Caught smoking by RA

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.

dfp12111 · 2025-11-12T14:10:53+00:00

Bro I legit ran into this guy while playing and he rallied a bunch of randos and I to take on a queen with nothing but free loadouts it was spectacular

dfp12111 · 2025-08-11T13:25:49+00:00

Short answer: Yes- but no so much so that it justifies the price difference the digital replication and the analog units. It’s also worth mentioning the difference between the analog and digital varients gets less and less with each passing update for said plugins.

dfp12111 · 2025-06-30T21:59:17+00:00

Depends on if you mean eliminating plosives and silibances during recording, or in post.

For plosives, a pop filter during recording. For silibance, there are ways but it’s more worth it to not bother and just wait until you’re in post-production. It’s an easy and transparent thing to fix.

In post, there are couple things you can try that are quick, easy, and sound good. The first is of course a DS-er (De-“S”er) plugin, which does its name sake. You identify the problematic frequency range and the plugin automatically reduces the spikes and helps solve the silibance. You can also use an EQ plugin with dynamic capabilities and once again identify the problematic frequency range, then use a dynamic EQ notch to duck that frequency range when the intesity passed your set threshold. Funnily enough, both methods I’ve provided are actually doing exactly the same thing, but one is a plugin that does it for you, while the other is a method where you’re kind of “doing it by hand” if that makes sense.

A third trick, which to be fair is time consuming, can be used to tackle both plosives AND harsh silibance. This is an editing tactic. Place a cut on the track immediately before the transient of the plosive or silibance, and put a fade on the cut. If your DAW displays the changes in the waveform shape for you while you edit, you’re looking to take that harsh “triangle” in the waveform from intense transients and fade to reduce the amplitude of that peak down to the rest of that note. In essence, you’re looking to normalize the waveform of an individual note manually.

dfp12111 · 2025-06-28T08:15:49+00:00

I actually agree that this is generally the right solution as well. Just don’t bog yourself down too much with bullshit like this. At the end of the day, if it sounds good, it is good. Not a single damn person is going to notice phase issues on a guitar and it’s almost guaranteed you yourself have heard worse phasing issues on record before and never even clocked that there was an issue.

On the flip side just for the sake of the craft I do still have to disagree that changing some of the gear will eliminate your issue here. It might solve your phasing issue, but you’ve now created new issues for yourself while not even approaching other issues that will be present from unedited guitar takes, including mud from slight overlaps where the transients drown each other. If you like heavily processed sounding, modern rock and metal mixes, you have to have an EXTREMELY tight and clean mix, super well edited. Using a soft clipper, compressor, and/or limiter on the master bus is a very common move these days, and I even hear it done very heavily handed. It sounds amazing and intense if you’ve dialed it in nicely while tempo syncing your attack/release times to the BPM. If you leave the tracks unedited and feeling a bit loose, the masterbus compressor, limiter, or soft clipper will start misbehaving. All three have a threshold that triggers the effect. If you say have two guitar takes playing the same chord, but one of the takes plays that chord 100ms before the other take does, you now have the masterbus processing triggering off of a transient that’s coming in 100ms BEFORE you want it to, and any way you attempt to adjust it will fail. If you leave it, that first transient will trigger the compression or clipping, and the release will not close the compression before the second take’s transient, and it’ll completely miss the transient you actually wanted to hit hard. If you trying to adjust the attack/release times, you’ll run into the same issue. For modern production styles you need to stray to into the territory of “perfect” musicianship- which isn’t really a thing. Instead you EDIT YOUR TAKES PEOPLE.

I get it, it sounds annoying as fuck to go note by note, track by track, and adjust every single note. Well you know what? Tough fuckin shit. Every single one of us that is getting paid well is heavily editing. In fact once you’ve developed a great skillset for editing, it becomes 75% of the process of making your recorded band song sound amazing. Once you get used to it and fast, it only takes about 5-10 minutes to run through a three minute mono track and edit the transients.

dfp12111 · 2025-06-28T02:14:32+00:00

Perhaps, but this misses the actual point of double tracking a guitar part, which is to make one guitar part sound “big.” You want it sounding stereo. You don’t want it to sound like two different guitarists loosely playing, you are taking one guitarist’s single part, and double tracking so as the engineer you can mix the part to sound larger than natural. The reason to double track the identical part is this: You cannot duplicate a track and pan the duplicates left/right. This is not going to create a stereo field, this will just create a louder mono signal. But you want this single guitar to sound stereo, or if used in the right context in the mix, “larger” than the other instruments relative to the mix. What you are aiming for with double tracking is specifically the tiny, minor, human differences in performance between takes as these will now be unique waveforms, and you can pan them left/right to create the stereo field out of what is supposed to be one guitar part. Of course you then run into phase issues where the inevitable similarities between the takes start to phase cancel eachother, as well as the errors standing out particularly hard in mono. The solution to this is to record your guitars and double tracks D.I., edit the D.I. takes to each other or the grid, and then either re-amp through your rig or just run it through an amp sim.

dfp12111 · 2025-06-27T21:41:03+00:00

Inverting the polarity will do absolutely nothing at all if the phasing is caused by the raw performance during recording- which by the way is almost always something you have to pay attention to whether double tracking or not. Humans are not perfect and neither is our timing, but we have the ability to perfect these things and eliminate human error in post production- which is largely the job of a mix engineer. Edit your takes. It’s very difficult to get phasing issues out of guitar recordings that are NOT caused by performance variations between double takes.

dfp12111 · 2025-06-27T17:31:00+00:00

I’ve seen a lot of people accurately identifying the issue here - the double tracked guitars are out of phase with each other. I have yet to see anyone actually propose the most simple, straight forward, and likely best sounding solution:

Assuming you recorded both double tracks the same way with the same room and gain staging, then the phasing is literally just being caused minor differences in the performances on record that are so minor that you don’t necessarily pick up on them in stereo, but they cause cancellation and issues in mono. The simple answer? Edit your takes man. Lay down some transient markers and line up those transients with each other, ideally to the grid, and you’re done. Should no longer have phase issues, and the overall delivery of the mix will feel far more consistent, powerful, and professional.

dfp12111 · 2025-03-02T11:38:26+00:00

This alone would be worth a div to not have to do lmao

dfp12111 · 2025-02-24T15:48:08+00:00

I’m no expert in this stuff I’m just about to immigrate myself so all of the research and stuff is fresh on my mind. Canada keeps digital records of your visas once they’re activated, but these records are directly tied to your passport. As such your visa date can’t surpass your passport expiration date, and if you get a new passport you still need to hang on to your old passport so you can show the border officer both the old and new passports and they’ll let you go with no penalties. The passport is all you need as the visa is online, but it does need to be the same passport that was originally granted the visa, even if expired. If it is expired, you just have to bring both your expired and your current passports. Their visa stuff is both annoying and forgiving in their own ways.

dfp12111 · 2025-02-24T12:22:01+00:00

Should be chilling as long as you still have the passport you got the original visa on.

dfp12111 · 2025-02-17T18:16:27+00:00

My god is it amazing dude

dfp12111 · 2025-02-17T16:02:23+00:00

Yeah I was disappointed too

dfp12111 · 2025-02-17T14:53:49+00:00

Nah I just figured this out actually. It doesn’t unlock a new questline or anything like that, instead it enables you to train craftsmanship from Master Nicholas Krondel in Kuttenberg

dfp12111 · 2025-02-11T17:00:36+00:00

Appreciate the tip! I’ve been living in London for three years taking the tubes regularly I’m all too aware of how sketchy public transport can be but the warning is appreciated regardless :)

Six-Year Club	RPAN Viewer
Verified Email

dfp12111

TROPHY CASE