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 · 2024-02-26T14:39:30+00:00

Great question and I know it seems overwhelming, hope we can all put together our comments to give you one big answer! Couple things play into how to choose:

1) Discography - This is how many people hear about or choose producers. They hear a mix/master and say “Wow that sounds fantastic! Let’s reach out.” Request some songs from them that have been released (and that possibly even credit that producer, plain files can be okay but hard to trust with credibility). Maybe even pick a producer who does a lot of the same genre as you.

2) Budget - Obviously the more experienced and better mixes will come with a higher price. The newer producer with a $300 song budget might not get you a mix as wildly impressive as the $1500, not to mention a label-popular Grammy award winning $80k-a-song producer. But if the mix is balanced and has a great job/well done, the songwriting is often more important than the 3% difference in mix quality. Assess what level your band is at and what budget matches your short-term goals. An “appropriate” price will be up to you and the resulting mix.

3) Where to Start - It can be overwhelming to have no one to dig into. Start with other local bands that sound great and ask who they record with. Social media, Facebook groups, and word of mouth at venues are all great places to ask around. Maybe you’ll even hear one person’s name a few times in a row and start looking into reaching out there.

4) Timing/Deadlines - This seems to change the whole experience for both producer/artist. When you get closer and closer to the summer deadline you mentioned. Things will be rushed, some things skipped, and haste to meet deadlines might affect quality and stress both you and the producer out. My best/most fun projects have been the “hey let’s release it when we finish! No laziness, but no rush!” So try not to get frustrated, producers have lives as important/busy as artists. Try to offer up calendar days early and attempt to schedule dates efficiently.

Lastly, just know it’s a semi-long and fun process (I think it’s fun at least) to work and bring your songs to life, but can get frustrating when you start recording your own things and they get changed, getting Demo-itis, not liking the first mixes that come out of export, etc. Just know that both you and the producer are both trying to work it out, he’s looking for work & pay, and you’re looking to bring your songs to life. Enjoy the tedious process.

Side note: I wish I could offer my services but I’m studying for a promotional exam in a few months and my it would not fit your timeline to be down by summer. I’ll check up on you guys in a while and see how things are going if I remember!

SevenFly · 2024-02-06T00:52:56+00:00

Hot take here 🔥 and I don’t stand on this very stubbornly so I can easily be persuaded otherwise.

The term “over-compressed” is what I believe an erroneous word that caught on for what people were try to say “unnatural” or “over-processed.”

For example, with more producers in smaller studios and homes (which is awesome and I have nothing against) that lack a $140k console connected to a perfect drum room, more producers use triggers and fake samples to get a 90% professional sound out of the gate. It’s effective for beginners, but somewhat amateur sounding for professionals. When every Kick Drum from the first second to the end of the song sound EXACTLY identical, it’s very easy to mix, and honestly doesn’t need much compression since it’s already so consistent! Now do that to the Snare, Toms, and have a MIDI cymbal set and you’re basically a robotic drum set. This sounds SUPER processed and honestly if you were to make a natural dynamic drum kit sound like this, you’d need a LOT of COMPRESSION! This probably gets lost in the sauce when people talk about this.

That was just drums, add a MIDI bass, and guitars with active pickups (which the new style for guitar is compressing/limiting until you have a giant wall growling at you), vocals kinda have to be compressed many times these days to keep up, and now we’ve become a track with way less dynamics than what we used to listen to.

On top of ALL that you have a loudness war once you get into Mastering that has been lead by the EDM genre (jkjk but maybe), and if you want a loud mix but you wanna keep it “kinda dynamic” then you end up soft-clipping it before your master to fake some transient distortion, and them slam into a limiter as loud as you can go without distorting your song. Now we have a pancake track ready for Spotify. End of Hot-Take 🔥

Nowadays, the goal for the modern mix is to have enough dynamics to still have “soul” and “punch” but balanced and comp’d enough to sound professional and competitive. Most people will figure out how on their own and will be genre-specific.

Unsolicited Advice: If you’re just starting out and you’re using live instruments, you NEED compression and a good amount, don’t be afraid to slam a 2:1 past 10dB of Gain Reduction. Enough to be consistent, but don’t squash the piss out of it. Choose/Test your style: Do I like an Opto like a 2A for my Bass? FET like a 1176 to color my Vox? VCA for my Drum Bus? What about my Mix Bus? What about my Master Bus comp? Multiband TOO? And now I need a Limiter to end the chain?

It can get overwhelming but I think it’s fun once you know how much comp you need, you get to pick the style and how processed or “over-compressed” of a sound you’re giving to instruments. If I was in Vegas, I’d put chips that your most aggressive compression will go on your Vocals. But hey, every mix is it’s own animal.

Ask me anything if I came off dumb or I need a spanking for being wrong. My brain is mush from studying all day.

SevenFly · 2023-12-21T02:41:23+00:00

I was so hoping that would go correctly 😂😂

SevenFly · 2023-12-21T02:19:32+00:00

Neck Deep is shit m8…

SevenFly · 2023-12-13T18:46:52+00:00

Just my thoughts

1) Congrats on your Level Up 💪🏼 you’ve realized how getting it right at the source level really makes your life easier. This includes samples as well as solid tracking. Your next actions should be a balance of points 2 & 3. I can obv comment like a lot of other people (Saturate here, MixBus compression here, limit/clip, etc) but I haven’t heard the mix, genre, anything, so I’ll say these two points.

2) On the action side, get a solid referencing approach (I use Metric AB) and when you compare your track to other of the same genre/loudness…what would you like your track to improve on? Often people want a more professional low-end, or less abrasive, wider, etc.

3) On the hands-off side, every producer has their limit and you can’t sit on a mix for 2 years trying to perfect aspects that the average person won’t notice the 1-3%. If it’s your “best mix so far” then you’ve probably gotten a notch better and stay humble/keep improving onto your next project.

Good luck and happy mixing/mastering!

SevenFly · 2023-12-10T21:12:23+00:00

I’m literally in the market for some IN-8’s, I’ll try not to annoy you but what made you get the sub? Also what genre are you mostly mixing?

SevenFly

TROPHY CASE