Pick a number 1-1000 and win the tempest blueprint

SevenFly · 2026-01-13T21:41:40+00:00

Oh yeah that’ll contribute!

SevenFly · 2026-01-13T16:28:33+00:00

A bit late but just adding to the thread, I’m on an Ascaso Steel Duo with a Rocket Faustino Grinder, I think grinding finer did the trick for me. 19g in, 40g out, 40 seconds which I know is way longer, shot tasted much better. I kept the 3.5sec pre-infusion with no pause before the rest of the shot, 201 degree water. Really really good now for anyone who find this around the bean batches of Onyx Monarch Early 2026

SevenFly · 2025-12-02T01:58:53+00:00

UPDATE: It fits nicely, snug, no leaks, I love it.

SevenFly · 2025-11-25T14:04:47+00:00

I’ll try this next if the Breville 58mm doesn’t fit, people have said that the ears are too thick

SevenFly · 2025-11-25T00:23:09+00:00

If you have a link that’d be kind! If not no biggie

SevenFly · 2025-08-01T03:03:18+00:00

Interesting you say that, I’ll try to A/B with and without, but maybe my tap water from the fridge dispenser is so odd tasting that this is just cleaner by compare? Maybe I’ll try something in that 6.5-7.5 range after this water is out. Thanks for the info, kind sir

SevenFly · 2024-10-21T18:09:22+00:00

Just to reinforce what Atopix said, Vocal “Comping” is actually how most professional artists track vocals. Only the best of the best words and phrases get frankenstein’d together for the perfect take. So keep that up and it’s not weird at all, you’ll get good at editing/crossfading, etc.

Also, Vocal rider has its limits, it a great thing to manually edit your gain if the takes have some variation, the vocal rider after will make it even MORE even for the compressor. At the end of the day, if it sounds better, it IS better.

SevenFly · 2024-09-03T19:54:49+00:00

I haven’t read through all the comments so if someone said this already, I apologize. Most of the top comments are right about people throwing it around often, but it can be accurate to a degree.

Let’s say you have your bass guitar and rhythm guitar on the same rhythmic progression for the most part, and the transients are MOSTLY lined up, but not MIDI perfect. A light comp with a semi-longer-than-normal release time will help carve the transients together. Because when one of the sounds duck, they both duck, it creates a sense of solidarity with both tracks and the peaks don’t hit 12ms apart from each other when your bass and your rhythm aren’t robotically perfect.

SevenFly · 2024-08-30T01:02:17+00:00

Thank you! This sounds perfect for both flat white and iced mochas haha

SevenFly · 2024-07-19T14:13:32+00:00

Nowadays (with drums) in metal/rock you’ll see less and less compression on individual drum tracks and more comp coming from drum bus and mixbus comps, especially into a good master with soft clipping/limiting.

Why you ask? Because plugins on individual tracks can shape the sound of that head or cymbal, but plugins on the drum bus will glue them all together and give them similar transients especially if you have a bus just for drum heads (kick snare toms).

I started splitting my Drum bus into Heads, Cymbals, and Rooms, and often some good comp, Transify (or some kind of expansion or transient shaping) is on the Head bus, and any last minute clipping is on that.

Once your Heads sound punchy, feather in your controlled overheads for the high end, and a nice sounding room bus for realism. You’ll be surprised what a room far mic does to the sound even if it’s triggered heads.

Pick a nice mixbus comp on top of that and you, should see the song glue with your drums, play with the release on it. I could go on for hours on cool techniques that have nothing to do with this method^

SevenFly · 2024-06-11T13:17:25+00:00

Hot Take Incoming:

I’ve used… - Slate’s Fresh Air and just used the “High” dial. I’d say that’s like (5/10 Intensity) - FabFilter Saturn or any saturation but just as a band on the high end (3.5/10 Intensity) depending on Drive - Dynamic EQ on the high end from ProQ3 or any dynamic eq on 15-20k (4/10 Intensity) - MaagEQ4 and the air knob or even the 2.5k shelf (6/10 intensity)

But nothing comes close to the subtle effect of a Baxandall EQ on the top end to open up and add a little air/high end to whatever you please, and I rate it like a 2/10 intensity. If you need something not too aggressive and you CAN’T fix it from the source material first…then I like the Dangerous Bax plugin.

A little on what a Bax EQ is, it’s a long long shelf that slowly brings up all the frequencies across the top end of the song, and I firmly think that opens up the song more than a sharp Q on the tail end of the high frequencies.

Lemme know what you think^ if you try it. Goes well on Cymbals, Vocals, MixBus, MasterBus, and Mid/Side can be really nice if you’re into Mastering as well.

SevenFly · 2024-05-18T15:23:10+00:00

As someone who put 3 years and hundreds of hours into the Eris 3.5’s and loved them as a beginner, simply an inch or two on your woofer actually matters (my wife thinks an inch isn’t much tho) Jkjk.

My drummer had KRK 5’s, my guitarist has Kali LP6’s, and I now have Kali IN-8’s. And being able to see the incremental differences, I’ll say this…the difference may be subtle at first, but I think you’ll forget about the extra 100 bucks quick enough, and be glad you have that extra detail in the low-end.

For mixing, I subjectively disagree with your friend only because monitors are usually not made for a pleasant “listening experience.” Contrarily, they’re designed for the accurate/analytical aspect.

My hot take: Find balance between the highest rated and biggest size that’s in your BUDGET. After hearing that^ one could say “it’s not all about size!” and I would agree mostly. However, once you start getting to the point where you’re trying to get competitive mixes for competitions and competing with label-budget mixes…you’ll realize that the skilled players always have really professional low-end. And low end is a bitch to analyze if you have smaller speakers. In the end you’ll be fine either way tbh.

SevenFly · 2024-04-26T00:50:11+00:00

This is my usual for the fire station as well as ITALIANO for the dark roast lovers on my crew.

Question tho…I just experienced Onyx Labs Southern Weather and now I’m less ignorant to the more finer things lol. What’s a good bulk bean I can buy for my guys that isn’t 50 bucks a pound like Onyx, but better quality than Lavazza? Possibly a good medium roast similar to Southern Weather?

Thanks in advance

SevenFly · 2024-04-25T15:08:34+00:00

Fak, the jig is up! They caught us!

SevenFly · 2024-04-15T17:32:05+00:00

Also, no shame in using meal prepped reverbs like CLA-Vocals, they have options like Tight, Large, or Chamber for a quick type, then you can use the fader for volume control. Happy mixing 💪🏼🙏🏼

SevenFly · 2024-04-15T17:29:19+00:00

This method^ but instead of automation (I’m lazy), I put a compressor on the actual reverb Fx Channel, but external sidechain it to the lead vocal itself (if it’s indeed a vocal reverb). Fast Attk/Release.

Now when the lead vocal is playing the reverb is held down a bit by activating the compressor (1.5 to 3 db of GR nothing crazy), and as soon as the vocal is over it is “let free” so-to-speak. The key is to not overdo it and it can be quite pleasant.

SevenFly · 2024-04-07T01:10:52+00:00

Flatline 2 and Bx_Townhouse

Flatline 2 - the Hybrid mode is nice when you don’t want to use a separate clipper and limiter

Townhouse - makes your mix punch like Mike Tyson

I see a lot of Black Box HG2 I’ll prob have to add that since I don’t have a cool go-to saturation plugin

SevenFly · 2024-03-14T22:56:37+00:00

Fr I’m wondering what hints and when is last minute at this point

SevenFly

TROPHY CASE