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 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!

This is all great stuff! It’s hilarious fun keeping track of phase isn’t it!? 😂🤪

That’s really fascinating! I wonder how that happened?!

Sounds ace! Let me know how it goes!

Man, I love this story! This is just the kind of shenanigans one can get themselves into with audio! 😃

Oh fantastic! I’m really glad you found the video helpful!

Very grateful to you for subscribing! Nice to meet you!

Yes! There are a few and it definitely isn’t limited to UA.

Thank you so much!! I love that you were 1000! It has been exciting for me to see it tick over!

My pleasure! Thank you very much for watching!

Honestly, any reverb that can have a really short decay time! They all sound a little bit different but you’re looking to use it in very small amounts! Think like between 2% - 10%, and 10% would probably be on the high side! Just listen out for it in the gaps, rather than on top of the audio itself!

Thank you. @@AlexWhiteComposer

Totally works for all musical styles, except those that really require no dynamic control at all (for example, some Jazz and Classical). The thing that this helps to achieve is solving that issue where you push up the faders, then at first you quite like the balance, but before you know it things in the mix start trampling over each other. Unless you have extremely static parts dynamically, then this will help you keep your tracks steady, ready for further creative shaping, but you’re not fighting as much with your initial balance.

Hey there, thank you ever so much for watching! In this video, that was a raw voice but my gosh, didn’t I have to do some searching through projects to find one because, yes, I always compress when recording. In fact, I will do any amount of processing that I think is as close to the finish individual track processing as I dare. I’ll even bake in a reverb if I think the sound will never be without it!

Hey! So it’s totally possible with any EQ really, the real key is you’re using a shelf to set to 100Hz and taking that down by at least 15db, then boosting the high end around 5 - 10kHz by about 15dB again. What this does it then send the compressor an ultra thin sound so it only reacts to the high pitched transient stuff in the signal. Then compress like crazy with the compressor and finally do the exact reverse in the second Pro Q EQ. The only thing about the Pultec’s is that they are not quite the same frequencies between the cut and boost, because it’s old analogue hardware inaccuracy. So the Pro Q will actually be much more accurate than the Pultec. This means that the results will have a different texture/tone/shape - but only mildly. The main point is the process between these three plugins which gives you the real feature that you’re after!

@@AlexWhiteComposer many thanks :-)

Hey, I really appreciate you taking the time to say this! Thank you ever so much and I’m so happy the videos have helped!

Honestly, Hitsville is my goto reverb these days. Its character is amazing!

Oh man, thank you so much for saying so! I really appreciate it! I’m so glad it’s helping!

But echo is such a lovely effect!

Thank you so much!!!

My pleasure, thank you for watching!!

Thank you so much for watching! They’ll be out every Friday at 6:30 pm (GMT). Please let me know if there’s anything you’d like me to cover!

That’s amazing news! Very grateful to have you here!

Haha! Yeah, totally! Sometimes it is indeed just what the track needs!

Thank you!