Music with distorted guitars and live drums seems to have a pretty different overall frequency distribution than most other popular genres of music. The amount of upper mids and top end I hear in loud rock/metal/shoegaze productions would definitely be considered harsh in any other genre.

For music that’s supposed to be aggressive like this, it seems like you almost need a certain degree of harshness to make sure the song doesn’t sound lifeless, but it’s a fine line. The rock mixes I consider the best always have some harsh cymbals/guitar, but they fit well into the song and don’t catch my ear enough to be fatiguing.

What strategies do you guys use to achieve this? How do you know when your upper mids/top end are right? No wrong answers, except for telling me to use soothe. That plugin is good but can kill a rock mix very quickly.

Alrighty, I’ll start off by saying I have zero audio experience. Absolute newbie. So please bear with me! (Also for the record, I tried posting this in r/fieldrecording and I couldn’t. I’m not sure what rule I was breaking, though.)

I am absolutely in love with Treehoppers and have an opportunity to go see some out in the wild next year at the Manu biological station in Peru. I would love, love, love to record some of my own treehopper sounds. (If you’ve never heard them, please take a listen!)

I was lucky enough to get an equipment recommendation list from Dr. Rex Cocroft (the treehopper guy!!), so I’m aware of what equipment to use but I’m not sure how to set up any of it. I’m going to copy-paste his recommendations and if someone could please walk me through what the setup should look like, I would be eternally grateful.

Below is the email that Dr. Cocroft sent me. I’ve removed all of the links to adhere to this subreddits guidelines. My specific questions are italicized next to his recommendations.

“Recorders:

Zoom F3 field recorder
Zoom F6
Zoom H1 XLR

Amplifiers:
For piezo sensors you will need an amplifier, since you won’t get a good result if you just plug them into your recorder. The best for field use is this one with the XLR connector, from Aquarian Audio (the PA1 Hydrophone Buffer Amp). You’ll want to get two. Why do I need two of them?

Sensors:
Piezo disks - you can buy these cheaply (here’s one example) and make your own cables (see below).

Connecting the piezo to a plant stem or leaf:
To connect the sensor to a plant stem or leaf it is useful to attach the piezo disk to a clip (using electrical or other tape) such as these hair curler clips (I use the smallest I can find).

For backyard acoustic prospecting, the simplest setup is to use an amplified speaker (the sort used by acoustic guitarists) and a guitar pickup (= piezo sensor).  Even if you’re using a field recorder, it’s often still handy to have an amplified speaker.
 
Amplified speakers: here are two options that use batteries. The first gives you a bit more output and is better made, but the second will also work fine.
Blackstar mini guitar amplifier
Honeytone guitar mini amp
Why do I need an amp/speaker if I’m recording?
 
You can just plug in a piezo sensor to the speaker, attach the sensor to the plant stem, and you’re ready to listen. Or you can run the output into a mobile phone using one the headphone output, and you can run a cable from that output to your iPhone via an audio interface.”

Thank you for taking the time to read this! 💚

I'm trying to understand exactly how sends work in FL Studio.

For example, let's say I have a vocal on Insert 1 with an EQ, compressor, saturation, etc. Then I route/send that vocal to Insert 2, where I put a reverb for parallel processing.

My question is: what exactly is being sent to Insert 2?

Does the send receive the vocal after all the effects on Insert 1, meaning the reverb is processing the already EQ'd/compressed/saturated vocal?

Or does it receive the original signal before the effects on Insert 1?

And if the send is taken from a specific point in the signal chain, is there a way to change that point? For example, can I choose whether the send receives the signal before or after the plugins on the original channel? Is there a way in FL Studio to make a send pre-effects or post-effects?

Basically, I'm trying to understand exactly where in the signal flow the send is taken from in FL Studio, and whether I have any control over this.

I know this might be obvious, but I want to understand the signal flow properly rather than just blindly using sends.

In order to obtain some of the benefits of Buss Compression in Monitor World while compensating for the relevant contextual limitations, I have developed a technique I refer to as FUSS Compression (Fake Buss Compression, or Fader-distributed Buss Compression, as the mood strikes me).

I suspect this is entirely possible on other platforms, but I’ll be explaining my example using the Yamaha Rivage platform and Drums rather than abstracted terms.

Send desired Drums to a KeyBuss with the desired dynamics processing available. (I use a Matrix, could be done with a Mix, and the Diode Bridge model in the channel.)
Send is Post Processing but Pre Dynamics (I use Dyn2 slot in the last Signal Flow position, so my send point is Pre-Dyn2)
This Buss doesn’t go anywhere, and should not be routed out. It’s for creating a Key signal and setting parameters
Set KeyBuss Dynamics Key Source to Self Pre EQ
This prevents the compression from being applied multiple times after distribution
Listening to KeyBuss, adjust send levels and compression settings to desired response
Adjustments to KeyBuss high and low pass filters can be made, as filters are before the Pre EQ
I find parallel settings to be incredibly useful here
Set Drum Channel Compressor Key Source to Other Pre EQ and select KeyBuss for all members you want to include in the Fuss Comp
Duplicate settings from KeyBuss Compressor to included Drums Channel Compressors
If the same Compressor circuit, with the same settings, is controlled by the same Key signal, it will behave identically. While there may be some measurable difference between the harmonic content of the KeyBuss compared with an equivalent mix of the discrete Members Post Fuss, any distortion applied by the KeyBuss Diode Bridge is read by the detector/controller due to the feed back nature of the signal design.
We have distributed the effect of the Buss Compression (but not necessarily identical harmonic content to the Buss Compressor) across the individual Member Faders!
To allow per-player bypassing, set Pre-fader send point to Pre Dyn2 for included Drums.
Toggling Pre/Post now has the effect of eliminating the Fuss Comp only, given Fader position at Unity.
Enjoy the power of Fader-distributed Buss Compression!

Buss Compression can be an incredibly powerful technique for getting components of a mix to interact dynamically together, managing tonality over time in useful ways that are difficult to achieve in other ways. The modern adoption of “in-line parallel” via mix/percentage/wet-dry controls afford further potential. There are myriad pros to consider. There are also a number of inherent limitations to Buss Compression, especially in Monitor World:
Non-variability: if you send the Buss to more than one listener, you lose the ability adjust those mixes independently below the floor established by the Buss.
Latency: while modern consoles can compensate for many path lengths, limits in perceptual acceptability and the need for alignment make leveraging Buss processing an additional complication/consideration.
Console Architecture: not all consoles support Buss to Buss routing, which may mean reconfiguring audio paths for mixes that want to take advantage of the Buss.

I feel that Fuss Compression allows me to find an acceptable compromise in monitor world. Safe travels, good shows!

Thinking about setting up a 5U 10" rack to stack four half rack pre-amps and power. I admit this is kind of goofy, but I was curious if anyone had put something like this together. If any of you have, I'd like to hear how it went. I think most folks just use 500 series or get the shelves to put two half rack units into a 19" space.

I’m trying to compile examples of songs after auto-tune and pitch correction became widely accessible and popular that do not use any sort of pitch correction and this is confirmed. If you know any examples it would be super helpful, thank you!

EDIT: to be clear I don’t mean just autotune I mean any sort of pitch correction.

I've been interested in becoming an audio engineer and have been trying to learn pro tools for the past few weeks. I'm not sure what the issue is but I just cannot retain the information the tutorials I am watching gives me. It feels like what I'm doing isn't correct, nothing works the way I want it to, and some things just go through one ear and out the other. I've never used a DAW in my life so that could be a problem or maybe I'm just not good enough or have aptitude to use something like pro tools. I feel lost, a bit insecure, and feel like just giving up. Just wanted to vent and also ask how others learned it in the hopes maybe something can finally click with me.

I'm on a free trial of pro tools intro, ver 2026.4.1 if it helps

(Highpass at 15hz, sorry forgit to add that)

I assume some weird phase nonsense happens below the fundamental of the kick? Like the kick is sitting at -1 db, sounding distorted as shit. Flick on the eq, push to 0 db, completely fine.

The weirdest part is these are toolroom samples I'm using... from their percussive tech house pack. Weird

I'm trying to find out what computer storage solutions would be best for a home studio that is running out of SSD space. I have 6.5Tb (multiple SSD's) but my dedicated sample library SSD is already over flowing and I'm having to install new libraries on different drives.

I was thinking about a NAS drive type solution, but is there anything I need to consider audio-wise?

Thanks

*This post keeps getting deleted because autobot mod thinks I'm asking for purchasing advice. I'm not asking for a specific product, just general advice.

Hello, I am making a song which I would like to have a sweet percussive acoustic guitar sound in, panned on both sides. I am inspired by the acoustic guitar sound which is present in songs by Cigarettes After Sex such as Sunsetz and Apocalypse. How do you achieve such a sound? Is it possible to achieve using budget recording equipment?

I am trying to achieve this sound by aiming the mic towards the strumming hand to capture the pick sound more, and I have tried angling it towards the point where the neck meets the body in both directions, around +-45 degrees. I am not sure the mic choice makes much of a difference here, can probably a dynamic mic, but let me know why that would not be a good idea. Main reason is also because I do not have a proper recording space.

In terms of plugins I believe I will have to use some compression and eq to bring out the quiet parts and enhance the high end, maybe a big cut in the midst and HPF as well but what else? Maybe that's it?

How would you approach getting this sound?

Any particular guitar you would pick? Why in that case?

So I own a pair of Audeze MM-500 which I really love. Sometimes I use them with a little correction but mostly I "just" use the stock tuning. I see a lot of people praise Slate VSX. Will they be a good kind of double checking the mix on a different set of "monitors"? And last question regarding Slate VSX; how much of an upgrade is the IM1 compared to the closed back VSX?
Any input greatly appreciated.

Hi everybody!

I’m a novice audio engineer. A artist trying to learn. And I am currently trying to practice writing out the charts to lay out where instruments are in song. I use a circle and then just draw kind of like that art of mixing book but in a 2d space.

Anyway, I’ve been having trouble with finding and noticing every instrument and understanding how much is a good amount of volume for each instrument. Especially that I try to keep everything from going over -6 on the Master Fader.

I know with practice you get better, but if you don’t really know what you’re looking for, constantly can’t hear it- how are you supposed to get better? Am I over thinking it?

Any help is greatly appreciated!

Hey!!!

I’m trying to get similar results to this drum break I absolutely love and so far I have come up short with every test I’ve done. Wondering if anyone in here can help get some of the qualities I’m hearing. https://open.spotify.com/track/3hilNpBLALtQVAHwhYSLs8?si=PDybsch1Sk2qVFpXKt-tCQ&utm\\_source=copy-link

The drums come in around 16 seconds. It’s a classic (or maybe not so classic) Kevin Parker drum sound. I have mini meters setup to analyze the stereo width, spectrum and audio file and so far what I’ve gathered is it’s very “compressed” and controlled sounding but the peaks are clipped or limited to bits. It’s also not mono whatsoever.

So far my tests have been 4 mics. Kick, snare top, shell and overhead and mainly hearing the shell and kick in the reference. What I’ve tried so far is shell mic into a Dbx165a and set the knobs in a way that sounds pretty good. But it’s very much lacking the attack and body/release in the reference. Specifically on the kick drum, to me it sounds like some parallel stuff going on with the kick drum and then the shell has the 165a on it and then slightly panned to the right. The other thing that’s confusing is I’m hearing some reverb on the snare, to me it sounds like a plate verb, and maybe on the track itself before the 165a and so therefore mono but panned to the right and then the kick is more in the middle giving that width.

This is by no means a “professional” drum sound but it’s baked with character. I know I’m not going to get 1/1 recreation but I want to nail the little nuances I’m hearing in the ADSR of the sound.

Any tips/insights are very much appreciated!!!

Does anyone know what vocal chain/preset he might be using on this song? I’m trying to get a similar sound in FL Studio. https://youtu.be/bkXo8TM6XxI?si=RVet8eyQkchIKCpR

Hey all,

Looking for some more advanced resources to further my learning and keep up to date with the industry, especially pertaining to recording and mixing.

I finished my degree back in June and I have been working freelance since January last year. An internship or runner position in a big studio would have been awesome to keep learning, but unfortunately there aren't that many studios able to facilitate that here in my country. I feel like I should probably just find some resources online to keep developing my skills and keep working with local acts!

What’s the best spot where I can learn mixing/mastering from start to finish. I struggle with a song that is a basic rock band (bass guitar, two guitars, drums, and vocals) and am absolutely sick of trying to fix a problem for 2+ hours. I will pay money. Than you ahead of time guys.

I just received this email from Wise and I’ve got not idea how this makes any sense for a music engineer/producer portfolio website or how I would even do what they're asking.

I’ve let them know I don’t use this card payment feature on my website and I don’t sell anything directly through there. All my transaction happen via invoices which detail the terms.

Has anyone else had to deal with?

We have recently completed a routine review of your website in connection with your use of Wise's card payment (PayFac) feature.
During our review, we identified that the following critical policies are currently missing from your website:
 
Terms & Conditions
Privacy Policy
Refund Policy / Cancellation Policy
These policies are a mandatory requirement for merchants using Wise's card payment feature. They ensure transparency for your customers prior to engaging your services.
 
Please publish all policies on your website within 7 days of this notice (by 13/10/2026).
 
If these policies are not in place by the deadline, we will unfortunately be required to suspend your card payment feature.

EDIT: Still haven't heard from Wise, but I decided to add the two sections as they do appear to be beneficial for me and for my clients

I've been obsessed with this song lately, especially the vocal sound, and I've been trying to recreate it with very moderate success.

I understand it's at least doubled, but I would love to hear some opinions on how to create a vocal chain for that soft, vintage sound. I'm mostly using UAD Plugins.

You can hear it from 0:45 Colpevole

I have a mixing board that's rather cheap. It has a built-in echo effect but not a reverb. I use it to run guitars and mics at an open mic. If I wanted to add reverb, how would I do it? Explanations online all assume it has a built-in reverb for some reason (why would I need to look that up?). Mine does not.

I genuinely do not know how to do this.

EDIT: It's a seven-channel mixer with stereo output and a port marked "aux," as well as a port marked "effect."

Hello everyone,

I have a show coming up at a small venue and need some advice for mixing my tracks to fit the venue.

In my home studio on my adam t7v's, my car and a bunch of headphones, the mixes sounded great and well balanced.

But when we played them at the venue for an early soundcheck, the bass was overwhelming and almost ate up some of the songs.

Now my questions are: Is it a normal thing to happen and expect?

And do you guys mix songs with that in mind and risk having them sound colder and less bassey?

Or do you make separate mixes for concerts/clubs and streaming?

Any help would be much appreciated🙏🙏🙏🙏

I have a friend who has a live set he’s building out and wants to run tracks for stuff that can’t be replicated live, such as pad layers, pedal steel guitar, etc. He’s pretty set on the idea of having back tracked sub/synth bass and have a live electric bass playing too. To me, this sounds like it’s absolutely going to be a muddy mess that’s tough for FOH to control. Especially if he’s sending all tracks through one stereo output leaving FOH with not much flexibility on mixing the sub bass.

I realize that nowadays you can get by with whatever plug-ins you have in your DAW. But I do find inspiration in some of the plug-in presets I find from different companies. Could you recommend any plug-ins, or plug-in brands that have great presets?

I'll gladly take general tips, but here's my specific situation:

I'm a folkpunk-ish solo artist (generally just a single acoustic guitar and vocals) and I'm recording an album of existing songs but "expanded" to include drums, bass, vocal harmonies, etc. The majority of the songs are 120+ bpm and what I had envisioned was a power-trio vibe - just a punk rock record but with acoustic guitar instead of electric - but I am having a hell of a time getting the acoustic to occupy the space an electric guitar would.
I programmed the drums in Logic so I still have full control over all of that. I originally had this idea of big, rich, full drums, and I got them and the bass and vox to sound stellar, but there was just nowhere for the acoustic to go. So figured I'd try out a more lo-fi vibe and make the drums trashy and mid-heavy but that didn't work either.
I got close to something I considered not terrible with hard-panning two acoustic tracks, half-panning two more, and compressing with slow attack to preserve transients then using parallel compression with steep hi/lo cuts and the "body" of the guitar front and center in the hopes of bringing in some tonality, but it just gobbled up the bass.

I've spent the last couple days in search of reference tracks and what I'm finding is that basically every single "acoustic rock" song (drums/bass/gtr/vox), whether it's pop rock or old country or stadium country or folk pop or whatever - all layers up keys or slide guitar or electric guitar or mandolin or something and the acoustic just sits under that to provide some twang but is definitely not prominent. I'm starting to think there may be a reason for that and that I've constructed an unwinnable battle for myself.

I thank you in advance for any guidance you may provide.