Great video!

hi , can you help me out, how can i put a limiter after the atmos renderer in Pro Tools?

Great analysis.

Sounds good to me. Pun intended

I’m late but I need help where to put my desk , my room is a rectangle, but on the width walls, there’s a door on one and a big window on the other than takes up about half of the wall, meaning I can either put the desk on the length walls, but I don’t know 🤦‍♂️ the walls are made out of brick too if that makes any difference

And my roof is not flat

How would you go about printing audio with outboard gear? I have a Art pro channel strip 1. with a build in pre amp. And I want the audio from my daw (pro tools) to send audio to my Apollo twin and then into my outboard gear then back into pro tools😅? Any help would be appreciated!

Guthrie Govan started doing all this nowadays !! 😮

Yes. Yes, it is.

This was great, thanks brother just subscribed !

The only draw back i have is my ten watt amp looks so small with over drive on fantastic for loudness i have bought 20 watt amp 40 watt amp but my ten watt amp overdrive is the best thanks for your information one question could i put a 100 watt in to my ten watt amp

Hey Jeff, great video! Have a question if you get a sec. I dont need any further power amp headroom beyond what my 65 Fender DRRI and my Vox AC15 provide for my home studio context, but I am looking at buying an Orange head and am torn between the OR15 and the OR30. I definitely dont need 30 watts of power amp headroom, but people very often say that higher wattage amps sound better even at the same lower volume - especially with these Orange amps in question. I have never heard any actual explanation for why this would be however, since this is a totally different question than power amp headroom. Do you have an opinion or any knowledge about this?

Ah yeah, I see a ton of rectangular control rooms his top studios with speakers firing from the lenght.... no. There are ZERO of those, because rectangular rooms still suck, not as bad as square rooms but still sck IF the ceiling is parallel to the floor - look a major studios's control rooms... What you need at home is a room like THIS that is non-parallel room, where one of the corners is shaped like a L to act as a bass trap and to break STANDING WAVES. It's all about standing waves. The ONLY reason why someone would "benefit" from putting their speakers in front of the narrower side of the wall is if they have a subwoofer because of the length of the waves produced by it; but then it would come back to them reflected fully from the backwall instead of being diffused to corner, creating a delay and fcking up the phase even more. I haven't move the desk a iota since I walked in and put my speakers on it, there are two curtains either side of me and my dad who have 50 years of experience in studio said, "Damn those are really in phase!"... nuff said

Have you noticed or there isn't a single major studio in the world who worry about treating the control room window behind the nearfields speakers?... And mostly rely on NS-10s (I've always seen them on the side... can't blame anyone for that, the tweeters are so harsh!!!), Genelecs or Tannoys, more than custom in-wall systems... because it's easier this way and closer to the average stereo system! One thing I noticed about the internet is that people gather an immense amount of audio theory knowledge - some good, some not so good, and some downright frighteningly false, like the idea that vinyl is a higher quality format than CD with has close to twice the dynamic range and virtually no noise.... - while next to zero real-world experience on how to do those things. Granted, I too like to watch a bunch of videos on topics of interest without getting experienced in them first hand, but I noticed this trend a lot more when it comes to audio because it's my living. When you're a sound engineer, you do the things you do because you got a JOB to do. Period. 99% of purchases aren't emotional, decisions are made as a mean to an end, which is minimizing technical issues and maximizing the FUN of mixing. Therefore, amateurs tend to completely obsess over things they turn into a big problem in their heads. Pros are the shooting team at the Olympics who both won with no special gear at all : they don't need it. Your instinct becomes better than ANY piece of gear could EVER be.

Your Sound's like Dax Shepard

The story is that there was a photo shoot in a major studio and the Yamaha NS-10s were in their proper upright position on top of the console. They happened to be blocking the view into the live room from behind the console. The photographer decided to put the speakers on their sides so they would not block the view into the live room. After it was published, it became a sort of fashionable thing to do... So much so that Yamaha started putting the logo on sideways as an option.

I've been doing engineering and producing since the late 70's, when I built my first studio........The tweeters should always be properly aligned with your ears. In most studios, the engineer's ears are at about the 48" height..............If I design a studio for someone, I measure the height of their ears from the ground, when using their preferred chair, I make sure that the tweeters of the near field monitors will be at that height, so that can most accurately hear the top end, 'on axis).

One of the big name Grammy winning engineers whose KZbins I watch a lot I just notice the other day his monitors are upside down. I thought might be a gag, but then noticed that putting them upside down the tweeters are ear lever for how his sits behind is console.

Excited to see your perspective on Atmos!! Would love to connect with you on the topic of immersive audio. Feel free to send an email sometime!!

Very underrated short video here!! My Atmos Studio has Kali Audio IN-8's/IN-5's, and I did the same thing for stability to lay them on their sides for the surround channels. I compared a before and after for being upright, sideways, and even upside down. My main goal was to get better resolution in my heights, since I can't get them to a full 8 foot to Dolby's Spec. I compensated and just lowered my other speakers but putting them sideways and upside down, so the coaxial mid-woofer and tweeter ended up having more distance between the surrounds and heights. Another significant detail for Atmos, especially if you're in a 7+ surround layout, the resolution of panning gets less accurate between speakers when laying all of them on the side (in my opinion). So I kept them upside down. Looks very odd, but it sounds phenomenal. Super excited for your build!! Would love to see a studio transformation video :)

You are correct...just focusing on Vocals, tracking and being able to master your own mix, first....is a really good start...I agree....

Extremely, extremely helpful

Reposted my comments and they did not save... Is there a limit to how long the comments can be?

My comments seem to have disappeared... Looking for feedback. Should I repost?

Frankie Valli now stands there mouth agape dead staring at members of the audience while the tracks play, creeping out attendees. LOL!

i been lookin for this type to explanation, That's right information. Thanks❤

Thank you bro. Was searching and searching. You got straight to the point and exactly what I was looking for

I love segments like this . Straight to the point, no candy ass filtered sales pitches of favorite gear.

great explanation, simple and clear! thank you

0:19 😂 Masterpiece

How do I set up something like this? I’ve been trying to do something like this but when I send other busses through the master bus they start phasing and making weird unwanted noises

A small correction here: if you check billie eilish or adele atmos mixes, the kick and bass are deffinately being sent to the LFE. HOWEVER: its neccecary to create a decorrelated version of anything you send there. In cinema its sub-octave generated information alla Lo-Air, but for music we dont want that, so generally we use an upmixing tool to generate the LFE decorrelated version before sending it in moderate levels to the LFE

Thank you dude ❤

thanks!! you got straight to the point!! ❤

Καλό 👍 Και γλιτώνει αρκετή από την επεξεργαστική δύναμη του υπολογιστή

I was invited to play lead guitar for two shows out in Texas with an up and coming artist, they tried to force the idea of playing along to backing tracks. Click is bad, but one small mistake with backing tracks and everything is thrown off. Talent and practice > playing along with a recording.

It's a no brainer marshall jcm 900 lead 100 watt full stack amp

Good video. Thank you. Is a 20 Watt tube is like a 60 watt Solid State? Volume wise?

What the heck is a rear bus??

What exactly is the " Master Bus"?? New to the world of DAWs and the jargon

I have a negative Ping latency, is it possible? How can I fix it? Thank you

bro i can hear every little sound of the inside of your mouth it's pure horror

For the monitor issue you can get an out board monitor system

Thanks good information

The ones in your interface ARE good enough. External Pres will not fix your crappy mix job.

Plugins do not read differently from Pre to Post metering... The only time a difference would be seen depending on the metering is if you have faders in different places.. ALL pre fader metering does is allow you to see the signal level before they're affected by the fader. Look... put a plugin on a track. Play and check the levels in prefader. Now switch to post fader metering. The level doesn't change unless your fader is not at unity.... Look at your video around 4:30 when you're in Pre and turn on the compressor. The meter DOES change, it gets hotter. The exact same result would happen in Post fader mode and the fader at unity... You're essentially suggesting to use pre-fader mode to see the pre-plugin levels, but that's not how it works. It's strictly for checking levels before any fader adjustments. Again, with the faders all at unity, turn your plugins on and off. The meter will not change regardless of pre or post metering.

some diagrams would have helped visualize.

short and sweet

Now I know, after more than 10 years, Thank you! Blessings

I have a question. I’m working with a song that has a lot of dynamic changes. For example, different drums are used in different sections. Different instrumentation and pads on different verses. Even different vocals and chops. In this setting, would it still be best to categorize / group according to drums, bass, mids, and vocals? Or do you think it might make more sense to almost categorize according to section with those groups as sub groups within the section? Example: VERSE 1 GROUP (sub group of bass, mid, drums, vox) and then CHORUS (bass, mid, drums, vox)? I noticed this feels more organized to my brain but it obviously takes longer since I’m having to mix each individual section with their sub groups accordingly. Yet on the flip side, if I have ONLY the broad group stacks of bass, drums, mids, vox - I run into the issue of mixing the drums for verse 1 but then those general group effects applied don’t translate well to the drums in the chorus… and so on… does that make sense? What are your thoughts on this? 🤔