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Knob Twiddlers
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  1. Nil


    I hear you. I've just watched S3 twice : 1st time as it was aired, weeks after weeks, and then later binged the whole series. The Return made so much more sense that 2nd time, the most incredible 18h long movie ever (and an astonishing final chapter of the best TV show ever). Can't wait to watch it all again, and again.
  2. All this time I though I wanted RDJ future bangers... and now I realize I need RDJ future (?) timeless (!) ambient. And these Brooklyn / Manchester tracks. Anything actually, I’m ready Richard. And thank you, a billion times thank you. ps: would happily pay for these of course.
  3. These new tracks are freaking gorgeous, absolute lushness. Tha2 [world Scam mix] is my fav of the bunch : Richy Rich please release a SAW 84/92 inspired, 2020 made LP k thx bye xoxo pls Richard pls ?
  4. Quite an excellent EP, highly recommended if, just like me, you're into all crisp, hyper-digital post-club tunes. Somehow reminiscent of A/B til Infinity era Egyptrixx and Jam City's Classical Curves, with a 2020 something that simply works. https://hypnamusic.bandcamp.com/
  5. I built mine. I believe I've posted pictures in that very same topic ? Cost me something like 100€ and it's tailored to my need. Still planning to make a v2 though.
  6. Wow, fantastic ! We're in for a treat. We've talked a little over email weeks ago, I'm so curious about his composition system. His touch screen device allows him to interact with the code in a super intuitive way, as far asI've understood. I believe Kindohm is also scheduled 🙂 Wishful thinking for the rest of the series : Rian Treanor ? Mark Fell ? Calum Gunn ? Sebastian Camens ? the 'chre ?
  7. I'd say it's akin to going from general to detail, macro to micro : you set your buss comp to emphasize the groove of the various instruments dancing around within your group / mix, then fine tune with individual compression. I prefer to mix early on into the mix compressor though, toggling it on and off often to check how much the overall balance relies on the group compression. It's a different workflow really.
  8. Just keep in mind, if relying on various "layers" of compression (compressing individual drum hits, then drum buss then mixbus) that ratios multiply. Say you compress a snare hit with a 20:1 ratio (à la 1176) then use a 4:1 ratio on the drumbus then a 2:1 ratio on the mixbus :depending on the enveloppes of all these comps and the rest of the mix, tiny parts of the snare can be compressed up to 20*4*2=160:1 ratio. Which is a huge lot. So I'd suggest to go backwards if you plan to use any kind of bus compression : set master buss comp first, then group comp, then sub group comp, then individual compressors. That way I've realized that a layer or 2, tops!, of compression is often more than enough. I LOVE compressors, and they're so easy to overdo.
  9. Thanks mate ! I try to keep it all as clear and readable as possible, my template keeps on evolving , and I just try make it as simple as possible. I have an almost hidden group, handling all the MIDI routing from Tidal to the 9 MIDI tracks (the 1st one being actually a Drum Rack filled with a couple of Hive 2 instances, handling real-time drum synthesis). Then each MIDI track has an empty Instrument Rack (I love those and use them extensively), that I fill using synths (sorted via the Collection/Favorite thingie on the top left corner of Live's browser). I gain stage super early in the process, using Klanghelm VUMT Deluxe in VU mode (with 0 VU @ -24dB), as soon as I'm satisfied with a synth patch actually. Whenever using any sort of effect, I'll use TBProAudio AB_LM as I tweak (so that I'm not fooled by volume discrepancies), and eventually will fine tune with another VUMT instance. It can sound too quiet, but it's a non-issue actually, when working with any modern DAW. All I need is to export the final mixdown in 32bit FP, and it's easy to do ultra-transparent volume boost when mastering (aside from any sort of dynamic processing I mean. Most recent ADC/DACs are super clean quiet as well, so run them at moderate level when recording too : I've read countless times Motown's Bob Ohlsson and Kush Audio's Gregory Scott saying that often their sweet spots is ~ -16dB Fs (yes, for peaks), and I tend to trust them. As long as you record at 24bit, you should be alright. I barely work with recordings. I also often have a peak at MeterPlugs Dynameter (also when mastering), which is super useful to check dynamics. I have Airwindows Monitoring to dither in real-time, and I can hear its action now (truncation is a real bitch) : Live outputs a 32bit FP audio signal, my sound card (SPL Crimson) a 24bit one : it has to be dithered in between. If I had outboard, I'd also dither the signal meant to be sent via this outboard. I also use Airwindows PurestConsole, it has its way to enhance depth and clarity that I love. The channel instances are best used post-fader, so I've faked such routing by using Instrument Rack's volume output / pan, and PC is inserted last in chain. Works perfectly. PC Buss is first on my 2buss. Generally I try to keep all processing very minimal, and spend 80% of time tweaking melodies, synths, arrangement and faders rather than EQing. When everything sounds great raw, then I switch on Crave EQ on each instrument, EQing notes rather than Hertz. I barely ever compress, aside from the 2 buss. I'm a send/return convertee as well, for all reverb and delay duties (and fuck I love reverb). Now I've been monitoring super quietly for almost 2 decades (we could easily have a chat sitting next to my monitors as I produce, without the need to talk louder), and I believe it helps getting the overall "big picture" with more accuracy. The Amphion are tremendously useful monitors, even when whispering. Now I'm also learning to organize my Tidal code (for further live-tweaking once the studio versions are done), and that's also a huge challenge. I've also set a lot of very utilitarian functions there to let the creativity flow when needed. Sorry for the long answer, could go on and on. TL; DR: I tend to work on my template when I don't feel inspired to write / jam. Idea is simply to make workflow as pleasant and immediate as possible, so that I don't need to think twice on the "how". I try to hide everything I don't need. And I also rely on a very, very limited set of tools (that crucial for me). I have too many options already, and am stupid enough to buy new plugins whenever I hear something sounding better than what I already have / whenever it can speed up workflow. Gain-staging is a rewarding discipline to implement, as it makes mixing easier (like, a lot). Can take a little while to get used to it, but you'll get used to it super fast and it'll become a reflex rather than a chore in a heartbeat. Monitor at reasonable level, and stick to it 90% of time : we all need the predicability and consistency. As always, I hope it helps !
  10. Would you then de-ess the input or the output ? I'd spontaneously do the former... I guess ?
  11. Absolutely ! I should have precised that gated, individual drum hits, react extremely nicely to buss compression.
  12. ^ Great tricks. The first tip might create some phasing issues with some DAWs, depending on the way they compensate for the latency potentially induced by the compressor plugin. If using Live, you could instead bus the mix into a Group, then fake a send within the Group using an Audio Effect Rack and 2 chains : a dry one and a processed one. That should do the trick (I use similar techniques all the time, can be super useful to fake a Dry/Wet option when not available, or to run weird / complex FX chains in parallel... with the possibility to easily process the whole) Won't be an issue at all with hardware though. 2nd tip is great as well, you can even try a clipper or a limiter instead of the first comp.
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