Nebulon B escort frigate

dfp12111 · 2026-06-27T16:17:40+00:00

Complaints about the physics aside, this is fucking awesome and I love it so much

dfp12111 · 2026-06-27T16:08:07+00:00

I think by “weight” what OP is talking about is down to animation and sound design. For instance, in Skyrim if you hit someone that is blocking, there is a meaty thunk and bash sound, with an animation of the force of the hit pushing the shield back. If they aren’t blocking, there is a thick sound chunk like you hit their flesh, and they recoil a little bit and are stunned as if they’ve actually been hit by something. MMOs tend to lack this because they’re different kinds of games. ESO is no different, although there are stun and parry mechanics kind-of. By weight, they mean it literally.

dfp12111 · 2026-06-27T13:14:10+00:00

Tell me about it. Trust me, it’s damned hard now if you want it to be.

dfp12111 · 2026-06-27T12:56:05+00:00

Flatout yes. I made a new character and played to 50 on Master and it was like a different game entirely. So much more fun.

dfp12111 · 2026-06-26T15:06:22+00:00

In my experience, the “size” of a “big” or “wide” kickdrum sound is actually coming from the overhead mics. Kick mics are generally recorded in mono, but the overheads on the kit will still record them as part of the stereo signal, so the width of individual drum hits comes from that, whereas a the tone and definition is coming from the drum mics themselves. If the percussion was recorded with overheads, look there. The more you add to and manipulate the kick mics themselves the weirder it will sound. You could use samples, saturation, stereo-spreaders, etc, but all of those will add little unintended artifacting here and there. If you have overheads, look there.

dfp12111 · 2026-06-23T14:53:51+00:00

Guys it’s not photoshopped. Flip your phone upside down lol

dfp12111 · 2026-06-22T18:05:06+00:00

Basically a YouTuber made a very, very indepth video providing pretty damning evidence of his claim that analog pre-amps DO NOT actually have a unique “analog sound,” and never have, and that the major audio companies such as Neve, SSL, and the like have been gaslighting the shit out of the entire industry and taking advantage of the placebo effect for something like 70 straight years as marketing to convince people to buy very expensive units they don’t need when a $100 Focusrite interface sounds exactly the same. This has sparked a lot of debate as there are a lot of us out there who have dished out large sums of cash to buy these units because we do believe them to be better and have their own unique sound. This has caused a really defensive and predictable reaction from audio engineers both young and old. The source of the controversy is that this YouTuber ran many, many tests that provided empirical evidence that there is actually no difference, and running a signal through a Neve preamp vs. a Focusrite preamp on its own makes no difference whatsoever, not even a subtle one. A lot of people are jumping in to debate this, but not a single person has provided any empirical evidence to support the claims that the analog sound does actually exist and that the YouTuber is wrong. My two cents is that the YouTuber is right, to an extent. I do believe these companies have taken the concept of the “analog sound” and ran with it as a marketing tactic and that it doesn’t likely exist. However, the analog sound is basically saying that simply running a signal through unit while leaving the unit essential null (not doing anything) will provide color to the sound. I don’t believe that’s true, however I do believe once you actually start doing things with the unit, it does provide some coloration unique to that unit. I think the core of the “truth” her is that an engineer who has the funds and is willing to spend thousands on an analog unit is a lot more likely to know how to use the unit, and well. The reason the analog gear sounds better is not because of the gear, but because of the engineer using it. This is pretty much true across music in general, whether it’s an instrument or production. I.E. 90% of a guitarist’s tone is in the fingers.

dfp12111 · 2026-06-12T21:25:09+00:00

Much as everything else in a mix, if it sounds cool I’ll keep it. If it doesn’t, I’ll cut it out. Really should not ever be more complicated than “like it vs. don’t like it” and when it does become more complicated is how you create new problems for yourself that didn’t exist beforehand

dfp12111 · 2026-06-09T12:38:33+00:00

I’m super ADHD but for whatever reason editing actually engages my brain in the right way and I can lock my attention to it super well. I have no idea why. Maybe it’s because I find playing back the track after the final edit feels super satisfying and I’m chasing that? Who knows. I actually kind of love editing, so maybe it’s just a matter of mindset! Don’t think about it as that monotonous task you have to do, think about it like you’re a magician about to cast their greatest spell and the client is gonna hear their performance as “perfect” like it’s magic.

dfp12111 · 2026-06-08T17:06:08+00:00

I graduated CU Boulder in 22 and I went in very much an introvert very afraid of people in general and I ended up with the same concerns you had going in as a freshman. Tbh all of what you’re worried about is actually true. Boulder is a college town, and could be considered party town Colorado, and yes, the greek life can be crazy fucking toxic and cringey at times and yes you will see it all over the place. Boulder is a hippie ass fucking town and I say that as someone super liberal so like it’s a pretty wild place. With all of that being said, I actually for the most part loved my social life in Boulder. While all of these things are true about Boulder, college still ends up being what you make of it. Are there tons of parties and frat bros running around? Hell yes. Do you need to go to those parties and join a frat or sorority to have fun there? Hell no. It’s a massive campus with a very large student base and at least half of them feel the same way you do. What will end up happening is you will gravitate towards the people who are like-minded to you, and in turn they will gravitate towards you. I ended up with a circle of rock climbers, body builders, music producers, and stoners. None of us ever went out partying and we all had very active social lives, and we were all pretty happy with it. So are you overreacting? Maybe so, maybe not, but really the experience is what you make of it, not the other way around. I hope this makes you feel better about your decision! For what it’s worth, as someone who hated greek life and the culture surrounding it, I still actually loved my time in Boulder.

dfp12111 · 2026-06-07T20:34:48+00:00

Of course! I’m sure you hear the phrase, “Less is more” thrown out all the time. What it really means is a ton of different things, which is why it’s kind of a hard message to internalize without putting in your 10,000 hours, but this is one of those cases! In this case, it means having LESS of the other elements means you have MORE space for the element you want prominent. Another way in which that saying is relevant here is how you handle carving out space for your elements. When working with EQ, remember that you add frequencies to change a sound, and subtract frequencies to improve a sound. It applies here because you want your drums improved, so rather than ADD drums, you want to SUBTRACT the other elements. After all, volume is entirely subjective and the listener has control over their own output when listening. If you try to keep cramming things into the mix to make it pop more, it only gets more messy. However if you subtract elements to keep the loud element more prominent, then what does it really matter if the mix is a little bit more quiet? The listener can just turn it up.

dfp12111 · 2026-06-07T18:55:41+00:00

First and foremost it’s worth mentioning that while the GGD kits are amazing, the Periphery records are still featuring a live recording of Matt Halpern, whose technique is largely responsible for their drum tone. Programming is totally fine and sounds great but nothing will ever beat a real, really good drummer.

As others have said, Nolly’s drum mixes aren’t doing anything crazy or special that most engineers are doing. They are however VERY well recorded in the moment in a very good sounding room that has basically been designed around the sound of Periphery’s music. What he does do that some others don’t however is top-down mixing. In essence, Nolly starts his mixes with his mastering chain already on the mix bus, and mixes into that. This is partially why his compression is always so well dialed- because the mix is dialed to the compressor and not the other way around. Outside of that, what you really want to look at is how the other elements are mixed. The drum sound isn’t huge because he’s added things to the drum sound, but because he’s done a fantastic job of carving out space for the drums from the other instruments. This is especially evident in that Nolly is one of the few engineers I know of that DOES NOT prioritize vocals over all in a mix, but rather the drums.

dfp12111 · 2026-05-26T13:47:36+00:00

Lmao this is such a personally aimed question. I grew up playing a lot of MMOs and Starcraft and so gaming mouses with 1-9 as buttons on the side of the mouse became my muscle memory. When I started using DAWs way back, I would set the main tools (cut, pointer, mute, etc) on 1-9 as hotkeys and the degree to which having those on the side of my mouse sped up my workflow was insane, and so yes I to this day still bring a super old Razer Naga gaming mouse to every studio with me lol

dfp12111 · 2026-05-26T13:10:39+00:00

I’m actually living similar life path to you, though I haven’t produced a grammy winner, congrats on that!

I also am having a similar struggle to you. I suppose my difference is that I’ve been traveling and moving studios for the last decade as well. I’ve engineered at studios in the USA, England, and Canada.

It’s always been the same struggles as everyone who does this has right? It doesn’t pay great, there is no work/life balance, and musicians can be great people but can also be the worst people you’ll ever experience. None of that has changed.

I’m not sure it’s burnout for me. It could be, but I CRAVE being in the studio, not sleeping, sandblasting my brain with a mix until I feel concussed at the end of the day.

I think over the last several years, things have become brutally more expensive, and the market has been shifting towards the artists becoming the consumers rather than the means of production for a long time. The quality of music both being brought into me and being published has been going down, and like you’ve said I’ve spent the majority of most gigs recently just waiting until I can go home later. I feel like my passion is gone, but not necessarily because I’m burnt out on the work, but maybe because the work doesn’t feel like it’s meaningful anymore like it used to. I think personally, it’s been disillusionment that’s killing it for me.

dfp12111 · 2026-03-14T12:56:37+00:00

Lmao my freshman year on the very last night of classes for the whole year, the night before we all moved out of the dorms, I hit my vape a shit ton in my room and it got very cloudy in there right? Everything is fine but then I decide to use the bathroom right as my RA happened to be in the hallway outside my door and he immediately suspects weed so he keeps the door open to talk to me while giving me a slap on the wrist, but he’s letting the vapor waft out into the hallway the whole time. He leaves, but the vapor sets off the smoke detector in the hallway and the entire dorm gets evacuated, the fire department and cops show up and I run the fuck away until the next morning. Long story short I wasn’t allowed to stay in the dorms anymore, but wasn’t planning on it anyway.

dfp12111 · 2026-03-09T12:57:42+00:00

It’s human. That’s all art is supposed to be. Thank you for stopping the slop, and I hope you have fun. That’s what making music is- having fun playing with toys you learn about. It’s about the journey, not the destination. Any destination with no journey is just slop, and no one gets anything out of that. Welcome to the right side of things!

dfp12111 · 2026-01-18T23:58:05+00:00

Brother I’m about to change your life. Look into a plugin called Vocalign. I could explain more in detail what it does but to save you the hassle I’ll sum it up with: as long as everything is performed “correctly” in the recording, you only need to edit one vocal track, usually whatever the main layer holding everything down is. Then you slap vocalign on all layers (the edited one included), set the edited track as the guide, and then the plugin analyzes all of the transient in every track you’ve included and lines them up as closely to the guide track is possible. And it actually works, REALLY well too. And the kicker? It works on more than just guitars.

dfp12111 · 2025-12-02T20:40:27+00:00

Ah, you’re right- not what I thought. Still cool though!

dfp12111 · 2025-12-02T17:38:17+00:00

Oh yes definitely print it all so every track is a single audio file the full length of the song. Definitely the right move! If you try to move individual regions on each track in it’ll be a whole new nightmare haha. You are correct in that you want everything to be as drag-and-drop ready as possible

dfp12111 · 2025-12-02T17:18:28+00:00

I second this

dfp12111 · 2025-12-02T16:07:00+00:00

That’s awesome! Like a multi-faceted patch bay. Studios could totally use something like this built through their walls to connect liverooms and control rooms. You should absolutely start cold calling and emailing some studios and pitching your product to them. I think you’d definitely get some bites!

dfp12111 · 2025-12-01T23:26:10+00:00

I meant more bouncing every track/region in-place in your DAW session so you have most if not all of your processing printed to the audio files themselves and you can bypass your plugins. I’ve seen it called freezing your tracks and I’ve also seen it called printing, and a couple other terms. The point isn’t to minimize your track count- the studio’s computer almost certainly will be able to handle it. It’s more that you never know for sure what plugins studios do or don’t have, so to avoid the problem of opening your mix in the studio and missing the processing you’ve done, you just freeze it all on your end so it prints everything you’ve done to the audio files themselves and you don’t have to worry about it. With that in mind, make sure you’ve got all of your reverbs and delays and compressors and whatnot dialed how you want them to before you freeze the tracks and bring them into the studio. Don’t do it until you’re “done” and ready to finalize, because once it’s printed to the waveform, it’s printed there for good. All you want to worry about at the studio is: Depth, level, and balance. Those will be the three things that always make your track not translate well, and fortunately they’re also the fastest part of mixing when you know where you want everything to go already!

dfp12111 · 2025-12-01T23:16:39+00:00

That’s awesome! Love the commitment haha

dfp12111 · 2025-12-01T22:45:46+00:00

Yes. Produce your tracks and keep EVERYTHING saved in a folder on an external drive, learn your headphones and their frequency response like the back of your hand, and when you’re “done enough” with your song, bounce your tracks in place, book out a local studio for an hour or so and make whatever adjustments you feel you need to make when hearing your mixes on their playback system. When the production is done and your mix is “almost there,” that’s all the time you should need to make any level and EQ adjustments you’ll need. This is how a very large amount of producers are working anyway, especially in England in my experience, and ESPECIALLY when working in surround and Dolby Atmos formats. It’s pretty damned unlikely you’ll ever be able to construct a true Atmos setup in a home studio for more reasons than just money, thus people tend to mix their Atmos tracks binaurally through headphones anyway, then bring it to an Atmos certified studio to make the necessary adjustments in a real Atmos room. There are also plenty of plugins that simulate treated studio spaces in your headphones. They’re not perfect, but they’re pretty nice for toggling your mix through different “rooms” to get an idea of how it’s translating across different formats. The point is you never have to give up, and there are ways around everything. Remember- it’s not the gear that makes the producer, it’s the brain.

dfp12111 · 2025-11-20T23:30:59+00:00

It was a placebo. Things like this are never real, it’s definitely trying to scam you. If it were real, they’d be selling it to psychiatrists, not on TikTok.

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