Could you explain how you do that? How are you recording the output of the LUFS meter? Cheers!

@@chris_share It needs to have a parameter that follows the loudness values that the meter reads. If it has, you can simply bring up the automation envelope for that parameter in your DAW, set the automation mode to write and then play the track through until you've recorded the loudness for the whole track. I do this with Reaper's stock Loudness Meter, which can output peak, RMS, LUFS-I/M/S and LRA. I know that Waves VocalRider also can do this, but I don't know of any other off the top of my head. I'm sure there are others though.

I mean duck the guitar just tiny bit on the snare hits?

IMO looking with eyes is overrated and hugely misleading sometimes. Something may 'poke' up in an analyzer that's totally fine and doesn't need to be pushed down.

@@TheAzurefang Not sure how else one looks, provided that one isn't blind. Of course, your ears are the actual judge here. The visual assist is just that. An assist. A reference point to get in the right direction in order to save time.

i think the kirchoff has modeling options which would introduce nonlinearities

Thanks!

Thank you Peter! And thanks so much for your support!

They definitely tend that way. But they're more flexible than other instruments too. I don't think people make enough use of high-pass and band pass filters. It's maybe a reason why the Korg MS-20 has a good history with bands. It's very pokey and you can really shape it to a point. Shaping reverbs, especially on synths is important too. Tuning / EQing the reverb can be more important than EQing the source.

@@compucorder64 absolutely. Often I’ll put the filterfreak on synths with only certain frequencies allowed through. And eq-ing reverbs is a must. Right on! Problem I have now are lush pads that act as leads- the drums just disappear

@@sonicpulp9417 That's a tricky one for me, because I more work on electronic/guitar music without drums. Subtle sidechain ducking of the pad, when the drums hit could help. And, I'm sure there's really clever side chain ducking now, that can duck in just some frequency bands selectively based on a sidechain input from say the snare and maybe toms. Since I'm guessing it'll be less the kick and hats that get obscured and more the low mids. Another thought would be that you could seperate them more by having the snare center front dry, saturated, and keep the pad stereo image quite wide and reverberant. And instead of relying on unison/stacking for lushness look more to create interest in pads with movement and detail (pwm, wavetable, granular). Then I think of drum sounds that work well with thick pads, and what comes to mind is very processed, gated, lo-fi type drums like you'd find from a Linn or Sequential Drumatix Drum Machine. Real drums could be processed in the same way, to punch through hard, but short, so the drums slam through, but leaving space for the pad.

@@compucorder64 wow awesome. I’ve been experimenting with all sorts of ducking recently on instruments you wouldn’t expect (also helps create movement). I usually use the trackspacer but soothe 2 w sidechain is an incredible option I just found. Mixing is so different from live playing.. I love my drum sound but it is completely different after I add a few things. Even though i try to make em super punchy

​@@sonicpulp9417 You know, when I saw the original video title, one thing I did think is that using Soothe3 can help de-clutter a mix. Because removing those unwanted resonances makes space. You could try experimenting with mono trash/knee/wurst mics super compressed and maybe with saturation. And experiment with the level. I like Blackbox HG-2 for that type of saturation applicatioon. Though I've wanted to get hold of Softube Overstayer for that too. Introducing a dirt channel, extreme compression and saturation is a great way of dialing to taste how up-front a drum sound is. And mono is underrated too, on trash mic, overhead, on near/mid room. SM57s are damn good on that thrashy use case too, which makes sense since it's not a million miles from a gnarly guitar amp tone.

Thanks! Funny and can’t figure out which one it would be.

@@creativesoundlab The guy that plays the cop, who IRL is married to Lily Allen 😀

Thanks man!