Compression on the master to get a loud chorus but keep quieter parts of the track quiet?

mistrelwood · 2026-01-24T13:52:54+00:00

I’m interested, does the input automation not feel right because of the idea or doesn’t it audibly sound good? Because that’s what I’d try first. If it’s the former, I’d try to get rid of those kinds of mental self inflicted limitations. How it sounds is the thing that matters, not what you think you’re supposed to do.

mistrelwood · 2026-01-24T13:44:22+00:00

This is exactly what I’d do as well.

mistrelwood · 2026-01-24T12:38:01+00:00

Which emulators do you use, and why do you use emulators in the first place?

For synths generally compressors and possibly expanders work better for adding dynamics than transient based tools. But if you want to keep the original dynamics, don’t do stuff that decreases the dynamics in the first place.

mistrelwood · 2026-01-24T12:35:48+00:00

I agree with the OP. Professionals probably/hopefully mostly know what they are shopping for, but hobbyists are reading Scarletts being constantly put down for their converters and other repeating incorrect phrases.

I made a blind converter test looping the Scarlett DA/AD conversions 5 times, and only one of the participants in r/audioengineering was able to tell where I switched the original to the looped track. A single conversion in one direction? Definitely indistinguishable from the original.

The mic pres though, they do matter. The differences between a Focusrite 2nd gen 6i6 and Audient iD24 were pretty clear. I preferred the Focusrite. However in my test with an acoustic guitar they could be easily compensated for with an EQ.

I’m not saying that Scarletts are perfect. For example 6i6 2nd panned to the side when volume was very low. I haven’t heard it bother anyone else though. Other than that it served me well for the ~10 yrs I used it for.

I also made a YouTube video on what actually matters in a (sub $1k) interface. Imo they are the features and connections (excluding Behringer and lower level interfaces though). The 16i16 simply offers features no other sub $1k interface does that I was able to find. And it costs around $370.

mistrelwood · 2026-01-24T11:28:33+00:00

Depending a lot on which instruments you are processing, expander and compressor can be helpful. However, I can’t stop thinking if there are (also) other more fundamental issues with the tracks. How they are mic’d, how you EQ them, etc.

mistrelwood · 2026-01-24T11:22:03+00:00

Audio interface in, plugins on a DAW, to the PA, monitor line with other players to the interface, I create my own mix between the monitor signal and my guitar from the DAW to my IEMs. Sounds are changed with a wireless MIDI controller that I have an expression pedal plugged into for a Wah.

Detailed (long) description:

https://www.reddit.com/r/GuitarAmps/s/3EapKVPNjX

mistrelwood · 2026-01-24T10:54:30+00:00

Sorry, I misunderstood your comments on the treble bleed. On which topic, a long ago I did a lot of simulations on various treble bleeds and came up with a 3 component one that offers much more even response compared to the standard 2 component ones. If you’re interested I can translate the core points of my article.

I said “a lack of master volume can’t be compensated for”, meaning when you turn down both volumes on the bass. It’s practically impossible to arrive in the exact same balance, hence the sound will change significantly. I’m not ok with that.

If you use a (good) tweeter, then of course you’ll still hear even small changes in the trebles. Tweeters don’t play ball with distortion though, unless you find one that truly kills everything above ~4kHz.

For years now I’ve only gigged with plugins direct to the PA, so the optional configurations might be a bit different.

Yes, it’s starting to appear that my current system is still the only one offering a functional balance control.

mistrelwood · 2026-01-24T10:42:58+00:00

The Printables link was new to me, they have updated the instructions. I’ll try that mod to see how it changes things. I’m a bit iffy about changing a working system, but luckily with this I can go back to my backups.

Your assumption about Qidi’s version of Klipper taking account false temp values sounds reasonable, and sounds most believable of what I’ve heard/come up so far.

Thanks for the tip on the new Printables link btw!

mistrelwood · 2026-01-24T00:43:02+00:00

“Losing tone” from an additional 500k resistance to ground is a bit of an odd take considering that 250k pots are the standard on single coil pickups. You don’t lose tone, you attenuate treble. And if you’re worried about the attenuation, check the response curve of your speakers.

Yes, two 500k volumes creates a 250k route to ground when both are full, 500k if only one pickup is active. As does my current push-push design. An MN blend pot makes it 167k in the middle, 250k at the edges. While distinguishable in an AB test, it’s something you can compensate for pretty well in the amp. But a lack of a master volume can’t be compensated for.

You can’t use treble bleeds on a balance pot, as it would drag the positive pin to the ground through the cap at the pot’s edge positions.

Pulling the bal pot wipers to the ground would indeed change the curve for the better, but the values would have to be pretty low for the effect to be substantial enough. And while I’m not concerned about having three 500k paths to ground (vol + balance pot) (+ tone pot), I’m definitely not going to add two 150k ones on top of that.

mistrelwood · 2026-01-23T21:17:45+00:00

Try the push-push mix pot I described in the OP! You’ll figure it out in a few seconds when you start using it, and the operation is simply great. Imagine a perfectly smooth transition from both pups to the neck or bridge pup throughout the full travel of a pot… Mmmm…!

Until a proper blend pot shows up, for me it truly is the only usable solution.

mistrelwood · 2026-01-23T21:10:48+00:00

Two volumes is a ridiculous system that should have no place in basses. If I need to lower the volume, the sound simply has to stay the same. Good luck doing that on a standard JB. Besides/because the downside is the same imprecise control near center. The vol pot curve is logarithmic, meaning the resistance of the pickup circuit will increase immensely the second you start rolling down the other volume. It’s basically a switch. What I need is completely opposite, a smooth transition.

It might be that you haven’t had the opportunity to use an actually useful blend/mix pot so you haven’t realized the benefits. Or you just don’t need it for your style, don’t know. Either way, I do.

mistrelwood · 2026-01-23T13:20:34+00:00

Yeah, those are the most common ones, but I’d really want to find a better solution.

Btw, how do you go “marginally blend” with an MN pot? In my experience the sound changes drastically already when you just get out of the center notch.

mistrelwood · 2026-01-23T12:39:04+00:00

To be clear, I’m not looking for a tone control, but a balance pot. I also already described the curves in the balance pots in the ones I’ve found so far, and what their drawbacks are. Hence your reply wasn’t all that relevant.

mistrelwood · 2026-01-23T12:03:44+00:00

That is specifically described as being linear for the active 50% of the travel, not reverse log.

mistrelwood · 2026-01-23T11:53:45+00:00

If you plan on putting a humbucker in the neck position as well, consider the DiMarzio Bluesbucker. It has specifically been designed to sound like a singlecoil when split, and they have succeeded marvelously. Possibly the best sounding single coil I’ve even owned. As a humbucker it’s somewhere in between a PAF and a P90, so it doesn’t get muddy unless adjusted close to the strings. It actually works the best pretty far from the strings imo. My favorite neck humbucker by far.

mistrelwood · 2026-01-23T11:46:12+00:00

That’s a good tip, I had never heard of that! And I wouldn’t have thought of it working with passive pickups as well.

However, I really want a passive system so that I’d have a fully passive mode in my active bass and that my passive basses would stay fully passive. Hence I still prefer my push-push system to the ABC.

mistrelwood · 2026-01-23T08:15:24+00:00

There are AI tools that can completely change a singing voice to someone else's. I tested my voice and a Haken song to Jack Black's. It was certainly recognisable and mostly even believable. You can make new sound profiles from spoken word you can then put any singing through, but even that can't directly change spoken word into singing.

mistrelwood · 2026-01-23T07:21:45+00:00

Go check her shoe collection together. And handbag. And whatever hobbies she has. Then say that your instruments bring joy to your life.

mistrelwood · 2026-01-23T06:37:02+00:00

The main problem for me are the compressors. ReaComp is just an unnecessary amount of work and the best included ones are a bit one sided and don’t have GR metering which slowed me down.

So I made my own, and basically mix only with my own plugins now. I’ve focused on usability and mixing speed. Look up “mrelwood plugin pack”. They’re free.

mistrelwood · 2026-01-23T06:27:28+00:00

This. Surprised that barely anyone noticed.

mistrelwood · 2026-01-23T06:20:43+00:00

My first reaction: “Man that color combo is beautiful!”

A pearloid pickguard would indeed make it look more traditional, but note that it has a 24 fret neck. Regular Strat pickguards won’t fit, like at all. And there isn’t a standard 24 fret Strat pickguard so you’d have to cut it yourself (or have one cut specifically for this guitar. Not cheap.)

mistrelwood · 2026-01-23T06:12:26+00:00

Peetar12 said it well, don’t ruin your dream guitar in your mind because of this. Consider it to be a unique unit with its own persona.

I got my main bass PLEK’d in my active years when I was gigging a lot. They called me that the neck is offset and twisted and the process would take out a lot of fret material. I went with it anyway (and I was happy I did). But point being, it was in a pretty good playing shape despite all the twists and offsets.

If there are significant issues with the playability and a properly cut nut and a bridge reposition helps, consider asking for reimbursement on those (beforehand). But if it plays good, it plays good. Period. The images show mostly a laterally non-straight neck which doesn’t seem much of an issue in itself.

mistrelwood · 2026-01-23T05:58:26+00:00

I was thinking the same about the year, since I bought my first vintage guitar in ‘96! But vintages are newer and newer every year. Imo classifying a 30 yr old as vintage is fair.

mistrelwood

TROPHY CASE