Here is the High Voltage NEQ, it’s going to market very soon; and this is an exclusive first look at what I consider to be one of the best new analog mastering EQ’s to go to market;
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Most recently I’ve been leaving breadcrumbs over my instagram of using iZotope RX Audio Editor for advanced mastering applications; and I’ve had several engineers and producers hit me up for one-on-ones to teach them my workflow with the RX Suite. And I figured; whilst I’d love to jump on calls with each of them to discuss my RX workflow; I can provide a more comprehensive, in depth and detailed look at my start to end process with RX Audio editor at my mastering studio here on YouTube;
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My new mastering converters; Dangerous Music Convert-AD+
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8 Months ago; I put out a video on FabFilter Pro-L2 and how I used it… only to learn that I had being lied to this whole time 2 Month’s ago; I learnt how the attack parameter worked as a gate for clipping with some of the limiting modes and now today I’m going to the challenge of decoding all of the operable parameters in FabFilter pro-l 2 for you!
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I want to challenge myself to look at this with as little bias as possible; as I want to continue challenging and developing my understanding of how I approach audio and mastering
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Digital 0; the bane of most producer’s existence; we want it louder; but no; we can’t go past 0 we can’t go “one-more”…
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I want to challenge myself to look at this with as little bias as possible; as I want to continue challenging and developing my understanding of how I approach audio and mastering
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I want to challenge myself to look at this with as little bias as possible; as I want to continue challenging and developing my understanding of how I approach audio and mastering
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I want to challenge myself to look at this with as little bias as possible; as I want to continue challenging and developing my understanding of how I approach audio and mastering
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I want to challenge myself to look at this with as little bias as possible; as I want to continue challenging and developing my understanding of how I approach audio and mastering
Read More
I want to challenge myself to look at this with as little bias as possible; as I want to continue challenging and developing my understanding of how I approach audio and mastering
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I want to challenge myself to look at this with as little bias as possible; as I want to continue challenging and developing my understanding of how I approach audio and mastering
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As a craftsperson, my journey is EVER evolving; learning new techniques; approaches, and developing my understanding of how to make a great sounding mix; every few years; I find the template which I'm using begins to outdate itself from where and how I've developed my knowledge; which means rebuilding a new template to suit a new workflow;
Read MoreToday I’m going to take a deep dive; with Null-tests to hear and see how stacking limiters may affect the fidelity of audio signals (02:08) and a blind-test using a pop-mix (06:08), a heavy 808 hip-hop mix (14:42) and a stripped back mix with piano, bass and vocals (20:38) to better learn and assert if this technique creates a discernable difference in the audio
Read MoreToday I’m going to take a deep dive; with Null-tests to hear and see how stacking limiters may affect the fidelity of audio signals (02:08) and a blind-test using a pop-mix (06:08), a heavy 808 hip-hop mix (14:42) and a stripped back mix with piano, bass and vocals (20:38) to better learn and assert if this technique creates a discernable difference in the audio
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So, how can you continue to make each mix or master better than your last? How can you have a net positive of great mixes opposed to days where you don’t hit the mark?
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As a craftsperson, my journey is EVER evolving; learning new techniques; approaches, and developing my understanding of how to make a great sounding mix; every few years; I find the template which I'm using begins to outdate itself from where and how I've developed my knowledge; which means rebuilding a new template to suit a new workflow;
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Primarily a Mastering Engineer; I never really pushed mixing; I started off working on around a dozen mixing projects a year back in 2014; to now in 2021; my demand being built up to mixing over 70 projects a year on-top of my busy mastering schedule;
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