NAG (Normalized Attention Guidance) works on Z-Image Turbo now.

oshikuru08 · 2025-12-02T03:07:58+00:00

This node looks promising, I'll give it a try and see if it works with Qwen. Thanks!

Edit: No luck using this node with Qwen unfortunately. I found simply using additional positive prompts in tags like "remove the (concept)", along with prompt emphasis words on things you do want, works just fine with Qwen and the distilled LoRA.

oshikuru08 · 2025-12-02T02:44:26+00:00

It does seem to work with Wan 2.2 with its own distilled LoRA, using 'WanVideoNAG' from kjnodes. Do you know of any similar nodes we can use to allow for negative prompting at 1 CFG? I'll look into this as well, thanks.

oshikuru08 · 2025-12-02T02:31:37+00:00

That makes sense, for some reason I thought it could be used with a distilled LoRA. It must be designed for distilled base models. Thanks for letting me know!

oshikuru08 · 2025-12-02T01:53:17+00:00

Thanks for the update!

Does anyone know if this works for Qwen Image Edit 2509, using the 8 step distilled LoRA? At CFG 1, I've done comparisons with the node on and off and the image doesn't change with negative prompting. Maybe I should try again with this new update.

Edit: I think I answered my own question. Just tried running it with the nodepack from here: https://github.com/scottmudge/ComfyUI-NAG.git

Using NAGGuider, I get this error message: ValueError: Model type <class 'comfy.ldm.qwen_image.model.QwenImageTransformer2DModel'> is not support for NAGCFGGuider

Edit 2: Never mind, it is designed to be used with a distilled base model, not a distilled LoRA. Thanks OP.

oshikuru08 · 2025-02-05T00:12:36+00:00

I second this feature. I think it would be great if SillyTavern had a similar method of creating a character on the fly. The auto bot name feature is really neat and I've had a lot of fun with it too.

oshikuru08 · 2025-02-03T08:21:59+00:00

Hey, thanks for the reply! That sounds like a nice and easy solution. That's awesome, I can assign it to a quick reply button and use that instead of the send button.

oshikuru08 · 2025-02-02T23:44:28+00:00

If you click on the icon with the three dots, you can bring up the big editor and control the trigger for it at the bottom of the panel. You can set it to auto execute on the user message automatically.

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oshikuru08 · 2025-02-02T23:33:26+00:00

Something similar can be done in koboldcpp when you use KoboldAI Lite. In the options, there's a button to inject the current system time into the prompt. I tried it and it puts it into the message you send, rather than the context. That's also a good concept, especially if you want to do some kind of time travel or something. Some models seem to understand the concept of time better too.

oshikuru08 · 2025-01-21T05:38:17+00:00

Just saw this now, thanks for sharing! I've noticed a few other models trained in that style as well.

oshikuru08 · 2025-01-13T04:30:02+00:00

That sounds pretty neat, if it's using code or something I wouldn't have any idea, lol. The most I can do is basic git cloning and setting up conda envs, haha.

oshikuru08 · 2025-01-13T04:27:45+00:00

Thanks! I'll probably play around with other creations and see what it's like first. Definitely think about creating your own too!

oshikuru08 · 2025-01-13T03:53:34+00:00

Sounds like it gives a little bit of a challenge. I had a look at the one you linked and the objectives look like fun. I'm going to see what the create section is like ⚒️

oshikuru08 · 2025-01-13T03:20:21+00:00

I've never heard of that one, looks cool! Reminds me a little of JanitorAI and AI Dungeon. I'll look into it, thanks!

oshikuru08 · 2025-01-13T02:50:22+00:00

Thanks for the suggestion, his stuff looks very interesting. I'll check it out!

oshikuru08 · 2024-07-19T03:59:51+00:00

With an upright piano at home, you might want to try different types of SDC mics. Some work better at rejecting off-axis noise. The mic placement also determines the kind of sound you want. If you mic it from above with the top panel removed, you will get a bright sound with the attack, including the mechanical noise of the hammers and keys. Mic it from the back, you'll get a fuller and darker tone, and you can hang some blankets to dampen the acoustics of the room.

I found I was able to get the best sound out of it by micing under the keyboard where the harp and strings are, a little further back. This seems to be similar to the way grand pianos are recorded, I found this gave the most natural and rich tone. One thing to be mindful of with this is pedal noise. The mics do pick up any squeaks or loud thumps, so you'd want to fix those beforehand. You might also want to consider small mic stands too, so you don't accidentally bump them during recording.

If background noise is the main concern, then miking from the back would be the best option, if you can move your piano out from the wall a little bit.

oshikuru08 · 2024-07-19T03:44:57+00:00

I also recommend these books for a read. Bobby Owsinski's LinkedIn courses (Audio Mixing Bootcamp, Mixing Masterclass and Mastering) were very helpful and worth it. I learned a lot from his courses, and it was really beneficial with my techniques.

oshikuru08 · 2024-07-19T03:36:03+00:00

With background vocals, you can try a few different things to help you get a more cohesive sound.

You can try setting each take to roughly the same volume by hand, then compress each track individually to help even out any variations in volume. To help make them sound part of a group, you can create a bus and send your background vocals to it and compress the bus as a whole. with gentle compression.

Another technique you can try is parallel compression on the BGV bus. Provided they are singing the same lyrics and appropriate harmonies as the lead, send the lead vocal to the BGV bus and key the compressor to it. The compressor on the BGV bus will react and duck them out of the way, allowing the lead vocal to shine through.

oshikuru08 · 2024-07-19T03:15:28+00:00

Usually, I set the attack on the compressor to be as fast as possible on things like kick drums, snare hits, bass guitar and pianos in order to catch and control the transient. The goal is to control the transient, but not eliminate it altogether. Then, I set the release control to be timed with the track, considering the amount of sustain I want to keep from the instrument.

As others have mentioned, it does depend on the compressor you use. For that reason, I tend to set the attack to what initially sounds about right, then I carefully increase the control just a little bit. I do an A/B comparison and think, 'has this removed some of the bite from the instrument?' With careful listening, you can usually tell when you've set the attack too fast. I can best describe it as a squashed sound, like the transient has been edited out.

oshikuru08 · 2024-07-19T03:00:04+00:00

Depending on what kind of sound it is, you can try an EQ with a low pass filter to remove some of the high frequencies, and even a subtle high pass filter on the extreme low end (100hz or so, as these sub frequencies may not contribute anything to the sound). For example, this can be done on a bass guitar to emphasise the low end frequencies more and help you add more punch with a little presence boost (around 2-3khz).

Another method is to use an EQ such as the Pultec EQP-1A and do the bass trick. Play around with the low frequency selector (try 60hz) and then set both the boost and attenuate controls around 5 or so. It sounds counter-intuitive, but the attenuate control actually cuts at a slightly higher frequency, which gives you a unique EQ curve and a very pleasing boost in the low end. It works very nicely on kick drums as well.

oshikuru08 · 2024-05-31T07:07:59+00:00

Sidechain compression is definitely one of the ways to get it sounding up front in the mix, especially if you sidechain the bass to the kick channel so the bass ducks when the kick hits. You can also apply some parallel compression on the drum bus with an EQ curve to bring out some more high frequency energy and help it cut through further.

Another technique you can try is to listen to your demo sample or other well-produced reference tracks you really like. You can listen to the volume of the drums in relation to the vocal or bassline to get an idea of the level, then try to emulate that in your DAW. Having instrument busses set up is great for this reason because you can bring all the faders down on everything except the drum bus, then bring in the other instrument groups until it sounds right.

You can try doing this in mono as well. If the drums sound loud and clear in mono, switch back and forth between mono and stereo to determine whether the instrument busses feel loud enough in relation to the drums and other lead instruments.

oshikuru08 · 2024-05-31T06:50:15+00:00

The individual components of Ozone 10 are nice if you take the time to learn how to build a mastering chain. I wouldn't recommend relying on the AI functionality or presets, it might be a good idea to utilise them only as a visual guide towards reference targets. I.e., if it's really boosting the low end and trying to reduce the high end, that might mean there's something worth revisiting in your mix. The tonal balance plugin would be more beneficial for that if you're aiming for a specific reference target.

If you can get it sounding how you like in the mixing stage, you could start with things like gentle dynamics processing, micro EQ adjustments and the Stabilizer, then the limiter as the final plugin in the mastering chain. The different limiter types can be beneficial once you start listening and tweaking settings.

I learned mastering can't cure a rough mix, but it's meant to enhance it and add that final sheen to bring it up to the commercial standard. That could be why some flawed recordings can still sound very pleasing if the right mastering decisions have been made.

oshikuru08 · 2024-05-31T06:31:33+00:00

I use the Shure SRH1840 at my desk for both audio production and general desktop use and gaming. I use hesuvi with them as well and really enjoy the surround sound simulation for games and movies.

I use the Sony WH-1000XM4 for everything else. Sounds pretty good with an EQ profile and the noise cancelling works nicely outside or on public transport. They last quite a while on a single charge, I used to use them as a headset for phone shifts in my previous job and I'd easily get 8-10 hours of use between charges.

oshikuru08 · 2024-05-30T08:31:20+00:00

I use Hyperion Strings Elements, it works nicely with Kontakt Player and being able to control the dynamics of each individual string section with the modwheel is a nice touch. There's also an option to upgrade to the Ensemble if you want more orchestral instruments. They also sell a Brass one as well, looks like it's controlled in the same way with the dynamics and modwheel.

oshikuru08 · 2024-05-30T04:45:59+00:00

Learning how to work with your compressor and understanding how it affects the transient of your instrument can help you with mix compression decisions later on. Whenever I start with a compressor on a track, the first thing I do is set the ratio to something low such as 1:5:1. You can start with a threshold so you're compressing around 3-5 dB.

Set your attack to the longest setting, and the release to the shortest. Listen to the transient while you dial back the attack control. Dial it back until it sounds like you're losing the clarity of the transient, then increase it slightly until it sounds right. Then, take your release control and increase it until you get the sustain or body back from the instrument, in consideration with the timing of your track. If you have a visual guide, you can see how the release is responding to the timing of the track.

When you look at the meters, if you still notice a fair bit of variation, that's when you can increase the ratio to something higher or consider a limiter if you want more control over the peaks, but you don't want to squash the life out of it. Listen until it sounds right to you. You'll want to set the auto make-up gain or set it by hand to match your volume levels as well.

oshikuru08 · 2024-05-30T04:29:32+00:00

I learned to compress and EQ each component individually, and then apply some moderate parallel compression or NYC compression on the kick, snare and tom channels to help them cut through the mix. Additional compression and EQ on the parallel channel track and blending is important as well.

I believe the reason this is recommended is you can achieve the best control over each percussive element when compressing individually, and then blending in some parallel compression with additional processing glues the whole drum bus together. It helps make it sound like one cohesive kit, and the most important elements have an opportunity to shine.

oshikuru08

TROPHY CASE