Breakfast stack: Bioperine, Coffeegenic, Phosphatidylserine, Hoki (Fish Eggs) & Beef Tallow. In order by picture.

2021.11.27 16:45 Ok-Elk6796 Breakfast stack: Bioperine, Coffeegenic, Phosphatidylserine, Hoki (Fish Eggs) & Beef Tallow. In order by picture.

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2021.11.27 16:45 orange0401 [H] $100000+ Zelle, Crypto (BTC/ETH/XRP/LTC/ETC/USDC/USDT/many more), Venmo, Cashapp, Paypal, UKBT, SEPA, Alipay, Wechatpay, Fedwire, SWIFT wire transfer [W] knife/glove/skin sales at up to 90% Buff, TF2 keys at 1.3 ea

B/O: TF2 keys at 1.3 ea. Yes I'm aware its not the best price.

Looking to buy knives, gloves, inventories, etc. Offering cashouts.
Not too interested in 5-7/Knife CHs/T3 AKs/Low tier katos/ST knives. I'll still buy them, just expect really shit prices.
Please note that 90% is really only going to be for high tier items.

I'll be happy to go first if you have more cashrep than I do
CSGORep Cashrep
Buff store link because gotrade mod requires it for some reason
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2021.11.27 16:45 navel_buffet 🐕🔥Wildfire Inu Stealth Launching Now! || 🔒Liquidity Locked || 20% Burned on Every Transaction || 1% Reflections || 2% Liquidity

🐕🔥7% of the supply burned forever and we have just begun! 23% Buy/Sell Tax ➡️ 🔥20%🔥 of every transaction is burned forever ➡️ 1% of every transaction is reflected back to holders ➡️ 2% of every transaction is added to liquidity for price stability ca: 0x1b3c385c8c64ce8a512a7c041246f1cb2156bac8 🔒Liquidity Locked for 5 Years!🔒 No rugs, no honeypots, very safu. Just a dev that wants to watch the supply burn to the ground with a solid 20% burn rate. 
submitted by navel_buffet to MarsWallStreet [link] [comments]

2021.11.27 16:45 Dry-Zucchini123 Question about Season 1

I'm new to the series and I just started to watch it. I want to know what happened to Coach's character since he only appears in the pilot and doesn't make an appearance in the rest of the episodes. I know in the series they say he moved with his girlfriend, but then what was the point of his character? Also, does he ever come back?
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2021.11.27 16:45 Own-Charity2181 question

I opted In for email and text updates on my delivery for my puffco, I never got and missed the delivery
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2021.11.27 16:45 iamabdullahsaud Can I get and grow Chocolate Cosmos Flowers in south east Uttar Pradesh?

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2021.11.27 16:45 djtwisted43 How to calculate the number of trapezoids given coordinates of dots

I got a assignment to make a code thats allows me to click on a graph making dots and whenever i want i can click on a button and calculate a number of trapezoids. Idk if this is a right subreddit but any help would be highly appreciated. I made a graph and that mechanism of making dots bit i dont know how to calculate the number of trapezoids.
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2021.11.27 16:45 Crowape TF2 Daily Drawing Day 3

TF2 Daily Drawing Day 3 submitted by Crowape to tf2 [link] [comments]

2021.11.27 16:45 AutoNewspaperAdmin [Video] - US home sales on track for best year since 2006 | FOX

[Video] - US home sales on track for best year since 2006 | FOX submitted by AutoNewspaperAdmin to AutoNewspaper [link] [comments]

2021.11.27 16:45 gamethread-scraper [Game Thread] Oregon State @ Oregon (3:30PM ET) (x-post /r/CFB)

submitted by gamethread-scraper to RedditGameThreads [link] [comments]

2021.11.27 16:45 TurquoizeWarrior Request: Bring your shopping bag reminder.

So since plastic bags became illegal I find myself purchasing and stashing way too many shopping bags and I was wondering if there could be some sort of reminder that alerts you not to forget whatever item you want, in third case a shopping bag, before you leave home. Maybe location enabled. Could this be possible?
submitted by TurquoizeWarrior to shortcuts [link] [comments]

2021.11.27 16:45 Civil_Spirit_643 Furry deaths in a web show

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2021.11.27 16:45 mux2000 270 Mixing Secrets

I've just finished reading Mixing Secrets for the Small Studio by Mike Senior and it was an incredible read. Highly recommended for everyone. I know that not everybody's going to read it though, and I have made notes while reading it (though I highly recommend it, if only for the amusing prose if not for the huge amount of info that this guide omits), so I thought I'd share the wisdom. This is a bit long, but it might be valuable to some of you.
So here are 270 mixing "secrets" from the book:
How to listen
* Mix at low volume. Listen at different volumes.
* Cut low ends on everything except bass and kick.
* Use spectrum analysis to evaluate the low end.
* Take plenty of rest.
* Switch monitors frequently.
* Compare to good mixes. ALL THE TIME.
* Compare to good mixes - plural. You should have a reference for each aspect of your mix.
* Edit snippets out of the reference tracks, so you can switch quickly to the correct spot.
* Build a reference library, labeled by mix aspect.

How to prepare
* Before mixing, export stems, including midi. Mix in a separate project.
* When possible, do sub-mixes.
* Tracks should have meaningful names and colors.
* Use markers to mark different sections.
* Color sections and ranges of interest if your DAW allows for that.
* Before starting, listen to each track solo. Mark points of interest (problems to hide, gems to bring forward).
* For each track, define the frequency ranges that it would live in.
* Break vocal tracks, lead guitars, bass guitar etc. to different tracks by section as needed. (Multing)

Timing/pitch fixes
* Find the most rythmically tight track, straighten it out as much as possible, make it groove, then use it as a reference for all the other instruments, introducing them one by one, starting with the most rhythmically important, with a focus on maintaining groovitude.
* To judge if an attack is in time, you have to start listening two bars before it hits.
* Double-tracked instruments need their timing adjusted each track soloed at a time.
* Pay special attention to when notes (especially bass notes) end.
* To avoid obvious timing edits, make them:
- On silence.
- On noise.
- Pre-masked.
- Masked by another track (e.g. snare hit).
- In-phase.
* Once timing corrections are done on each track separately, re-listen to the whole arrangement, and move tracks slightly back or forwards to get the exact groove feel you're looking for.

On comping
* Always comp vocal and guitar leads.
* For each phrase, record at least three "perfect" takes then listen to all, and re-record those that fall short and have no redeeming qualities.
* For each track of a comp, listen to it from start to end, marking points to avoid or gems to include.

How to simplify
* The ear can hear three things at once. At each point in the song, figure out which are the three things and ask yourself if the other things are necessary.
* If two instruments clash, before trying to figure out how to make them not clash, ask yourself if either can be cut out of the mix entirely.
* If two instruments clash, and you want both, think maybe one of them can play in a different register?
* Remember the drop chorus. Sometimes removing parts adds to the dynamics of a section.

Keep things interesting
* Add drum fills (or other fills) when nothing else is happening.
* You can have more than one fill at a time, if they're in different registers.
* Something interesting should be happening every 3-5 seconds.

Which sections to balance first
* Start mixing from the most highly dynamic section (e.g. last chorus). Throw everything at it. Then move to the next-most-important section, mixing it to be slightly less intense than the first one and so on.
* A good way to make sure a section is less intense is by removing (or muting) parts.
* Don't be afraid to add new parts to the song if that's what's needed to differentiate it from other sections.
* "If the intro isn't strong, it doesn't matter what happens in the rest of the song"

Which track to balance first
* Find out which is the most important part. This is not always the lead vocal. Find out what makes this section 'tick'.
* Mix in each instrument in turn, by decreasing order of importance. The auditory space is limited, and you need first to make sure you get the most important things in.
* Keep processing to a minimum. Every plug-in reduces sound quality and introduces some unwanted side-effect.
* Each new part you add will have to squeeze into a smaller space, and will have to be processed in order to fit (e.g. EQ).
* If a non-important part has a gem hiding in this section, consider bringing it out for showing it off, but don't let it run over the important stuff.
* If a part's importance differs greatly from section to section, mult it.

For each part, by reverse importance:
* Add a high-pass filter. This removes any low-end garbage that will f*ck up your bass definition.
* For most instruments, set the cutoff frequency 15% below the maximum frequency you can set it without it affecting the sound. If you can't hear it, you don't need it.
* For low instruments (kick/bass) consult a spectrum analyzer and set the cutoff a little lower.
* Set the panning. The low-end and the most important stuff goes in the middle.
* Use opposition panning - if you put something on the right, put something as powerful/interesting, in a similar frequency range, on the left.
* Start at the center, with each additional instrument being panned to the right and left a little farther afield.
* The goal is to keep the instruments equally spaced from one another.
* Set the track level.
* The correct level for a track is where you can hear the things you love about it, but it doesn't obscure any of the things you love about other tracks.
* If you're unsure, mute and unmute the track. If you can hear it joining, but it isn't jarring when it does, you're probably at about the right level.
* Fade completely out and then slightly creep it in until it sits.
* When figuring out the right level, don't listen to the track you're fading in. Listen to the other instruments. That will give you a more precise indication of when to stop.
* You know that the balance is getting good when no matter which part you choose, if you fade it in or out by 1dB you can notice that something's wrong.
* Do not expect a perfect balance from this process. Further work will always be required. Try to get to a point where you can hear every important part in every section to a satisfactory degree.
* If you are unable to find a level for a part that allows it to come out in the mix (the "unstable fader" problem) - that's how you know you require further processing (compression/EQ).
* If you're multimiking, or mixing live drums or ensembles, and you have mic bleed, you'll need to take phase into account, and do polarity flips, minute timing shifts or use phase rotators or all-pass filters to avoid combing and fading.

* Mute all the tracks, then re-introduce them one by one, listening to the whole track each time. If any of the instruments, when re-introduced, need their fader adjusted and re-adjusted, you need compression.
* Generally speaking, if loud parts of the instrument poke out of the mix, or if the quiet parts get buried.
* Start with 6db peak reduction. Does that solve the problem? If yes, experiment with less reduction. If no, start lowering the threshold until a level is found that is stable. If you notice that different levels of compression are needed for different sections, consider multing.
* If you find that the level's right, but the sound is no longer as expressive or musical, consider a different pre-set or compression plugin.
* If none of these help, compression might not be the answer.
* It is common to have more than one compressor chained one after the other. This happens either because one is fast and harsh to take care of excessive attacks while another is slow and gentle to smooth out the overall level, or because you can get much higher compression with two compressors, without much in the way of compression artifacts, than you can with just one.
* For setting attack and release times, ask yourself what you're trying to achieve - do you want to reduce just the transients? The overall level? Maybe just the sustain, thus increasing overall dynamic range?
* Careful not to set too low attack values (<50 ms) for bass/bass drums, as the compressor might confuse the actual waveform to the overall level, producing distortion and killing the low end.
* Note that setting too long an attack value for fast sounds with little sustain (e.g. click), may cause the signal to completely skip the compressor.
* Use parallel compression to smooth out a performance while keeping a lot of the transients, dynamics and musicality of the original.
* Parallel compression allows for *much* heavier compression than single/sequential compression, even if that makes the compressed signal sound like shit. As long as together with the uncompressed signal it sounds good, it's fine.
* How to compress lead vocals:
- Mult by section.
- Add slow, soft compression just to smooth it out.
- Add a parallel, harsh compressor to color the tone to taste.
- If peaks still poke out, add a fast, harsh compressor in sequence.
* Compressing a track leads to it sounding louder, and therefore (subjectively) better, and changing its place in the mix. To combat that, route the uncompressed, together with the compressed track into a bus, and balance that bus instead of either of tracks. This way the track faders can be used to control the amount of compression, while the bus fader controls the level in the mix.
* When using parallel compression, keep an ear out for phasing or comb filtering going on due to plugin-induced delay.

Other dynamic effects
* When using expanders or gates on signals that fluctuate close to the threshold, a unique distortion may occur called 'chattering'. This can be solved by either tweaking the threshold, increasing the 'hold' parameter, or tweaking the 'hysteresis' threshold if supported.
* Gates and expanders can be used as envelope shapers for drums.
* Use transient shapers to enhance (or tone down) transients without adding compression.

* Improving the tone of the track should be a secondary consideration for using EQ. The first should be helping it find a place in the mix.
* Be aware of 'frequency masking' - the effect that if one instrument is loud in one frequency range, it effectively EQs that range down on all the other instruments. This is due to our ear being desensitized in that range.
* To fight frequency masking, either bring down the offending frequencies in the masking signal, or bring up those frequencies in the signals being masked.
* EQ pre-sets are useless.
* The process often makes each signal on its own sound less appealing. That's perfectly fine as long as it sounds good in the mix.
*EQ for tone in the tracking stage. EQ for balance in the mix.
* Mute all tracks and then bring them in by order of importance. At each stage evaluate the amount and range of masking and EQ accordingly.
* To evaluate each track ask two questions:
- Am I hearing all the frequency ranges I want from this signal (i.e. does anything require boosting).
- Is this signal masking any of the more important tracks (i.e. does anything requires cutting) (listen for changes in each of the tracks while muting and unmuting the new one).
* If nothing requires boosting or cutting, just leave it with the high-pass introduced in the beginning.
* To eq a channel, fade it completely out, then bring it slowly in until you hear one of its freq ranges too prominently in the mix. Is it the high end? The low end? Apply the relevant shelf filter.
* Once you've found a good position to for the filter frequency, set the channel fader low and the filter gain at zero. Listen to the mix for 10 seconds without the filter so you can remember what the problem was, then slowly reduce the filter gain. Stop when the problem disappears. Bring the channel fader up a bit. If the same freq region is too prominent, cut some more. Repeat until you either find a good balance for the track, or some other frequency range starts acting out.
* Once you're found a good balance in all ranges, turn the eq off. Listen to the mix with all the problems and imagine what it would sound like with these problems fixed. Then turn the eq back on. Most often you'll find that what you did does not match what you imagined. Do it again until it does.
* Check your eq on different monitors to increase confidence.
* Don't be afraid of layering multiple shelf filters, if your eq supports it.
* Only when your problems are not solvable using shelves, try to apply peaking filters.
* Often, you'll need to boost the high-end on bass instruments, for them to cut through the mix.
* Often, you'll want to create a 'hole' in the bass drum's eq (usually around 400 Hz), for the bass melodic instrument (e.g. bass guitar) to fit into. Otherwise they will mask each other.
* When applying a peaking filter, try to keep the bandwidth as wide as you can while still doing its job. Too narrow a filter may cause unwanted issues.
* Narrow peaking filters (aka Notch filters) are only for when you really need to cut out a specific frequency out of a recording (e.g. the 50 Hz electric hum, drum resonances).
* Two ways to find such offending frequencies, is either to use a spectrum analyzer, or to flip the notch filter such that it boosts instead of cuts, and sweep the spectrum until you hear the resonance, then flip the filter back to cut.
* Generally speaking, EQs come after compression in the signal chain, but there's no rule that says you can't put it before the compressor if it helps the compressor handle specific resonances, for example, or to have one before (to cut out frequencies that interfere with the compression) and another one (to adjust it for the mix) after.
* Be liberal with your EQ cuts, and conservative with your boosts. You can often achieve a good mix with no boosting at all.
* Watch out for filter resonances, especially on narrow peaking filters. Where possible, put the resonant frequencies away from the notes being played.
* If you're boosting any track with more than one peaking filter, or with more than 6dB of gain, you're overdoing it (unless you're doing it for tonal reasons and not for mix reasons).
* You're probably overdoing the EQ.

Adding harmonic interest
* A little distortion can go a long way to fill out a signal's frequency spectrum.
* Add modulation (in the form of FM, AM, ringmod, vibrato, tremolo or auto-wah plugins) at audio freq (above 20 Hz). Not be very musical and mostly works on unpitched instruments.
* Send to a pitch-shifter. Octaves always work. Fifths, fourths or thirds will also work in some cases. Shifting up is more useful than down, and make sure to keep the send level low enough that it sounds like a harmonic and not another voice.
* Use distortion as a send effect so you can EQ it separately.
* Consider compressing the signal before the distortion for a more consistent distortion.
* A nice effect is to high-pass the signal before the compression and distortion on the send track. This gives the combined signal a detailed, airy and cutting texture. This is a very powerful effect. Use with caution.
* Distortion always reduces the dynamic range. Re-do any compression/balancing after applying or modifying the distortion on a track.

Adding sub-harmonics
* Using automated sub-harmonic synths intelligently requires good monitoring equipment with a decent bass response, since results vary widely with the type of synth and source material. Don't use them unless you have good monitor speakers.
* Alternatively, double your bass drum with another sample, or add a synth line to double your bass line from below.
* You can use sample triggering for the bass drum.
* You can also use sample triggering to drive reverbs on other drums (e.g. snare).
* When adding a MIDI bass line to complement the existing one, if adding them in the same octave, make sure that they're in phase or else you risk destroying the original. If this happens, consider removing the fundamental from the original bass line with a sharp high-pass filter.
* You can use a sine synth for these sub-harmonics, but sometimes triangle wave works better.
* If you're not using a sine for sub-harmonics, its first harmonic will overlap with your bassline's fundamental, which could, again, cause destructive interference. Use with caution and filter as necessary.
* Careful not to put too much energy into the sub-harmonics, or they'll eat your entire headroom. Monitor, and filter, compress and trim as needed.

Synth pads
* Can be added to tonally adjust tracks (e.g. acoustic guitar strums or mushy overdriven electrics) without being distinguishable as independent instruments.
* To do their job, these pads need to be extremely EQed, so that they only live in the freq range where they're needed.
* Don't have to be long-held chords. Punchy rhythmic pads can be used to re-enforce the groove.
* If you can hear the pad, it's too loud.
* If you can not hear a difference when you mute the pad, it's too soft.

Frequency-selective dynamics
* what we do if both dynamics and EQ fail.
* When there are dynamic inconsistencies in a specific frequency range. When a flat EQ to get rid of some transient kills the overall sound.
* The simplest way is to put an eq on a compression send. For example, you can use this to lengthen the sustain specifically on the high notes of a piano.
* Linear-phase EQs are good for send and returns because they avoid possible unwanted phasing and combing effects.
* You can also EQ the control input of a side-chain compression. This way the compression clamps down only in response to specific frequency ranges. This is how a de-esser works, by clamping down on the high frequency contents of sibilants.
* Can also help fix a problem called 'pumping' or 'breathing' that happens when a compressor over-reacts to a low-frequency transient (e.g. a kick drum or a heavy left hand piano play) by shutting down the high-frequency content on the same track (i.e. the cymbals or the right hand).
* Pumping can be desirable (e.g. on dance or rock tracks) but not always.
* This sidechaining technique responds to a particular frequency range, but operates on the entire spectrum. To operate on a specific band, you need a multiband compressor.
* To get your mind around how to apply multiband compression to a single track, think of each frequency band as a separate instrument.
* The fact that multiband compressors have a compressor for each band DOES NOT mean that you should use all of them. Usually using just one of the compressors to fix a specific problem is enough.
* In addition to multiband compressors, there's also dynamic equalizers. These can do everything a multiband compressor can do and more. If you can learn how to use one of these, it can bail you out of any predicament.
* Of particular use, these dynamic equalizers can help tone down the formant resonances of a lead vocal (usually around 1 kHz).

* Example 1: to bring out the lead over the distorted guitars in a rock song. Send the vocal as input to a compressor on the guitars. Just a dB or two of reduction is enough to prevent the guitars from masking the vocal even if they're on the same freq range.
* Example 2: to add some rhythm to a pad, key its compressor to a rhythmic part of the mix (or create one especially for it).
* Example 3: route a low sine through a gate, and key the gate to the kick drum. This'll give the kick some low-end oomph.
* Example 4: key a compressor on a reverb return to the main signal. This way you can have long lush reverbs that don't swamp out the dry signal.

Adding effects
* Effects are make-up. they can only decorate an already decent mix, and you only add them once the balance is done.
* Reverb should always be applied on a send-return setup, and should only supply a completely wet signal.
* The reverb send should always go after the channel fader. This way you don't mess with the wet/dry balance when moving the fader.
* To judge if the effect works, mute the dry signal and listen to the wet signal alone.

Reverb for blend
* If you're looking to blend a track into the mix, the most important part of the reverb is the first half second.
* Send all the channels you want to blend together into the same channel.
* Look for a natural-sounding reverb. Avoid springs and plates.
* Don't worry too much about the frequency content of the reverb. You can always EQ it to your liking.
* The reverb channel is another instrument in the mix. It needs its own frequency niche same as all the other instruments. If it masks another channel, or colors the original track in an unwanted way, eq it.
* You'll usually want to cut out everything below 300 Hz for clarity of bass.
* For a more natural, earnest feel, cut out the high-end. Real world reverberations are rarely as bright as artificial ones.
* The pre-delay helps with phase-cancellation between the dry and wet signals.
* Think of the pre-delay as the distance between the source and the rear virtual 'wall'. No pre-delay means that the instrument is placed in the rear wall of the virtual room. Increasing it brings it closer to the listener.
* Start with 10-20 ms pre-delay (depending on the size of the room) and adjust until you get the tone you want.
* Same as with the synth pads, a blend reverb works if you can't hear it, but you can hear when it's gone.
* If your vocal's sibilants cause unwanted spikes in the reverb channel, de-essing it in the original won't work unless you sacrifice your dry signal, and de-essing it in the send bus wouldn't work because you've got a combination of a bunch of channels there. The only solution is to route it through an intermediary bus that does nothing but the de-es the vocal to hell.

Reverb for size
* If blend reverb's most important part is the first half second, size reverb's most important part is all the rest.
* To avoid your size reverb accidentally blending too much, choose a long pre-delay (> 50 ms).
* To mask the flaming between the dry and wet signals, choose a tempo-related pre-delay.
* The longer the reverb, the more opportunities it has to mask other channels, and so the more you need to balance it and eq it to fit.
* Long reverbs on bass instruments is usually counter-productive. It doesn't add much to size and eats out of your headroom.
* Long reverbs on static pads messes up the chord transitions and usually just ends up sounding like your keyboard player can't keep time.

Reverb for tone
* Keep it short.
* Apply to just one or a small group of related channels.
* Here you actually want the unnatural sounding plugins/presets. The less natural it sounds, the less of a blend effect you'll have and more of a tonal one.
* Springs and plates are also back on the menu.
* The tone change comes from phasing and comb filtering effects between the dry and reverb signals. You will not hear it by listening to each independently, you have to mix them to hear the effect.
* This is also the reason that shifting the wet/dry mix will alter the tone.
* Keep pre-delays under 10 ms for the best combing effects.
* You should not be able to hear the reverb except as a change to the tone of the signal.
* Avoid reverbs that substantially widen or alter the stereo position of the signal as that dilutes the tonal effect.
* Adding this kind of reverb increases the overall loudness of the channel (as for best effects you want the reverb to be comparable in volume to the original signal). Beware that you don't convince yourself that the effect is good just because the result is louder.
* Route both dry and wet signals to a common bus and balance them together. As opposed to the previous kinds of reverbs, this reverb is part of the instrument, and should be mixed and balanced with it, and not independently.

Reverb for sustain
* The same as tonal reverb, but with a longer tail.
* Gated reverb is good actually, and dedicated gated-reverb plugins are better than gating a regular reverb.
* Use at least 25 ms of pre-delay to avoid phase-cancelling.
* Again, to avoid too sudden of an onset due to the long pre-delay, either use a preset that has a gentler onse, set a pre-delay that's tempo-synched, or make sure that the onset is masked by other instruments.

Reverb for spread
* A side effect of most reverbs is that they anyway increase the stereo width of any signal.
* A short, fizzy reverb can be added to a lead vocal to add density and stereo to its upper range.

Multiple reverbs
* If you can't find the correct level for a reverb in the mix, try a different plugin or preset - one that gives enough blend might not give enough sustain and so on.
* Since no one plugin does everything right, it's better to dedicate a plugin for every task - one for blend, one for tone, one for size etc.
* Don't feel compelled to drown every track in reverb. Use it for specific purposes. The default should be dry.
* Some genres should employ little to no reverb at all so everything is IN YOUR FACE all the time.

* Can be used, similar to reverb, for blend, size, tone, sustain and spread, but takes less sonic room in the mix.
* Simple, clean delays work best for blend and size, and more characterful delays (such as analog emulators) are better for tone and sustain.
* For delays that are clearly audible and are part of the character of the sound, they are better introduced before or during balance, and not crammed in after the balance is done.
* Like most reverbs, delay returns should be treated as independent instruments in the mix.
* For blend, use a short 50-100 ms delay with no feedback.
* For size, use slightly longer delays (with no feedback).
* For tone, use delays under 20 ms for those tasty comb filtering effects. You can add a little feedback here, which produces a ringing that you can tune to the track key with a little finessing of the delay timing.
* For sustain, use longer delay time and more feedback.
* You can add reverb on the delay returns to push the returns backwards in the mix, bringing out the dry part.
* It's common to side-chain the delay so that it ducks in response to other instruments.
* For tone and sustain, it's common to heavily EQ the returns so they color the dry signal. This is especially important if you want the tone changes a delay brings but don't want it to blend the signal too much (e.g. if you want the signal to be tight and in your face).
* A tempo-synced delay is masked by the other instruments, and so needs to be brought up much further to be audible (or can be brought up much further before it becomes audible if that's not desired).
* In some cases, it may be musically satisfying to set the delay time a little longer than syncing would dictate. It makes the signal sound more laid back.
* Unsynced delays are more expressive and more pronounced, but run the risk of killing your groove.
* A common way to enjoy both worlds is to use a polyrhythmic delay (e.g. dotted eighth).

Delays and stereo
* Delays don't smudge the stereo field to the extent that reverb does.
* True stereo delay - when the repeats come from the same position as the dry signal - is good for subtle enhancements that should go unnoticed. It's surprisingly difficult to achieve.
* Mono delays are good for tone and sustain, and you can pan them to the same position you pan the mono input.
* Delays that spread the input in the stereo field may hide unwanted combing effects. Listen to them in mono to make sure.
* Ping pong delay (in which every echo is panned to the opposite side) can help stereo delays avoid skewing the stereo field. These are also extra effective with polyrhythmic delays.

Stereo enhancements
* The width of the field is more important than the positioning of each instrument within it.
* Double-track (or fake double-track) on opposite sides of the field for extra richness and density.
* If you have a section that repeats, you can fake double tracking by playing the second repetition together with the first etc.
* You can add pitched or unpitched stereo padding instruments (synth, noise, room tone) to give a wide stereo texture.
* Any left-right stereo signal can be encoded as M&S - Middle and Sides. This is a more useful representation for the topic of stereo manipulation.
* To increase stereo spread, all you need to do is fade up the Sides. Note that overdoing this will make the mono (Middle) signal relatively fade away.
* It may be sensible to do this kind of stereo widening only on some instruments (e.g. pads or rhythm section fillers).
* Any part of a signal in the Sides that you boost will be thrown wider out in the stereo field. For example one can have the stereo width be frequency dependent by EQing the Sides.
* To expand a mono signal so that it sounds wider:
- Copy the signal. Pan one copy hard right, the other hard left.
- Pitch shift the right signal up by 5 censts, the left one down by 5 cents.
- Add delay to both sides, with the delay on the left side a few milliseconds shorter than the right one.
- It is recommended to high-pass the delay returns to some extent to avoid to much phase cancellation.
- Verify that this works in mono too.
Haas delays
* Another way to expand a mono signal is with Haas delays - when you pan the dry signal to one side, and have a very short delay (<30 ms) come from the opposite side.
* Haas delays run the risk of phase cancellation in mono. Choose the delay wisely. You want it as high as it goes without it sounding like it's own voice. You want it to still be a part of the original.
* A high-frequency cut on the Haas delay can help it blend into the original.
* Haas delays are good for moderately expanding mono signals within a wider mix.

Auto-panning / rotary speaker emulators
* Careful not to over-do auto-panning. Can be very distracting.
* Keep the auto-pan modulation depth low, the waveform smooth (sine or triangle) and the speed at 5-10 Hz.
* Better to use auto-panning only on specific frequency ranges than on the whole signal.
* Better yet to use a rotary speaker emulator that rotates the low end and the high end independently (Leslie style).
* Best is to use it in a send and mix just a little of it in.

Dynamic tone and pitch changes (chorus, flange, phase)
* All can serve as stereo wideners, as long as you can vary the modulation per-channel.
* Keep the feedback and depth low. The strength of the widening effect will depend on the amount you mix it in.
* Vibrato can also do this, but good luck finding a vibrato plugin that processes each channel independently.

Buss compression (a compressor on master)
* It 'glues the mix together'.
* Can add character to the mix by distorting at certain frequencies.
* Evens out the dynamics, brings out detail, sounds overall louder.
* To 'glue the mix', you need no more than 2-3 dB reduction, slow attack and release, with a ratio well below 2:1.
* For more aggressive mixes, increase the reduction to ~8 dB and play with the attack and release until you see the reduction 'pump in time to the beat'.
* When applying buss compression, keep your ears open to any of the following undesirable effects:
- Loss of attack on prominent transients.
- Excessive gain pumping.
- Unwanted distortion.
- Loss of weight on instruments with low-end transients (kick).
- Undesirable alterations to the mix balance.
- Unappealing tonal changes.
* If you don't know what any of these sound like, drive your compressor way too hard, then remember what that sounds like to avoid it in the future.
* If you can't find a suitable compressor configuration, consider adjusting the mix to make it more compressible - enhance the transients on drum to make them more resistant to dulling, or tweak the balance to counteract the balance changes coming from the compressor.

Loudness matching
* Export a mixed excerpt of your project to a file. Import it into a new DAW session alongside some reference excerpts. Switch back and forth to see if you got the loudness right.

Loudness maximization
* Always has a price. The method(s) you choose depend on which prices you are willing to pay.
* How much you maximize depends on the genre.
* When doing maximization - concentrate on the side-effects. Your goal is to maximize without having too much of them. How much you up the volume is less important than keeping the side-effects in check.
* Comparing the processed signal to an unprocessed one in this case is useless because louder signals always sound better, even if they are distorted.
* It is possible to compare them, if you route the unprocessed signal to a channel in which you can tweak the fader to match the apparent loudness of the processed signal.
* This process is extremely sensitive to your monitoring equipment. Switch monitors often for a more objective take on the results.
* Possible maximization strategies:
- Full band "top down" squeeze - use a low thershold and a low ratio. With 3 dB reduction pumping should be pretty low. Use too much and you encounter undue emphasis on low-end details, delays, reverbs and noise and reduction of transient definition.
- Full band "bottom up" squeeze - use an "upward compressor" or "de-expander". Effects are similar to top down squeeze.
- Full band limiting - Fast acting, harsh gain reduction to stop peaks while leaving the rest relatively untouched. Side effects include pumping, bass distortion, softening of transients, and reduction in apparent drum levels.
- Multiband compression/limiting - Same as with full band methods, only now you can get more reduction at the risk of destroying your spectral balance. Do it too much, and it's as if someone is constantly messing with the EQ on the entire track.
- Adding distortion - a relatively subtle distortion can make everything sound louder without actually changing the signal level much. Side effects include fatiguing tonal harshness, emphasized sibilance, increased percussion treble, veiling of midrange detail and overall change to the mix tonality.
- Clipping - Yes, clipping. Side effects include tonal change, unwanted distortion on steady-state instruments. May be masked by distorted instruments (e.g. guitars) in certain genres.
* Now is the time to reference your mix to the library you set up.
* Compare your excerpts to the highest dynamic point in your mix.
* Answer the following questions:
- How does my overall mix tonality compare to the reference? You might want to EQ your mix.
- How does the balance compare? Listen to the most important parts.
- How does each instrument's tone compare?
- How does my use of reverbs and delays compare?
- How does my stereo image compare? (in different parts of the spectrum)
* You should come out of each referencing session with a huge to do list. Do the things, then reference again.
* Note that this is the hardest and most important part of the mixing process, and also the part that offers the most opportunity for learning and improving.

* Use this to bring the different sections into a coherent whole.
* Contrast the levels of reverb and delay between the verse and chorus to induce variety.
* Usually choruses are wetter than verses, and verse 2 wetter than verse 1, chorus 2 wetter than chorus 1 etc.
* Contrasting the stereo width between the verse and chorus also works. Have your choruses wider than the verses.
* A part that appears in both a busy chorus and a sparse verse will need its EQ to be automated as well or else it'll be masking in the chorus and/or sound hollowed out in the verse.
* Fader and EQ on synth pads that play throughout the song usually require automation for the same reason.
* If you're building a crescendo, rely less on fader automation, and more on adding parts, complexity, effects intensity, stereo width and intensity of performance.

Detailed rides
* To be used only when automated options (e.g. compression etc.) don't cut it.
* Can be used for troubleshooting, improvement of the mix in specific sections, and to emphasize particular features in the mix.
* In moments when nothing happens, you can crank in a bit of rhythm guitar, or a drum fill, to keep the listener interested. Try to maintain the unbroken attention of the listener throughout the mix.
* At this point you may want to refer to the log of points of interest recorded at the beginning.
* You can also move one of those gems to a different place in the song to fill in some dull moment.
* This includes reverb and delay returns. Those can be brought up to fill in dull moments as well.
* Don't worry about skewing the balance with momentary rides like this. As long as they're short no-one will notice.
* It's good to emphasize like this when a new instrument enters the balance, even if it's later going to be quietly relegated to the background.
* This also works for the first two syllables of the lead vocal - drive it way too high in the mix, then bring it down to its proper level. This draws attention to it, but doesn't usually sound out of the ordinary.
* It's not uncommon to have more rides on the lead vocal than on all the other parts combined.
* Dull consonants (ng, n, m, l) benefit from being faded up a bit in the mix. Also emphasize the vowels on either side to give the illusion that they're louder.
* Also fast diphthongs like w and y.
* Singers often trail off at ends of lines, and you can ride these higher to reveal hidden details.
* Emphasize the little moments - when the lead vocal revs up to a note. The crack when it changes from one note to another etc.
* On fast, rapping passages, add a little rhythmic oomph on the beat.
* If you can't fade the part as high as you like without destroying the balance, consider dipping (or even muting!) some of the background instruments instead.


* Listen to the complete piece from start to finish, three times in a row, on each of your monitoring devices. Note down any snags or annoyances that reveal themselves.
* Make sure that you're listening to the entire mix - not concentrating on any one of the instruments.
* Best time to do this is first thing in the morning, after a good sleep, when the mind is empty of references.
* Note if anything is drawing you away from the lead vocal enough that you miss a lyric.
* For this, do NOT play the piece from your DAW. Burn it to disc, format it as an mp3 or whatever. Listen to it in another room, outside, in a different context.
* Don't forget to reference to your library during this process too.
submitted by mux2000 to musicproduction [link] [comments]

2021.11.27 16:45 navel_buffet 🐕🔥Wildfire Inu Stealth Launching Now! || 🔒Liquidity Locked || 20% Burned on Every Transaction || 1% Reflections || 2% Liquidity

🐕🔥7% of the supply burned forever and we have just begun! 23% Buy/Sell Tax ➡️ 🔥20%🔥 of every transaction is burned forever ➡️ 1% of every transaction is reflected back to holders ➡️ 2% of every transaction is added to liquidity for price stability ca: 0x1b3c385c8c64ce8a512a7c041246f1cb2156bac8 🔒Liquidity Locked for 5 Years!🔒 No rugs, no honeypots, very safu. Just a dev that wants to watch the supply burn to the ground with a solid 20% burn rate. 
submitted by navel_buffet to CryptoMarsShots [link] [comments]

2021.11.27 16:45 navel_buffet 🐕🔥Wildfire Inu Stealth Launching Now! || 🔒Liquidity Locked || 20% Burned on Every Transaction || 1% Reflections || 2% Liquidity

🐕🔥7% of the supply burned forever and we have just begun! 23% Buy/Sell Tax ➡️ 🔥20%🔥 of every transaction is burned forever ➡️ 1% of every transaction is reflected back to holders ➡️ 2% of every transaction is added to liquidity for price stability ca: 0x1b3c385c8c64ce8a512a7c041246f1cb2156bac8 🔒Liquidity Locked for 5 Years!🔒 No rugs, no honeypots, very safu. Just a dev that wants to watch the supply burn to the ground with a solid 20% burn rate. 
submitted by navel_buffet to CryptoMars [link] [comments]

2021.11.27 16:45 Mori_Kettle_Tea_Love I'm 20F and grew up in an extremely sheltered religious environment, I just started dating 22M who has more experience. 22M is completely understanding and supportive of my somewhat restrictive boundaries, But I wish I could give him more. How do I not feel guilty?

For a little bit further clarification: despite growing up in a extremely sheltered religious environment that was also somewhat toxic, I have become a lot more open but I'm still deeply religious although I have my own views on religion now. For me sex before marriage is something that's wrong and I'm also not comfortable with groping or nakedness. I'm perfectly fine with hot makeouts and some heavy petting, But I just am not comfortable religiously with my boyfriend, say, grabbing my chest or trying to finger me. He is perfectly fine with this and wonderfully supportive, despite being far more experienced and probably completely willing to do more if I was okay with it. Last night we had an emotional conversation where I had tried to offer him more than I was comfortable with and he had turned it down upon finding out that I was only doing it because I felt guilty. He made it clear that he wants me for who I am and not what I can give him and he's perfectly fine with my boundaries and wants me to be comfortable. I still feel a little guilty though that I can't give him as much as a lot of other women of this generation. How do I stop feeling guilty?
submitted by Mori_Kettle_Tea_Love to relationship_advice [link] [comments]

2021.11.27 16:45 lolilealae Anyone here like a thicc redhead? 👀🥰

Anyone here like a thicc redhead? 👀🥰 submitted by lolilealae to SFWRedheads [link] [comments]

2021.11.27 16:45 glennrhee_sy PoP Sands of Time stuck

In the observatory and the prince just won't grab the last pole to the red glowing orb playing on Series X if it's a back compat bug
submitted by glennrhee_sy to PrinceOfPersia [link] [comments]

2021.11.27 16:45 blitz_the_Protogen Should we tell him?

Should we tell him? submitted by blitz_the_Protogen to whatthefuckisgoingon [link] [comments]

2021.11.27 16:45 EugenaTheBeana Any tips/ general advice? I’m new at this. Tank is 65 g. Has 3 Rosalind sharks, 1 pleco, 3 corydoras, 10 neons, 2 Buenos Aires tetras, 3 mollies.

Any tips/ general advice? I’m new at this. Tank is 65 g. Has 3 Rosalind sharks, 1 pleco, 3 corydoras, 10 neons, 2 Buenos Aires tetras, 3 mollies. submitted by EugenaTheBeana to Aquariums [link] [comments]

2021.11.27 16:45 Sinsharp_21 Conveyor belt!

Conveyor belt! submitted by Sinsharp_21 to satisfactory [link] [comments]

2021.11.27 16:45 krill_irk Nigeria, ire, gin.

submitted by krill_irk to palindromes [link] [comments]

2021.11.27 16:45 PleaseBanMe696969 Funny how I get this notification but not the actual “order notification”…..

Funny how I get this notification but not the actual “order notification”….. submitted by PleaseBanMe696969 to doordash [link] [comments]

2021.11.27 16:45 VendoriOokami Eden help!

I keep losing light in eden and was hoping for an uber. Please help!
submitted by VendoriOokami to SkyChildrenOfLight [link] [comments]

2021.11.27 16:45 GoodNewsBot You can't see them to count them, but Amazonian manatees seem to be recovering

You can't see them to count them, but Amazonian manatees seem to be recovering submitted by GoodNewsBot to JustBadNews [link] [comments]