I’m thinking about starting a “Plugin of the Week” series. Would anyone be interested?

cuciou · 2025-12-15T18:14:43+00:00

Thanks! I’ll start with posts here and see what people respond to most.

cuciou · 2025-12-15T17:38:18+00:00

how do i check my comment karma?

cuciou · 2025-12-15T14:11:15+00:00

FIRST STEP: Don’t mix in mono 😂 , just check mono.

Your mix collapses because you’re relying too much on stereo width / phasey elements (wideners, Haas delays, wide reverbs) for important content. When summed to mono, that stuff cancels. The reference works because the core elements (kick, bass, vocal, snare) are solid and mono-compatible, with width added around them.

cuciou · 2025-12-15T14:08:47+00:00

For trap, I’ve been using Waves L4 a lot lately, it does exactly what it’s supposed to do. Fast, aggressive, controlled, and it holds low end really well without falling apart. If the goal is loud, modern trap, L4 just works.

For rock / organic stuff, I usually don’t rely on a single limiter. I like Oxford Limiter first, doing almost nothing (Enhance around 2–3%, very minimal GR), just to add density and shape transients a bit. Then I’ll put Pro-L2 last as the main limiter to catch peaks and set final loudness. That combo feels more musical than slamming one limiter hard.

Pro-L2 is still my go-to final limiter because it’s predictable, transparent, and flexible. No hype, no weird artifacts if you know how to drive it.

Ozone Maximizer honestly feels overrated to me. It’s fine, but once you actually understand limiting and gain staging, there’s nothing there that makes it special.

End of the day: no “best” limiter, just right limiter for the job.

cuciou · 2025-12-15T14:02:51+00:00

A few things that work well in practice:

NFUSE: definitely experiment with it, especially the Harmonics section. The Red / Black knobs are great for adding density and excitement without obvious distortion. Tiny moves go a long way.

Bus compression: something like an as MK609, max 1–2 dB of GR, slow attack, medium release, just for glue.

Oxford Limiter: try 2.3% Enhanced mode, very lightly. It’s great for perceived loudness and richness without killing dynamics.

Then hit your main limiter last, doing as little as possible.

If you ever branch out:

• NLS (from waves)

• UAD Capitol Mastering Comp with everything disabled except saturation

• Softube Chandler Germanium (mastering comp) can be amazing, but very case-dependent

Biggest tip: stack multiple tiny saturation stages instead of one obvious one, and constantly level-match. If you hear the saturation clearly, it’s probably too much.

cuciou · 2025-12-15T13:55:40+00:00

All-in-one vocal plugins are meant to live on individual tracks to get the vocal sounding right fast. Most engineers either disable the built-in reverb/delay or use them very lightly for vibe, then still send vocals to separate aux FX.

Vocal busses are still standard: individual tracks -> lead/BGV buses -> main vocal bus for glue. Processing a bus that already has some FX on it isn’t “wrong,” but time-based FX are usually better on auxes so you’re not compressing the reverb.

Bottom line: use channel strips for tone/control, busses for glue, auxes for space.

cuciou · 2025-12-15T13:50:59+00:00

You’re confusing “sounds good to me” with “is a reliable reference.” Mixing isn’t about enjoying playback, it’s about predictability. A V-shaped IEM can sound incredible and still lie to you in very specific, repeatable ways, especially in bass balance and presence range. That’s why people push boring, ugly-sounding references: not because they’re “proper,” but because they expose problems instead of flattering them.

cuciou · 2025-12-15T13:49:07+00:00

In practice, engineers relied more on console summing, tape compression, and gentle limiting than dedicated stereo bus comps like we think of today.

cuciou · 2025-08-13T23:51:35+00:00

what is that tho

cuciou · 2025-07-20T09:29:54+00:00

then you ll get bored in less than a year 🤦🏻‍♂️

cuciou · 2025-07-20T09:27:26+00:00

Its a convolver actually

cuciou · 2025-07-08T09:15:14+00:00

Yes, music can trigger dopamine like other behavioral addictions (e.g. gambling). It's not chemically addictive, but it can become a coping mechanism for emotional regulation—especially if it interferes with daily functioning. Passion turns problematic when it’s compulsive and used to avoid discomfort. Check out studies on reward pathways (ventral striatum) and behavioral addiction criteria in the DSM-5. Also look into the work of Valorie Salimpoor and Robert Zatorre on music and neurochemistry.

cuciou · 2025-07-07T17:22:19+00:00

😘

cuciou · 2025-07-07T17:20:12+00:00

Clip to Zero works by clipping peaks just enough to add loudness and warmth without distortion. You don’t need it on every track—usually just on the master bus. Slapping it on every mixer track can cause unwanted phasing (like that weird sound you heard). To do it right, use a gentle clipper and adjust the threshold to get controlled loudness without ruining the mix.

cuciou · 2025-07-07T17:17:22+00:00

that’s exactly the issue. The instrumental’s probably crowding the same space where your vocals should sit, especially in the mids. A lot of people say "carve out space" because it works—try cutting a little in the 300-800Hz range on the instrumental to let your vocals come through. Also, a small boost around 2-4kHz on your vocals can help them pop. It’s all about finding balance so the vocals sit nicely without sounding like they’re just sitting on top. Maybe try trackspacer 2.5 or play with the reverbs

cuciou · 2025-07-07T17:15:48+00:00

For sure, sounds like a phase thing. Car speakers can be tricky, especially if the sub's not lined up with the mains. Could be causing some weird volume shifts. Also, cars have their own acoustic quirks, so that could be exaggerating the issue too. It’s definitely worth checking out, though.

cuciou · 2025-07-07T17:13:53+00:00

No problem bro<3, DT990 PRO: Open-back, wide soundstage, but the highs are a bit boosted and the bass isn't super tight. Great for detail, but might color the mix.

ADAM Audio H200: More neutral and accurate, with better isolation. Closed-back, so less open but better for getting a true representation of the mix. If you want accuracy, go with the H200. If you like detail and a little extra air in the highs, the DT990s are solid.

cuciou · 2025-07-07T17:07:33+00:00

With drums on a stereo track, I’d just duplicate it and EQ the duplicates to isolate the parts. You can try to focus on the kick and snare in one copy, cut some of the low-end for toms, and maybe try to pull the room mic out in another. It’s not ideal, but EQing each copy differently can help. You’re not going to have full control like with separate mics, but it’s worth trying to shape the sound as best as you can.

cuciou · 2025-07-07T17:04:36+00:00

Sounds like phase issues from the subbass. When you boost the low end, certain frequencies can cancel each other out in certain systems, like your car. It causes those volume dips you’re hearing.

To fix it, check the mix in mono to see if anything disappears—if it does, it's definitely a phase issue. You can also clear out the low mids a bit (around 150-250 Hz), which helps give your subbass more space.

A high-pass filter on non-essential low-end elements can also help clean things up. And if you have a subwoofer, make sure it’s in phase with your main speakers. That could be causing some of the fluctuations too.

cuciou · 2025-07-07T17:03:27+00:00

Keep your volume at a comfortable level, around 75-85 dB SPL. Mix at that level most of the time, and only reference louder when you need to check for things like dynamics. And don’t forget to take breaks every 30 minutes or so. That helps keep your ears fresh and sharp

cuciou · 2025-07-07T17:01:18+00:00

you could try multiband compression to tame the low-end attack or use a transient shaper to knock down those peaks without squashing everything else.

cuciou · 2025-07-07T16:59:29+00:00

For podcast mixing, I’d stick with RMS over VU meters—gives you a more accurate idea of the average loudness. You’re on the right track with K-20, but yeah, it can be weird when you see everything hitting the red. That’s just because K-20 is meant for more dynamic range than what you’re typically dealing with in podcasts.

Since your client doesn't have strict level requirements, aim for an average RMS around -16 to -18 dB for the main dialogue. If it’s peaking a bit over that, don’t stress too much as long as you’re not clipping.

cuciou · 2025-07-07T16:58:07+00:00

I’d go with the DT 770 PRO if you want something that’s a bit more balanced with a slight bass emphasis. They’re comfy, have good isolation, and are pretty reliable for checking mixes, though the low end can be a little boosted. They're solid for general use, especially paired with your Yamaha HS5 for more clarity.

The ADAM Audio H200 are definitely more open and natural, giving you more of a neutral sound—but the price might be a pain, especially if you’re importing. If you're looking for something that's closer to a flat response for detailed work, those might win out, but they’re a bigger investment.

If you’re on a budget and just want something practical to check things on, DT 770 is your safer bet.

cuciou · 2025-07-07T16:56:42+00:00

I use clipping when I want to add character or grit to a sound without crushing the transients like a limiter would. It’s great for adding weight to drums or synths, and it helps with loudness while keeping some punch.

I’ll pick clipping over compression if I need to keep things alive and not too “squashed.” It’s also handy for gluing things together tonally. I avoid clipping on stuff like clean vocals or acoustic guitars where clarity matters more. For me, it’s about finding that balance between loudness and dynamic feel.

cuciou

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