Thank you very much! You are awesome too! ☺️

Thank you very much!! It’s really nice to be back!

Hey! Normally, Melodyne’s window size is changed by dragging the bottom right corner of the window. What happens if you try that?

You mean you hear the effect mostly on the cymbals?

@ I’m mean when we are showing the. NUke options it’s super obvious on cymbals. Usually have a midi loop of the led zeppelin thing and let the students play with the buttons

I understand what you mean now! Indeed, cymbals definitely come forward when smashing with the 1176 on overheads or the drum bus.

@ I love that you actually do the a b comparison. Usually people just make claims and you don’t really get to see what’s going on.

@@pipelineaudio Thank you ever so much for saying that! One of the things I really want to do here is show all the working and the comparisons, so there’s as much honesty and transparency about my workflow and tips as possible! I never want to mislead anyone!

Thank you very much!! I really appreciate you watching!!

Thank you!!

That’s absolutely it! I don’t think it’s something you’ll use every mix, but it’s great when you need it.

@@AlexWhiteComposer ok thanks

Haha! This has made my day!! Thank you ever so much for watching!!

I actually do a lot of my work in mono, and this is just the kind of thing that’s perfect to adjust in mono when mixing. What is it that mono is causing you trouble with here? If you let me know what you’re struggling with perhaps I can address it in any future videos where I’m using mono?

Just because the center of the stereo field is crowded when a mix is collapsed to mono. Transients from the shells are shadowing those in the cymbals,and, IMHO ,that defeats the whole didactic purpouse of the video. Anyway it's a gpod idea to implement this technique with splashy cymbals. I often reach for a transient designer,hardware when tracking or software when mixing to achieve the same.goals. Cheers!!!

Thank you ever so much for your input! I really appreciate you taking the time to watch and comment and I’ll take your feedback on board for future videos! Thank you again and have a wonderful day!

i also use a transient designer to accentuate the hits and take the wash out .... maybe I'll have a go at this technique next time.

Yeah, lovely stuff with the transient designer! I do love those too! I think this way is a bit of a different thing maybe to use in conjunction with transient designers if necessary. I don’t think it’s solving quite the same issue as a transient designer would (although there is plenty of cross over). Thank you ever so much for watching and commenting!

So happy you liked it!! Many thanks for watching!!

Thank you!! Yeah, I do love a channel strip! What about it you? Do you like channel strips for mixing?

@AlexWhiteComposer I hated them until I learned to use a Neve EQ. Then I knew what I was trying to do with the SSL. Once I got past that, it didn't take long to appreciate the stuff you can do with the SSL gate and figure out how to get saturation. Like most things it's a learning curve.

@ oh I can completely relate to this kind of thing! So many times I’ve caught myself totally discounting processors only to fall in love with them a year later! I find it amazing how much subtlety there is in learning these audio tools!

Thank you!!!

Thank you for watching and for your suggestion! I will do on future videos!

Haha! 😅

What are gymbals

@@joshwest8882 no idea lmaooo but that's what it looked like. And I was wondering the same thing

Well, I definitely don’t know what a Gymbal is! 🤣 But for amusement I checked the dictionary and there is a Gimbal! Is it the font that makes it look like a G, or the colour on the background?

Thank you ever so much! I’m really happy you liked it! And so appreciate your sub!!

Thank you for watching!! My pleasure!

Thank you ever so much! Wonderful to be back! Really appreciate you watching. Hope you’re having a good day!

Thanks mate! I really appreciate that!!

Hey dude! Thank you for giving it a watch!

Thank you!! It’s great to be back!

Thank you ever so much! I’m glad it helped you a little! ☺️

Thank you! I’m so glad you found it helpful!

Hell yeah! Love a bit of that too!

Thank you very much! I’m really glad you enjoyed the video!

Hey man, this is so wonderful to hear!! I am so happy you have found it helpful! Let me know how the mix progresses!

Hey, I know it’s a bit late, but I’m going to make this video on the 1176! Hope you are doing well!!

Hey there! Well firstly, thank you for watching the video! It’s great to have you here! So, I can definitely shed some light on what’s going on for you with Melodyne. Basically, the plugin “takes over” anything before it. So in LUNA right now, if you have any plugin before Melodyne, then use Melodyne’s Capture to import audio into it for tuning, the only thing you’ll ever hear play back is Melodyne’s audio from the plugin onwards - so you’re quite right in that anything you change in the plugin chain before Melodyne will indeed do absolutely nothing! This also causes issues with moving or editing your regions on the timeline. If you’ve imported it into the Melodyne plugin and tuned something, then move a region, you’ll notice that the audio will still play back in its original position. The most natural workflow is to decide on a mic setting before tuning, as then you’ll never have Melodyne interacting or interfering with Sphere. Once you’ve done your tuning, export and then reimport the now committed Melodyne tuning and you won’t have Melodyne messing around with this “taking over” stuff it does. Also, to explain about the stereo file and the two sides of the audio. When you capture audio with Sphere raw, you’ll absolutely see the top part larger (front of the mic) and the bottom part smaller (rear) assuming the sound source is in front of the mic. You then use Sphere, but if you then export audio afterwards, you’ll notice the two sides of the stereo file look the same. That is because the Sphere plugin is dual mono. So although the front and back stereo signal goes into the mic, what comes out is actually a mono signal - or as we’ll call it, dual mono.

My pleasure!! Thank you!

Hey! So, with the phase whilst tracking, I don’t have any special workflow other than recording and then double checking. Zooming right in on the wave forms to check is something I do a little bit of, but mostly just deciding on a master microphone and then making sure everything is aligned to that is a good start. Of course, that doesn’t mean everything will be in phase because you can get things that are 90° out of phase. There are certainly plugins that will help fix phase between mics for you, too. Which can help! With UAD, you might have noticed I’m a big, big fan of their stuff. However, I don’t own any of their bundles, I just buy what I need as it comes up. I have a fairly decent selection of their stuff, and I do think they are worth the money, but only if you definitely have a use case for everything.

Oh I know, it’s so annoying! It was an attempt to have the camera auto track me between the mix position and the drums and it absolutely has not worked! 😂 I won’t be trying this on any future videos for sure!

Thank you ever so much! You know, I hadn’t thought about releasing the samples but I totally will do now that you’ve mentioned it! Thank you for suggesting it!!

@@AlexWhiteComposer that would be amazing. There are so few natural/raw kit samples to be found. Thanks again

Thank you dude!! ☺️

I will have a think about this and see what I can come up with! Thank you for the suggestion!

Thank you for watching!! 😊😊

Hey there! I think maybe I confused you by earlier in the video when I’m demo’ing the LA-2A, I begin with it first in the chain, but then later when I’m demo’ing the impact the 1176 has, it’s the 1176 that’s first in the chain. Sorry for any confusion! I’ll be careful to let watchers know when I swap plugin order during the videos in the future!

Hey! Awesome question! On the 1176, the fastest attack and release times are when the controls are turned clockwise, or to the right. The slowest attack and release are to the left. The numbering is from 1 to 7, which means absolutely nothing! It’s just arbitrary! So the 1176 is different from the vast majority of compressors, where the faster times are indeed to the right! Thank you ever so much for watching!