Ayaic Universal Mixing / part-1

[@andreaskallen2565]

Ich habe durch deine Erklärungen und durch deine 2 Plugins erfahren, dass es nicht auf die Menge der Plugins ankommt, sondern darauf wie gut sie sind und wie man sie versteht und bedienen kann. Sowohl Mix Monolith als auch COS Pro sind mit deinen überragenden Videos gut zu verstehen und zu bedienen. Ich hatte für meine Ohren noch nie so gute Ergebnisse . DANKE dafür

[@MarcusSt0ne]

As a math person this is so insanely nerdy… and I love it.

[@SecretsdeFL]

you are a genius, i was looking for something like this since i started 10 years ago ! congratulation !

[@anndrew_gi]

"perfect stability doubles the energy of chaos "...wow...that's deep. Nice!!!

[@FrequenciaMadre]

The passion and enthusiasm that this man has for his technological creations alone make them worth buying and using.

[@OCTO8R]

That is mind blowing how far you came in tech processing of sound. No argue. Just take my money 😳

[@Illkacirma]

after using cos pro for several years now, i still think its the best eq out there. unique!

[@timspencer1]

I've just got it and find the adjustment quite tricky after using other EQs for years

[@hyperactivists9390]

i own these apps and got a good result from the presets but your explanation of elbow points and which one to use where baffles me. youre like a sufi mystic with the math and geometry lol

[@ayaicware]

Many more videos to come...you should be a master with them soon.

[@romanx3267]

You are a genius, you solved the problem of ear fatigue and bad rooms

[@dawoklahoma9024]

Thanks for the 1,3,5, .. tutorials and using your software. Completely eye and ear opening.

[@Arianbn]

This is PERFECTION, just beautiful I’m amazed every single time Waiting for other elements and mix bus🤩 Thank you❤❤❤

[@jdigital1]

This Is Amazing, Best Purchase Decision I've Made, You Really Do get The Most Out Of Your Other Plugins Using Both COS Pro And Mix Monolith In Your Chain. 👍

[@edwardkenemorales]

I love geeky stuff like this. Thanks so much for the awesome vid!

[@thegroove2000]

I have realized after playing around that this doesn't need to automate. it is possible to just to use the level planes with the fader and adjust to taste.

[@AteuCu]

The best EQ yet.

[@byronsanto]

This is genius!

[@nurd_afrikhan]

blessup been looking forwards to supm like this

[@SecretsdeFL]

Hey :) thank you verry much for the video ! I was wondering why, you first use a 4.5 slope to mix the vocal, you say that it works great for vocals. and after the ez mix plugin you are changing to a pink noise with elbow point saying that it what you use for pop and rock vocals. am i missing something ( i'm not an english native) ? thank you in advance !

[@ayaicware]

Always remember the "4 points of noise": 1) noise will never sound bad. 2) Noise will always show you what it is. 3) Noise doesn't care what color you use. 4) Noise doesn't care about genre. - Watch this chapter in "Universal Mixing part-2".

[@SecretsdeFL]

@ayaicware Thank you for your answer ! But why did you not use the pink noise curve directly at the first eq ? Was it just to showcase différent curve exemple ? Otherwise i dont see the utility to eq using a first curve and then a second one. Thank you for your answer !

[@ayaicware]

​@@SecretsdeFL It's best to conform to -4.5dB first...that way, it works well for whatever you send it to next... A.I., analog emulated compressor, etc. The final ceiling is entirely up to you depending on the song content...some songs work best with the vocal following -4.5 ceiling, some a combination of -4.5/pink, others a combination of pink/brown, etc. That said, if one already knows exactly where they want to be, the plugins following COS Pro, etc., they can simply follow what/where they need to be. Bottom line is, with COS Pro, there's no longer a need to hunt for frequency points/Q widths/boost-cut degrees/etc....just balance your noise-elements to noise using noise and set them on their proper level-planes.

[@SecretsdeFL]

@@ayaicwareoh okay ! thank you verry much :)

[@anointedandchosen]

I love this plugin

[@BENNGIIE]

great info.. Im trying to get the concept of using elbow points. Seems faster to use them when editing. when doing vocals i just use the guide on 4.5 to get what i need but i do want to learn more. Thanks for this.. Can you show using it for Mix Bus as well. Do you still use 4.5 as the Guide ?

[@bucurgabriel6319]

I have your plugin and i can say ...Is AMAZING too❤l !

[@Thunderbrom]

COS = game changer

[@cpssounds3656]

True Genius! Thanks!

[@jetonbarabas]

"Bruce Almighty")) невероятное путешествие!

[@cara76]

I just started mixing and wow, your way of balancing frequences are surprising. I picture it as the future of balancing freq cause it’s seems just like math so it WILL sound good. So good mix will get a lot more accessible to every artists, allowing everyone to be even more creative with quality stems. But in your hyper eq, why not make this process a little less cumbersome and “clicky “ by using some sort of “wizard” or even ai ? (and with fine tuning from the human at the end) Very interesting stuff. Thanks for taking the time sharing your knowledges. Cheers

[@ayaicware]

My next video, "Playing With Noise", will demonstrate how easy working with ceilings actually is...A.I. isn't necessary as the "conform" drives the EQ immediately. I purposely go slow in the videos as my normal work speed can leave watchers lost as to what I'm doing or what they should be doing...and in the end COS Pro & Mix Monolith were designed for the user to access their untapped full musical potential.

[@TeramazeBand]

Cool Plug in . I think it’s still hard to follow Why your doing certain things

[@ayaicware]

I understand...but hang in there, there are many more videos to come. Although it's a new approach you'll soon discover it's not as difficult as it first may appear. Truth be told, the human ear actually has a very narrow range of sound that appeals to it...meaning you will quickly come to find that most things follow just a handful of noise ceilings. Guitars, Acoustic Guitars, Synths tend to always follow pink...deeper jazz guitars will follow -4.5 or brown. All vocals follow pink, -4.5 or brown. Kick drums, toms, bass are in the brown, -7.5, 9 range...generally -7.5. When it comes to elbow-points, most noise elements will utilize tier #1...1, 3, 5. - Anyways, much more to come.

[@JoelCalebOfficial]

is a very interesting method, but, how did you choose wich kind of noise are you gonna use for a specific instrument?

[@ayaicware]

Please watch the chapter "4 points of noise" in Universal Mixing part-2.

[@nurd_afrikhan]

im gonna buy this plugin

[@GetSongsDone]

this is genius

[@upliftersmusic]

When you use it I could see the value in this method but I don’t quite understand the process. Like Where I’m confused is when would I use certain profile noise and in what part of the frequency range? For example, you used white noise around the presence of the vocal, but why? Why not brown noise or another profile?

[@ayaicware]

My next video, "Playing With Noise", will address this and have you working with ceilings like a pro.

[@milessky3571]

I didnt find the frequency chart on download page of website. where can i find it please?

[@ayaicware]

It's under the additional "Presets" section on the downloads page... titled "Frequency Colors".

[@milessky3571]

@@ayaicware I found it, thank you very much 🙂

[@2shotDerringer]

Wild

[@nealmcleod7840]

From your videos i understand to start with elbows at the primary number's, 100, 300, 500, 1k, 3k and 10k. What i dont understand is how to use it to make my instruments work together. How would you, for example, use this to roll off or carve out space for another instrument? Or blend them together?

[@ayaicware]

The same way you normally would. There are 18 elbow-points in the primary block: 30, 50, 80, 90, 100, 150, 300, 500, 800, 900, 1k, 1.5k, 3k, 5k, 8k, 9k, 10k and 15k. So, for example, say you had a heavy rock guitar that adhered to a ceiling that was white from 20hrz to 300hrz and pink from 300hrz to 3k...and you wanted to carve out some mids...you could achieve this by "carving" along pink from 150 to 500...then white from 500 to 1k where you intercept the overall slope of pink again. That said, if one needs additional elbow-points they can utilize the primary frequency colors...though I have rarely ever needed to use any of them as elbow-points other than 2 & 4...which, by the way is the difference between 3 & 5 ...6 & 10...coincidence? I will be doing an entire video soon on guitars using a heavy rock song where I do this and even more extreme carving easily. If you experiment like this you will quickly get incredible results...because what blends best with balanced noise slopes...other balanced noise slopes. Stay tuned.

[@nealmcleod7840]

Excellent. Thanks alot. Ill have to re read this a few times but Ill give it a shot. Excited to see those videos.@@ayaicware

[@dahlhousestudios]

This is like Terence Howard numerological mixing! Wow. Gotta say, it's really hard to follow WHY you're choosing -9 this or Pink that. You're obviously very familiar with your own product and method, but I'm not sure what I can take away from this 'cos I don't WHY you're making these choices. But, I get what you're doing: getting spectral balance before hitting your chain (which is S-M-R-T)! Also, you're putting in all this effort to get this vocal sounding great-which it does-but what happens if timbre totally changes, like, vocalist just starts yelling or goes full falsetto? Wouldn't the spectrum totally change? 🤔

[@SecretsdeFL]

Great question ^^

[@proisis1]

I Like AYAIC slogan?

[@ayaicware]

Ayaic is an Aztec word (Nahuatl) that literally translates to: "never until now".