs, creating the technology behind how the sound behaves, that's the best thing actually I ever did in my sound career."
"It's amazing how different, you know, you bring up the bass channel, you bring up the treble channel, you drop the bass channel, you dime both of them, you know, and then the tone stack is real, real sensitive."
"A noise-normalized test is essential for fair comparisons."
"Both make cool whooshy sounds, which is another really fun thing to add to the car."
"Hopefully to use the Cobras at other sound levels rather than others to use the Cobras."
"Mixing is like painting a picture; you're drawing a picture with sound."
"Technically I'm never clipping... but all of a sudden my meter is just pegged."
"Mix in mono for better translation and a tighter sound."
"It's less about the master volume and a little bit more about how much gain the amplifier has."
"A little bit louder but rack mount stuff generally noise is less of a concern."
"16 kinds of sound effects, eight kinds of effect modes. It's got electro-acoustic mode, dodge mode. Do you know what dodge mode is?"
"Stop quite loud, okay? When I work on drums and bass, I need to hear the punch. I need to hear how aggressive it is. Is it too aggressive? Not enough?"
"One thing I always do fairly quickly when I'm at that last third of the mix, where I start really cueing and going into automation."
"Amp designer allows us to configure a sound for the project."
"The Evo definitely packs a hard punch, but somehow they have managed to refine and control the bass."
"It's easy to make something loud, but it's difficult to make something loud but still have clarity."
"Arrow is becoming like a creative tool, shaping your sound."
"It's a great one and offers just a tremendous amount of flexibility in terms of different tonal characteristics and ways that you can shape the sound."
"This will be helpful for us just to get our hands dirty with sound."
"Wow does that sound good, definitely has plenty of horsepower and the fact that this can take some turns going at speed is very impressive for the weight of the vehicle."
"Experiment with mix buss compression, saturation, stereo imaging, and see whether it enhances your mix. Be really honest with yourself."
"If you understand the individual bands of the eq, this will help you to make better decisions."
"If you understand what each band of the eq does from a fundamental standpoint, you can then make and assess a problem within your mix."
"Breaking the walls helps disperse sound in the room for better acoustics."
"Digital sweet spot: peak no higher than 75% of the way up the meter."
"Focus on the things that really make the sound quality better."
"The best mix engineers, they don't mix loud, they mix quiet."
"The bass isn't going to overpower the mids and the highs. It's not going to sound muddy even at higher volumes."
"This could be your one and only go-to reverb for pretty much any situation."
"Let's take a listen to the finalized mixed vocal with automation included and notice how the vocal sounds balanced, full, and has an overall polished and enjoyable sound."
"Mixing with the limiter on, you're gonna find out in that moment what your mix is made of."
"essentially what you need to do is you need to find a place of comfort where you know how things sound and you can replicate that"
"Morrissey's attitude is if you can hear the sound in your head then it can be played."
"I like the tone but I don't like that extra little echo on it so I'm going to do is I'm going to go to this tape delay plug-in and I'm going to click on the far left of it just to turn it off to bypass it."
"It sounds like a ribbon with high-end shelving EQ on. Really gorgeous."
"Multi-mode filter with resonance, drive, and ADSR envelope."
"Now that all the time correction is set we can move on to setting this equalizer... perform an actual measurement using our rta."
"Overall, it results in a much cleaner sounding recording."
"The voices on the left being better at beefy bases and these four go up to sort of the mid ranges that won't quite annoy your dog."
"A pad sound can serve as the glue in your mix."
"For instance, doors are low-pass filters, walls are low-pass filters. So as I'm designing things for the escapes, I'm thinking in terms of, well, a wall is a low-pass filter, I need to muffle this sound."
"It's a phenomenal piece of sonic architecture."
"Many times what they will do is they'll have the backing vocal out 20 to 30 here it's probably around 40 to 50 percent."
"Power Trip is great. It actually stands on its own again because of the distinctive ideas with the distortion throughout the entire song, even with the beat switches."
"Sonically, mix and master sound pretty much the same."
"Dan's creating a pad there using the Mood as the granular looper."
"You want to make sure that we're no longer playing test tones."
"Because I spend 90% of my time balancing, that's all I do, I sit there, I create the space for where I want the instruments to be, you know, you kind of have to go into it with a plan."
"The original noise of the analog TG one-two-three-four-five console was also modeled by Waves..."
"Let's move on to the basic equalization approach and then we'll go into the compression..."
"The pre-delay can make the reverb come a bit lighter to add this bouncy feel to it."
"Stereophonic images: solid sound, intensity differences between left and right."
"That sound is a combination of the right player, the old acoustic bass app or whatever, and Don perfectly capturing this bass sound."
"Older Sound Blasters are notorious for their noisy output, and AdLib chose superior components across the board to reduce that."
"Diffusers also make absorbers work better because they redirect some of their energy at walls where there's a reflector."
"So ideally, you want the decay time to be as even as possible with frequency."
"Using broken down transistor PV amps and bass amps for your guitar is a way to get a very different guitar sound and force that to happen."
"So yes number four um yeah so there's loads of cool things to do with the sound engine including not in this update but the previous update introduced this randomized page um idea now I think that is amazing."
"You can change this up after you're done recording because you're not actually recording the sound of this amp then, you're just recording your dry guitar."
"So, if your front, especially if you're at different distances between the front subwoofer and the rear subwoofer, you need to have some kind of ability to be able to time-align those."
"...to fatten everything up and stop the volume changing too much."
"What happens if I put that reverb on the snare drum?"
"The exhaust sounds pretty good. It's got that typical BMW straight-6 sound."
"Line check is when I am behind the console...making sure...everything is sounding good...that's basically what line check is."
"You're actually using the shell of the kick drum to sort of baffle that clicky attack of the sound."
"In order to make sure that the mix and the low end translate wherever I go, I'm adding in those upper harmonics."
"The closer you get to the source, the bigger the low end."
"... make your live performance sound more mastered."
"You're kind of modulating the feedback and the harmonics."
"It's really important to have your ears dialed into how EQ can affect a sound or compression or reverb and all of the things that go into that category."
"...the biggest problem I'm hearing in a lot of your mixes is something called the 127 effect."
"The treble booster is a very simple battery-powered device to boost the guitar signal and a simple network of resistors and capacitors to shape the sound and give it the right frequency balance."
"We want to just, I like to just go in and get out all the peaks that are happening and level out this, for the rear I'm going for a flat response."
"Adding Atmos speakers changes the way the receiver makes the sound."
"I think it's when you get to the second level of Sound Engineering that you then start seeing EQ as a way of fitting frequencies around each other and tracks around each other."
"The reason for this is when you go through the mastering stage and you increase the volume of the entire mix, that's going to bring these quieter elements up in the mix like delays and reverbs."
"Do no harm, affect the sound only where you actually want to affect it, not just randomly."
"99% of the time this is not going to cause an issue, but if you look at your waveform and you see that there's visibly significantly more energy above or below the center line during the loudest parts of the song, this is called waveform asymmetry."
"Saturator sounds incredible if you modulate it."
"You're getting a really cool attack with that high-end lift."
"If you've ever used one of universal audio's room plugins before, you are absolutely going to love this Sound City plugin."
"So it seems that even slight alterations to any of these parameters can drastically affect whether or not we get a proper cardioid function at a particular frequency."
"The whole thrust of that speaker, you know, is really to take this idea of let's try and create a single, pure, sonic source as far as we possibly can."
"Get them as coupled or working together as good as possible for a smoother response."
"This was a problem. So what I did was to verify this was that I put an extremely sharp filter in there to chop off everything below 80 hertz. Once I did that, wow, all of a sudden you could get decent sound."
"Your goal in production with the low end is to make it sound awesome."
"This Dome mid-range should sound spectacular... I just need to tune it and see what happens."
"At the core of each voice is a sound engine which can be either an oscillator or use samples."
"Saturation is there and I don't even think about saturation, I'm getting the result."
"I want to create harmonics where and why what I'm trying to do I'm trying to replace an EQ with saturation."
"Parallel compression is over-compressing your sound a lot, so very high ratio, very low threshold, and blend it with the dry unprocessed signal."
"Do not forget that every sound has its own distinctive place in the mix."
"If you've been feeling like the low end of your mix is driving you insane, it's not you, it's just how Sound Works."
"It's great for learning to analyze your vocal. If you're listening to your vocal and you go, 'I don't know why it sounds bad, something sounds wrong,' you can use a spectrum analyzer."
"We're treating these two like there are two different sounds that we can control the volume of."
"The morph filter is incredibly good. It's a shame that there's no LFO on the morph because my favorite thing is to just morph around these, crossfading between all of these different filter types. It's so exciting, love it."
"A practice CLA always employs when beginning a mix."
"So just being able to change the harmonics that way sort of heightens the fatness of the sound."
"So, your click is going to be here."
"If you want your vocals to have some punch, you want to cut through. Use saturation, Distortion, tape plugins, or preamp emulations."
"...mastering is about trying to make our song sound good being played back on any media device."
"If you get these three sounding perfect when played together, then most of the difficulties of a professional track are already behind you."
"Perfect, now let's bring this down a little bit like this."
"Notice how different this sounds, and I'm not even making any gain reduction."
"Now let's adjust the volumes because now the bass obviously became a lot louder."
"The bottom end is easy cos' I know what I want. The problem is the mid-range, because everything resides in that mid-range, so you're gonna really have to make decisions on who's gonna win out."
"So make sense so far so the whole point of this is of course why and doesn't low frequency directivity cause head room?"
"If you are a front of house engineer, you can dial in a mix for each band and simply recall that scene."
"He was like a real master engineer, making what he wanted to sound like. It was purely himself, his spirit shining, authentic."
"Adapting the sensitivity will improve your sound."
"The biggest difference was getting acoustic treatment in our room."
"Two things with the interface: make sure the gain is set well so you have a strong signal that's not distorted, and make sure any monitor or mix knob is turned all the way to the wet signal."
"MainStage can do a lot of the sound management stuff for you behind the scenes."
"It looks like it was designed by an actual person who runs sound."
"These are the best imaging so far. They move even in the sound demo, even in the sound with a weird [__] tweaked EQ."
"These might be one of the most impressive sounding studio monitors I have."
"Anytime you think about noise, what's the next thing that comes into your head? It's probably filtering of some type."
"Mount the speaker in such a way that the sound will come to you, surround you."
"The Brewer is the producer... your job is to basically take the musicians and the musical instruments and get that sound and express it in the way that the musicians had intended."
"The sound is definitely amazing, they managed it very well."
"If the guitar sound or the instrument's not sounding right, change the guitar or change the drum, change anything and build the track up from the foundation."
"I wanted a room that I can trust what I'm hearing in here and know that it's not lying to me when I leave."
"Performers could pull those drawbars to different positions in order to change the relative volumes of those harmonics, and as it turns out, the relative volumes of a note's harmonics is basically what timbre is."
"Any microphone is only as good as the source and it's only as good as what you do to it afterwards."
"If you can make it sound clearer in mono, it's going to sound really awesome in stereo."
"It doesn't really matter what it sounds like in solo, it matters more what it's like in context."
"I specifically call this 'Perk Verb' because this is a reverb that's specific to the percussion."
"You can see why I'm vigilant about naming; if something's a sub, I name it 'Perk Sub', 'Bass Sub', and if it's an effect, I name it who it's for and what the effect is."
"I love electric guitars through LA-2A's because of the fat, indeed the slow opto attack allows the transient to come through."
"Stopping those reflections between the floor and the ceiling is one of the key ways to cut down on audio reverb."
"It's a building built in a building; it's a real studio with floating floors."
"Research goals: make a good reverb... I didn't want to make it sound like a space, I just wanted to make it sound good."
"Suddenly you get enough echo density so it starts to sound like a real reverb."
"Their engineers invented a lot of the techniques, microphones, recording methodology that we now take for granted."
"If it's well recorded, well mixed, well mastered, no matter what format it comes out in, it will sound good."
"What Gullfoss does exactly is pretty hard to explain because it works based on the way we perceive sound."
"The mid-range on the IN-8s is absolutely fantastic."
"These are very very transparent sounding monitors and should allow us to create mixes that translate well onto different speakers and different systems."
"The cabinet is the most important part because it really defines the whole frequency range of your guitar tone."
"The final result sounds incredibly clean."
"The quality of your audio is going to be determined by the quality of that analog to digital conversion."
"We could throw on this Neve EQ really quick to get a really interesting drum sound."
"The NS10s are flatter so that tends to reproduce better in more devices."
"People talk a lot about how to get their mixes sounding wide, but way more impressive, in my opinion, is to have a mix with depth. That's a much more compelling and mesmerizing illusion."
"The frequency response for the Clear and the Clear MG is a generally agreeable frequency response that's mostly neutral."
"This speaker just gives you detail and clarity."
"It's like being in a recording studio; you want to capture the entire range of information, and it's your job, and it doesn't have to be complicated to get that because that's what you want to pre-visualize."
"Now that compressor immediately gives us that punch that we need inside of a kick drum."
"Each and every move made on this speaker is done so to better fidelity and get you closer to the sound that you're looking for."
"The drivers being used are incredible; the tone, the texture is just to die for."
"It has four four-inch drivers for powerful bass, eliminating the need for a separate sub."
"Now if you want this particular part to have a bit more bite, you might put in the close mics."
"The quality from this point on, as far as tone doesn't really improve; it's actually all good quality, great quality audio."
"This is how you get the New York sound."
"Sound wise, you get incredible definition in the mids and the highs with great details and separation."
"One of the first things I like to adjust with my reverb is the pre-delay time."
"To get the perfect reverb sound, we want to calculate a pre-delay time that's gonna be in time with the music."
"Lower noise means everything that's in your sound field is more precisely positioned."
"The best sound engineers and producers are not necessarily born with better hearing, but what they do have that sets them apart is a pair of well-trained ears."
"If you want to become a ninja at mastering, you need to be able to assess not only louder but is it better."
"I'm going to show you some ways to get the reverb sounding as good as it can be."
"Reducing the dynamic range of a kick drum is a key towards getting a stronger sound."
"...it's about tuning and controlling the decay and really eq'ing to make sounds fit together."
"Layering a snare with white noise is a very common trick."
"The base on this amplifier is supremely well judged; it's not exaggerated or light or lean, it's just right in the middle."
"It's not enough just to have a lot of low end rumbling down there; we want to find the clear low end that supports the song."
"These guys didn't care how much something cost, they didn't care how crazy it looked, they just wanted it to sound good."
"A nice neutral sound profile on these is going to give me a more accurate representation of the audio that I'm mixing and editing."
"Mastering engineers... begin to develop an internalized reference of level and tone but that comes through practice and repeated exposure."
"You can't just do close mics anymore, you have to put the air of the room and do the real room."
"Rick Rubin had 'Highway to Hell' on CD, and any time Andy Wallace had a question about how to make anything sound, he just pointed to that."
"What I would really recommend is to get a great pickup and preamp system, learn that, learn the nuances of it, really get it to sound good."
"The build on this is amazing and the mixing of it is amazing too."
"Big, big chewy gain with lots of clarity without any of those nasty frequencies."
"If you want to create more overdrive harmonics and distortion and not necessarily get any louder, put your boost before your overdrives."
"Without your ears, you just can't monitor the sound; you have no idea what you're making."
"It's a necessity, just to because if you build an amp, you'll know how to set it up and you'll know what to do to get the sound that you want and the feel that you want."
"Sennheiser is known for their legendary sound quality."
"Dial in a tone that does you no favors; you want no audio Photoshop."
"Ways to make the guitar sound more distorted have literally changed the music world."
"It's almost like being a tone therapist."
"Gloriously deformed new sounds are created, the ones we guitarists know and love as overdrive, distortion, and fuzz."
"It is very powerful, there are two 35 watt class D high efficiency digital amps inside here."
"Port alignment matters for sound on a semi-auto like an AR just as much as it does on a bolt gun."
"The sound is clear and crisp with plenty of warmth in the low end."
"I just wanted to make a really nice sounding boost."
"The sound is absolutely outstanding; the soundstage is clear, it's wide, it's deep."
"Sonically speaking, Pass Labs amplifiers are notorious for sounding like tubes."
"When you increase the vocals up in the app, it's emphasizing the vocals a lot; they get pushed to the front, it sounds like it's someone singing in front of you."
"You are optimizing completely efficiently how your amplification works in relation to the speaker."
"That extra eight percent either way gives me a lot more flexibility and range in my mixing when I'm trying to do creative mixes."
"It sounds stages very well on these speakers."
"The sound stage got a little bit wider, the leading edge of notes were even sharper and even more clearly defined."
"We didn't add any EQ to that; it's just neutral."