#audio effect racks

[phoebejaysims]

Boutique Mod - DOWNLOAD

Inspired by the sims 2 shopping for clothes system, I present a sims 3 take on buying clothes, accessories and running a thriving boutique! Set up shifts, keep the racks stocked, and you might find yourself in profit!

Required:

Ambitions

NRAAS Master Controller + Integration Module

Optional:

ITF if you want to use the clothes mannequin and some visual effects.

Late Night if you want the animations for the security guard.

Seasons for extra interactions on the mannequin.

Savvy Seller Set for some visual and audio effects.

Full Documentation is included in the download. I spent a while writing it out, so please read thoroughly!

How Stores Work:

Set up a shift

Hire Employees (bosses count as employees so stores are fully functional with only one sim!)

Link at least one rack to the register

Open for business!

Employees:

Store employees can be given three types of roles: register attendant, sales attendant and security guard.

Employees will do their jobs automatically but you can always manually tell them to do things too like: restocking, dressing up mannequins, helping customers, among other things.

Customers:

Inactive and active sims can browse through the racks and have the ability to purchase items. They'll interact differently depending on if they are shopping at a clothes rack, accessory rack, or at a mannequin.

Inactives won't purchase outfits from mannequins unless you direct them to (or you enable auto-purchasing in the XML). However, they may "fake" buy clothes.

Once finished shopping, customers hold their bags and wait to be rung up! Take too long and they may abandon their purchase.

Shopping:

Adjust prices and restrict customers by age and gender to customise your store!

Clothes Racks:

Buy Clothes for your own sim, sims in your household, or (if you're an employee) suggest clothes for customers.

Employees that suggest clothes for customers can fulfil Ambition Stylist jobs this way.

Accessories Racks:

Choose accessories to be sold by adding them to the XML in the package file. The XML comes loaded with a few base game items already plus a couple modded items (Arsil's Sunglasses and lipstick - that won't be loaded unless you have them installed).

Sell buy-mode items as well as CAS items!

Make your CAS items wearable from your sim's inventory using your own meshes or my dummy accessory (see Documentation and XML for details).

Blacklist certain categories from being shown. If you want a dedicated shoe shop or an opticians, you can have it!

Try on products before buying them to see if they suit your sim. If there's a mirror in the room, they'll check themselves out in it.

Clothing Mannequin:

Try on the mannequin outfits to see if they suit your sim.

Plan different outfits to display and even set them to be rotated through seasonally.

Let your employees be creative and choose a random outfit for the mannequin to wear.

Buy clothes for your own sim, household members, or customers.

Allow or disallow inactives from automatically purchasing display outfits.

Security Gates:

Give your security guards something to stand and look threatening by.

You can try your luck at stealing from the shop. If you're caught, you'll have to pay up. If you get past the gates (or if there are no gates), enjoy your bounty!

Boutique Door:

Cloned from the Savvy Seller doors without the annoying 'kick-every-last-person-out-the-building-come-closing-time' feature.

Link this to a register and let the open and close sign automatically flip itself. Also, close the store or rename it, straight from the door.

Phone Interactions:

Ask for time off work (paid or unpaid).

Call in sick.

Cancel vacation days.

Credits and Thanks:

@dhalsims for adding geostates to the ITF rack for me. Modders, I really recommend her if you need any 3D models made also!

DouglasVeiga for the BG rack with the geostates.

@aroundthesims for allowing me to use her objects in my mod as always!

Sims 4 for all the animations that I converted.

Simstate & merchant mods for the idea to go into a mode to link racks to the register.

The OG shop for clothes mod and pedestal by @anitmb.

Arsil and @zoeoe-sims for wearable CAS items idea that I adapted.

Ani's Candle mod & Amb. Makeover XML which I looked at for inspo on how to do accessory rack xml.

Compatibility:

All new objects so shouldn't conflict with anything really.

Removes the 'plan outfit' interaction from dressers.

Made on version 1.67.

If you would like to donate as thanks, please feel free to do so at: my kofi! I don't take your generosity for granted!

Download: - Simblr.cc - 2t3 Boutique Mod Suggested Extra CC: - Lyralei's TS2 Conversions (incl. clothes changing booth) - More ATS3 Security Gates - ATS3 Friperie Set

Known issues, prop information and the full feature breakdown are all in the documentation.

Please be patient with me if there are bugs to fix. Also, anyone who DMs me "I don't know how to create a new shift" will be immediately fined £150.

With that said, please enjoy the mod and tag me in your beautiful boutiques,

Phoebe :)

[soundrooms]

Soundrs: Kiss Your Ears

Kiss Your Ears is a Berlin based and Europe wide company focusing on offering better quality and far more affordable acoustic treatment for any kind of music studio. If there’s a problem with acoustics in your room, KYE can fix it - or guide you how to do so yourself DIY. Their website is a remarkable resource for learning about room acoustics, made simple for the average music producer. Go have a look at their Instagram full of glorious music studios!

➜ https://www.kissyourears.com/

➜ https://www.instagram.com/kissyourears/

Jon is the founder of Kiss your Ears

As an introduction please tell us a bit about yourself and the work that you are doing.

I am an entrepreneur working with concepts that create positive change in the music industry.

I have created Kiss Your Ears, an acoustic treatment manufacturing company that has been designed to offer much better quality acoustic treatment than what is otherwise available, and at a very competitive price point. We are also the only acoustic treatment company specialised in the requirements of electronic music production, aka. hitting those low frequencies that are left resonant by other available units. 

I have also built 73 high quality music production studios in Berlin, which I rent out with different companies across three buildings in different locations in the city, offering creative communities for producers to benefit from. 

Next, I will finish the book I'm currently writing, Kiss Your Ears: A Practical Guide to Acoustics for the Modern Music Maker. I will simplify some often confused topics, and give away build plans for all kinds of acoustic treatment modules as well as plans for affordable isolative constructions aka. Room-in-Room-in-Budget solutions. I aim to give away the answer to every single problem I have ever encountered in building and treating studios.

I am also in the process of starting a new company focused solely on office acoustics worldwide, and plan to hit that with the same innovative and value oriented mindset that KYE has benefited from. 

What is music to you? (Or sound rather.)

Music is sharing. Sound is energy (vibrations).

How did you learn about studio acoustics?

It has been a long process. 

I am thorough. I did some serious research and took some risks (large investments for research).

I decided to equip myself with the most thorough and relevant/ applicable skill set by studying in some small apprenticeships, I studied formally and in my own time, and served my 10.000 hours by helping hundreds of clients save a lot of money on their studio set ups. 

I've actually served my ten thousand hours more than once if we count that my achievements as a musician, music producer and construction professional have been racking up for many years…

I am now writing the book that will teach the average producer how to do what I do and treat rooms the right way! 

Studio Acoustics: The Basics | ADAM Audio & Kiss Your Ears

Why does it matter?

Why does Room Acoustics matter? Because in an untreated room, you are listening more to the room itself than what is actually coming out of your speakers!

Acoustic treatment is a tool like any other, and an important one at that. You can save a lot of time with a well treated room! 

People don't even realize how much of an effect proper acoustics treatment can have because it was not commercially available before.

How common is it nowadays for electronic music producers to mix and master their own work?

I would say around 90% of electronic music producers mix their own music. This is less in the area of "modern singer songwriter" and more in the area of "producer/ DJ".

In the professional arena, even those that do their own mixdowns do not master their own tracks. That is a folly.

aesthetically pleasing acoustic room treatment

What is the most common problem that you encounter in untreated rooms/home studios?

The most common problems we encounter in untreated rooms/ home studios are that the client has already wasted some of their budget on far lesser performing acoustic elements. For example, I quite often see clients with thin (10-15cm) absorbers in a music production environment. 

Also quite often, I see people fetishizing the "cloud placement" absorbers for no real reason, as well as buying diffusers before they have taken care of the low frequency resonances. 

This is all because of the misinformation spread around freely about room acoustics even on reputable forums. 

Tell us a bit about the measuring process, is it exciting and adventurous? What sounds are you using?

To be honest, the measuring itself is not so exciting, and in fact highly predictable. However, getting to help clients with their sacred spaces is highly rewarding. 

We would normally use full frequency spectrum sine wave sweeps.

Do you trust your ears or your visualizer?

Well, you don't really hear sub bass as much as feel it so… 

That said, I have relative pitch from playing instruments and I've looked at a lot of data so when I go into a room and hear a kick drum that is activating a 60Hz resonance in the room, I hear the B note…

But I would say I use both, and always trust the data because the data cannot lie. Our psychoacoustic perception can and does!

behold their legendary bass traps!

Why are the KYE absorbers called King Kong?

Because they are the most effective on the market! They are also the most affordable solution to achieving the 80/20 rule of high end results, so they required a legendary name!

The build quality is also far superior to the rest of the market. These monkeys are big boned.

We do have other ranges, but the King Kong Range is our best seller.

Is it all about the bass traps, i. e. fix the bass, fix the room?

Due to space and budget limitations, absorption is almost ALWAYS the most important factor in the control of room acoustics.

The theory behind the system we follow is to always use the input budget to prioritise fixing the low end (thereby fixing most of the rooms’ other issues along the way). Low frequency control is a widely misunderstood and somewhat mysterious practice.

How to do it properly? Start with a low reaching velocity absorber and hit the bass broadband/wideband as much as possible until exhausted. Again, that’s how the pro’s do it and it’s just logical. If our budget stops there, then that is the best use of it. 

In order to achieve a more even reverb time across the frequency spectrum, you should use the same traps for both functions (“bass trapping” diagonally over corners and “early reflections” covering certain wall areas).

Do you think it’s possible to trust digitally adjusted monitor speakers in an untreated room, with software like Sonarworks for example?

Sonarworks in particular is a very contemporary software package that works beautifully as this piece of the puzzle. It is almost a matter of taste. Sonarworks and other digital solutions do not compensate for the dimension of TIME - therefore resonances must be solved first- but it is recommended as a final step after the bass traps handle the room’s resonances. Without adding the bass traps first, you may end up in a messy and confusing situation!

What is the ideal listening level for mixing, producing, mastering?

Around 85 dB SPL.

Should audiophiles who only enjoy listening to music care about room treatment, too?

Only if they want to hear the music without the room. Again, in an untreated room, you are listening to the room more than the music because of the way the room "colours" the sound.

Can a music producer not just use headphones and ditch room acoustics altogether?

Acoustic treatment will save a producer A LOT of time. Most processes can be done maybe 50% faster if endless referencing is not needed and they can fully trust that what they hear is what is coming out of the speakers. It's of course optional. Some producers still seem to prefer to struggle on without it! Ignorance is bliss…

Headphones will not create the soundstage achievable with a properly acoustically treated room, which is not even that hard to achieve thanks to the innovative processes suggested by Kiss Your Ears. I would always suggest to someone that works primarily in headphones to go check their mixes in a properly treated room.

As an ideal fantasy, what would be the best room form for linear sound reproduction? Would it be an anechoic chamber?

I guess technically speaking, an anechoic chamber would lead to the most "linear" sound but looking for a linear SPL is not always the most important aspect of a room's sound.

Absorbers that tie the room together. No need for a carpet!

Want to drop some famous names of musicians, producers, engineers who Kiss Your Ears did room treatment for?

DVS1, Peggy Gou, Fjaak, Clouds, Hainbach, Mogwai, Palms Trax, Headless Horseman, D.Dan, Kamikaze Space Programme, Blush Response, ItaloJohnson, Ben Rau, Objekt… and companies like Elektron, Pioneer, Moog… and 500+ others! 

What is one of the worst tips about studio acoustics that‘s floating around the internet, on YouTube, etc?

Wow, where do I start? Most of the "tips" online are problematic in some way or other. 

I'll give you some blunt statements!

Tri-traps are an ineffective design.

Cylinder traps don't work properly. 

Foam based products are inferior. 

Putting diffusers at the back of the room (lowest axial mode) is a bad choice. 

Those are four things that almost all acoustic treatment companies are getting wrong on a daily basis! 

How much does it matter what kind or brand of monitor speakers producers use? Is more expensive more better? Can you recommend good monitor speakers (for different budgets)?

Putting expensive monitors in an untreated room is a false economy. You would be better off treating the room to a good level and getting old 80s Hi Fi speakers from ebay! 

An old industry rule of thumb is that you should spend as much on your acoustic treatment as your monitors. 

If you are prepared to spend some cash, I think HEDD offer incredible value in their lower range. The HEDD type 07s are amazing for the price when you want to spend around € 2.000. 

Then when you want to upgrade and spend more, like € 6.000: I recommend the Adam S3Vs… For the price, those are next level. But they put out some sub bass power, so proper bass treatment is essential. 

[clonedchaos]

Eclipse Chapter #1

Rating: T for Teens due to canon-typical violence

Book Summary: The new cycle had changed everything. It had even changed the realm’s ruler himself. The twisted demon now resembled everything that everyone told him he should be. Only that mind was not his. On the other hand, Bendy didn’t know what to think about the resentful demon lurking at the back of his mind- or himself really. Much less about the strange woman that walked into his life. The Ink Demon saw her as a threat. Bendy saw her as a friend. It seemed there would be no compromise on the current situation. However, there seemed to be a lot more to the demons than one once thought…

Tumblr Version: ~Enjoy!~

Wilson sat huddled in the laboratory in the basement of his manor. Blueprints were strewn across his work desk, several with x’s across them. A canister of ink lie to his right. Its iridescent light illuminated the drab, sepia-toned lab. To this world, the substance was clearly otherworldly.

Wilson picked it up and examined it. “Hmm… A peculiar substance. Something so simple, and yet so fascinating… Soon I will reveal your secrets,” He croaked out, lost in his own thoughts.

The Keeper standing guard at the door behind him merely watched its master’s work in silence, the only sound from them coming from its strangled breathing.

Right. He had already built the Keepers with the properties of this new ink. They had proved time and time again to be an effective shield against the dangers of this untamed realm.

Well, from all but one…

Wilson cast one more look at the blueprints before turning towards the door. “Perhaps we should pay another visit to the Gent Workshop,” He grinned.

The Keeper only nodded in agreement and opened the door. Wilson slowly crept up the stairs to the manor’s main level, his bones creaking in protest. He let out a strangled cough as soon as he opened the door, gaining the attention of the manor’s only other human-like being.

”Oh my, are you all right? May I go grab you some tea from the kitchen?” A masked woman inquired anxiously, starting towards him. She halted in place as she noticed the Keeper come up the stairs behind him.

”I'm quite alright, Betty. No need to fuss,” He waved off before his body was racked with another bout of coughing.

Betty watched, her expression unreadable behind her mask. She shuffled her weight from foot to foot. “Well… Just let me know if you need anything, sir. I’ll be cleaning the foyer.”

”Actually, there is one thing,” Wilson replied after recovering. Betty waited in silence for him to continue.

”Be a dear and watch over the manor while I attend to matters at the Gent Workshop, will you?” He inquired and started past her, not waiting for a response.

”Of course, sir,” Betty replied immediately, retreating as the Keeper floated past.

The walk to the subway felt like ages, but they were able to catch the train to the city. While sitting on the cushioned seats, he was able to gather his thoughts. The audio logs and files he had come across in the archives had revealed numerous secrets of this world. The world he intended to conquer.

If the Ink Demon was created soulless, could there be a reasonable way to defeat him? Could something with a soul be powerful enough? It cannot be impossible. Hmm. A mystery indeed… Wilson thought to himself as the train continued down numerous tunnels.

He had already started drawing up blueprints for potential ideas. Some schematics left behind by Gent also came in handy. They, of course, had their own demon problems back in the day.

What fools they were. I will tame this realm. Do something nobody has accomplished. Imagine the looks on their faces. On my father’s face, He schemed to himself.

His latest victory was still fresh in his mind. They had finally captured the Ink Demon and put him in a secure location. The task had taken far longer than he’d hoped, but after equipping the Keepers with sedatives, it had become a bit more manageable. He had lost a few Keepers in the process, but sometimes that was the price to pay. Besides, he could always build new ones.

Now his only problem was figuring out how to get rid of the Ink Demon for good. He wouldn’t doubt that he’d find a way to escape his holding cell eventually. He’d already rampaged around Wilson’s mansion once before in a failed capture mission, tearing apart the mansion's library. Betty had been downcast for days after that, weeping about "all the knowledge they'd lost".

Hmm… Perhaps a soul would work well. But where would he get one? Certainly it couldn’t be his.

The train lurched to a stop and Wilson clutched the seat to avoid getting flung off. The Keeper merely stood silently beside him, attentive as always.

”Come on. We have work to accomplish,” Wilson ordered and rose to his feet.

The walk to the old Gent Workshop was slow. Wilson noticed movement out of the corner of his eye as they entered Lost City. Peeking out of a store’s front door was the face of a Lost One. Its golden orbs for eyes watched cautiously as they passed. Or, more specifically, watched the Keeper by his side. But they did not approach. Nor did anyone else potentially lurking around the city for that matter.

Upon coming to the workshop entrance, Wilson grabbed the access card from his pocket and slid it into a machine. He picked up the pace as he strode down the halls toward his destination, pausing every now and then as a cough racked his body. Cursed illness. That’s the next thing I need to work on fixing, He grumbled to himself, when finally, they made it to the appropriate room. The Keeper accompanying him moved to stand guard at the entrance.

Faint growling drifted into the hall as Wilson entered a small room with a few desks, separated from the rest of the room by a large glass wall.

A Keeper was working at one of the desks and looked up at his approach, the light from its face nearly blinding him. On Wilson’s way over, there was a loud shriek and a sound or crackling glass.

Wilson glimpsed over and stared into the face of the Ink Demon himself. A spider web of cracks had formed around the spot where his gloved hand had impacted the glass. Tendrils of ink climbed the walls around him, some even spilling into the safe confines of the observation room. The Ink Demon only growled at him with that same eerie smile. Desperate to get to him yet frustrated at the seemingly impossible task.

”Hurts to be powerless, does it not?” Wilson taunted wickedly at the Ink Demon before he turned towards the Keeper and straightened his posture. His sneer disappeared as he ordered, “Report.”

“Termination of the Ink Demon is impossible,” The Keeper hissed out slowly in its strangled voice.

Wilson scowled and held out a hand for the results. The Keeper handed over some papers. He skimmed through the files and listened to taped audio recordings of previous trial attempts. The Keeper wasn’t lying.

So, his fears had been realized. He turned away from the Keeper. The Ink Demon prowled along the length of the glass likes a caged animal. Wilson let his mind wander for alternative ideas. By the amount of scored claw marks on the walls and cracks in the glass, they didn’t have much time left before the demon broke out again.

An idea popped into his mind. Perhaps there was something he had not yet tried…

”Continue with your work here. I need to have a little talk with our Cyclebreakers,” Wilson ordered to the Keeper and headed towards the exit. The Ink Demon gave him one last growl of contempt as he closed the door behind him.

He made it through the various checkpoints that allowed him entry into the Cyclebreaker’s prison and glanced at the rooms; some on the first floor and some on the second.

He decided on heading over to Subject 418’s room and try him first... Against his better judgement. He pulled on a lever and the metal shutters opened to reveal an ink-covered man with suspenders sitting on a chair with his back to him, plucking listlessly at the banjo in his arms.

”Evening, Prophet. I have some questions I would like to ask you,” Wilson cordially announced.

”If it’s questions surrounding my Lord, I will partake in none of it,” The man replied, his tone turning sour. He sat his banjo beside the chair leg and turned to face him, his body slightly shaking as he glowered at him in hatred. “You may have captured me. But my Lord will never stay locked in the confines of your prison! He will break free! He is all powerful!”

Wilson frowned, trying to refrain from rolling his one good eye. He was starting to remember why he initially abandoned this idea in the first place. Well, abandoned talking to this one.

”Certainly you would know something about him to aid me. You are his Prophet, Mr. Lawrence.”

”Which is why I refuse to betray my Lord,” Sammy replied, his fists clenching. “I know of your plans. I do not know the information you are requesting. But I do know that it’s an impossible feat. One that you should cease if you value your life. Or face the Ink Demon’s wrath.” And with that, he turned, picked up his banjo, and began to strum the cords. He began muttering things to himself in irritation.

Wilson groaned and closed the shutters. Of course he would get nowhere with Lawrence. The man was insane, but he wasn’t that stupid. His loyalty to the Ink Demon appeared unbreakable. Well, it was worth a try.

Though, perhaps someone who hated the demon just as much as him would be able to assist.

He carefully climbed the ladder upstairs before he proceeded to open another shutter. A light flickered on and off in the room, briefly illuminating the words “Are you worthy to walk with Angels?” painted in ink across the floorboards.

”Well, well, well,” A silky smooth voice echoed from the shadows. A woman in a black dress stepped into view. The flickering light threw shadows across her half-melted face. “Look who finally decided to visit an Angel!” Her voice pitched up joyfully, as if someone else was speaking entirely. A sneer crossed her lips.

”Well, I could use an Angel’s help right about now,” Wilson replied. “What do you say about helping an old man out?”

Alice crossed her arms and tilted her head to the side, leaning against the wall. “Hmm. Let’s see. You imprisoned me. Treat me like I'm some kind of monster. And don't give me the proper respect an Angel deserves." She listed, counting off on her fingers. "Why would I want to help you?”

”Because if you do, it’ll get rid of someone you despise,” Wilson answered.

Alice’s expression shifted. “Who?”

”An old friend of yours, I’m sure. The Ink Demon.”

Alice’s mouth curved downwards in disgust as her eyes narrowed. “...What do you ask?”

”Do you know anything about how to defeat him? Anything at all? I’ve heard you had a widespread influence over the last cycle. Perhaps you’d know something,” Wilson asked.

Alice frowned and replied, “Unfortunately not.”

Wilson raised an eyebrow in suspicion.

“That freak ruined me! I was perfect! If I had the opportunity to be rid of him, don’t you think I would’ve done it already??” Alice snapped.

Wilson groaned but offered a smile. “Thank you anyways, my dear. Your cooperation was appreciated.” The shutters closed.

One last try. Only one more person to speak with... Henry Stein.

The shutters opened, revealing the worn old man drawing in a sketch pad Wilson had provided him. He didn't so much as glance in his direction.

”Mr. Stein. I have something important I would like to discuss with—,” Wilson started.

”Whatever it is, I’m not interested,” Henry replied firmly.

”Oh, but you should be. This benefits you.”

”Benefits me by giving me my freedom back?” Henry challenged sarcastically, his pencil stopping abruptly. But he still didn’t look Wilson in the eye.

Wilson gave him a cross glower. This was just like what his father would do. He would never take notice of any of his ideas. No matter what Wilson did, he would never amount to compete to his father’s accomplishments. And here Henry was, not even bothering to take him seriously.

Wilson swallowed down his annoyance and paused for a moment to contemplate his next words. “In a sense… I need your help. You defeated the Ink Demon, did you not?”

Henry finally lifted his gaze, showing a perplexed expression as he turned around. “That isn’t quite what happened. There is no defeating him,” He corrected hesitantly.

”Ah, but the End Reel-“

”The End Reel is a tool used to set things back to how they were before,” Henry interrupted as he stood up and came to stand face to face with Wilson. “It is merely meant to rewind the Cycle, not defeat the Ink Demon himself.”

Wilson nodded. “Yes, I understand that much. Your knowledge these past hundred cycles was very useful to my Keepers and I.” He wickedly grinned and Henry fixed him with an exhausted glare. “You are the only one known who has come close to bringing this world to justice. That is what I’m here for. To help this suffering world.”

”Some help you’ve been…” Henry muttered lowly to himself. Before Wilson could give a snappish remark, he continued in his normal, uninterested tone. “Look, whatever plan you’re scheming, I want no part in it. I’ve dealt with the Ink Demon for countless cycles. And he’ll be here for countless more. You cannot get rid of this realm’s ruler, no matter how hard you try. This world is his. And as much as we don’t like it, he’s here to stay. He’s trapped… just as much as we are.”

Trapped… Wilson blinked, the gears turning in his mind. An eerie grin crossed his lips as he stared at the old animator. “… Then perhaps I’ll just have to get creative…”

[jules-has-notes]

collaboration spotlight — Twenty One Pilots mashup by Kurt Hugo Schneider & VoicePlay

VoicePlay fans sometimes joke that the sounds these guys can make are so incredible as to be inhuman. This production took that assertion one step further. Kurt had them record their vocal parts as they normally would, then he sampled and remixed those voices to create something very cool. The result is more electronic than their usual sound, but there's no denying that it's an innovative twist.

This is a video I rarely watch just once, since it can be a lot of fun to pay close attention to what each guy is doing individually and how they all fit together.

Details:

title: Twenty One Pilots mashup (ft. VoicePlay)

original songs / performers: all songs by Twenty One Pilots — "Heathens", "Ride", & "Stressed Out"

written by: all songs by Tyler Joseph

arranged by: Kurt Hugo Schneider

release date: 2 November 2016

My favorite bits:

setting the scene and premise while layering in each vocal part

Layne occasionally glancing toward the others to see if they're going to try to escape the situation

Eli's smooth delivery of the "Stressed Out" intro

Geoff doing some lowkey animation moves in time with his ♫ "wub-wub-wub" ♫ bass line

those crunchy stacatto harmonies on ♫ "I know. it's hard. sometimes." ♫

the ramp up in tension created by the frequency increase on Earl's ♫ "ri-e-i-e-i-e-ide, ri-e-ide, ri-e-ide, ride ride ride ride" ♫

Layne's breathy high-hat line (and whatever cool thing Kurt did to enhance it)

Geoff being able to actually hit the deep tones for ⇓ "Watch it!" ⇓, but still having the fun post-processing distortion to match the original sound

baby's first featured subharmonic drop!

Eli's big old belts and riffs in the final "Heathens" section

Earl bounding into the stratosphere for that last ♫ ⇗ "any sudden moves" ⇗ ♫

each of the guys "shutting down" as their parts end

Trivia:

This video racked up a million views in just three weeks!

The audio track is exclusively available through VoicePlay's Patreon.

Like so many of VoicePlay's prosthetic makeup effects, the coaxial plugs that turn the guys into input / output devices were created by Andy Wright at Makeup & Creative Arts in Orlando.

I'm not sure if they intended for there to be narrative significance to the placement of the plugs, but having Layne and Geoff's near their vocal chords, Eli's in his noggin near the parts of the brain that handle analytical tasks like reading and math, and Earl's near the Superman tattoo on his muscular arm all seem potentially symbolic.

A fan was inspired to draw fanart of the guys a couple months later, which they very much enjoyed.

VoicePlay had released their own full version of "Ride" earlier in the year as an installment in their PartWork series.

Layne and Tony had created a much sillier music video for "Heathens", featuring the Sanderson sisters from Hocus Pocus, as their Halloween offering from PattyCake Productions the month before.

The guys (including J.None) collaborated with Kurt again almost a year later for a rendition of "Waving Through A Window" from Dear Evan Hansen that was released in January 2018.

[benjamindehli]

Korg MS-20 with multiple overdrive/distortion stages

A single repetitive bass note from the Korg MS-20 sent through multiple overdriven circuits. Recorded the signal twice and panned hard left and right for stereo effect. I also added a little bit of tape echo and room reverb.

Instruments:

Korg MS-20 triggered by Korg SQ-1 with MIDI from Logic Pro X

Effects:

Korg MS-20 ESP preamp

Roland PA-120

Hairball Audio FET/RACK Revision D (1176)

Alex Franklinos Stereo Transformer Saturator

Fulltone Tube Tape Echo

Chase Bliss Audio & Meris CXM 1978

[extraplugins077]

Lexicon PCM Total Bundle LIBRARIES

Lexicon PCM Total Bundle Mac &windows

Dive into the realm of audio excellence with the Lexicon PCM Native Total Plug-in Bundle. This comprehensive package unveils the same groundbreaking algorithms that have adorned chart-topping records over the past four decades. With a total of fourteen legendary reverbs and effects (seven of each), this bundle enriches your digital audio workstation (DAW) with indispensable ingredients for creating hits. The creative possibilities are boundless as you harness this powerful arsenal, leveraging its graphical real-time display to fuel your inspiration and enhance your workflow. Elevate your productions with access to the renowned reverbs and effects used by world-class studios and post-production houses, all within the Lexicon PCM Native Total Plug-in Bundle.

Step into a world of mythical reverbs in your studio with the Lexicon PCM Native Reverb Plug-in Bundle. Take command of seven world-class Lexicon reverbs, backed by Lexicon's more than 35 years of industry leadership in digital reverb and effects. Immerse yourself in the finest sounds through hundreds of remarkable presets. Compatible as a VST, AU, or RTAS plug-in, the PCM Native Reverb Plug-in Bundle features a visual EQ section, savable presets, and full automation support. Brace yourself for exceptional reverb quality as you integrate the Lexicon PCM Native Reverb Plug-in Bundle into your creative toolkit.

Unleash jaw-dropping effects with Lexicon’s PCM Native Effects Plug-in Bundle. This collection offers seven top-tier professional algorithms, carefully selected from Lexicon's storied history of industry-leading effects. From pitch shifting and chorus to random delays and multi-voice effects, PCM Native Effects equips you with the tools to craft truly inspiring mixes within your DAW. Experience the pinnacle of sonic quality and cutting-edge functionality. Sweetwater's dream comes true as classic Lexicon sounds are at your fingertips in plug-in format.

Experience the grand lineage of Lexicon quality with the PCM Native Effects Plug-in Bundle. Since the 1970s, Lexicon has been synonymous with world-class digital reverb and effects. The top music and post-production studios globally rely on Lexicon for the professional polish that defines their products. Whether you're tuning in to the radio or watching a Hollywood film, the unmistakable imprint of Lexicon reverb and effects is everywhere. Infuse your studio's virtual rack with the genuine Lexicon vibe, courtesy of the PCM Native Effects Plug-in Bundle."

[effectsdatabase]

Last week's top 20 videos (2023, week 28)

Top 20 videos last week (July 9-15)

Did you know an EQ pedal can do this?! (by Bigfoot Engineering)

Warm Audio Pedal Clones (Foxey Tone Box, ODD Box, Warmdrive, Mutation Phasor 2, Centavo, Jet Phaser) (by JHS Pedals)

Rabea's Ultimate Reverb Shootout! - Winner Stays On Edition (by AndertonsMusic)

Why I made the Mythos Pedals Argo Octave Fuzz. (by Mythos Pedals)

Can AI create a better overdrive pedal than a human? (by Wampler Pedals)

@andrewhuang and @robscallon tries Gamechanger Audio pedals for the first time (by Gamechanger Audio)

Explaining Guitar Effects, Episode 8: Chorus ? #guitar #guitarpedals #guitarfx #guitareffects (by StompboxTV)

Cómo modificar el tono de una forma de onda con los filtros del pedal Pixel 3 #dedalofx (by Dedalo FX)

Retro-Sonic Chorus Ensemble Teardown! See what's inside! (by Gray Bench Electronics)

Alien Bass Station (by Analog Alien)

Fortin Grind with the TS808 dialed into the Mesa Dual Rec (by Fortin Amplification)

Valkyrie Spear?s Effects Pedals Introduction Video / ????????????????? / (by Valkyrie Spear)

?????. ???????? TC Electronic FANGS (by Chas Stompboxes)

Octonaut Hyperdrive vs Klon KTR (by Interstellar Audio Machines)

The Big Rack Delay Done Simple | Mr Black JDD-3000+ mk. II Digital Delay (by JayLeonardJuatco)

Leslie Cream Guitar Mike Demo (by Hammond)

ZVEX Woolly Mammoth 7 Guitar Demo - Pedal Empire (by Pedal Empire)

Death By Audio Rooms Stereo Reverberator (by Pedal Experiments)

Uni-Vibe Repair Part 1 (late 70s unit) (by Argenziano Effetti)

The story behind the Audiostorm logo's red-yellow colour gradient (by Audiostorm)

Overviews of the previous weeks: https://www.effectsdatabase.com/video/weekly

from Effects Database https://bit.ly/3ryNduU

[dustedmagazine]

Deathprod — Compositions (Smalltown Supersound)

Photo by Carsten Aniks

Compositions by Deathprod

From the first note of Compositions, Helge Stern AKA Deathprod immerses the listener into a granular focus on pitch and tonal depth. Crushingly slow, heavy and intense, the Norwegian producer manages to create a sense of enormity from 17 short, minimalist pieces in which he stresses his equipment to express the tensile strength of his music. Working with his trademark mix of obsolete electronic and handmade analog gear in his Audio Virus Lab studio in Oslo, Stern manages to conjure movement from stasis by focusing on the tactility of sound. Whether the bottom end of a string quartet playing out the last days or the murmuring of Atlas straining beneath his burden, there an almost heroic splendor in the delicacy of Stern’s discipline.

“Composition 1” opens with the doomsday basses; long notes echo and rumble as if their very frequency might forestall fate, if even for a moment. Intimate and tactile, it provides an entry point for what follows. Sequenced and numbered chronologically as composed, the subsequent pieces extend Stern’s juxtaposition of bespoke tunings, machine tones and formal arrangement. As one listens, the ear becomes attuned to the slightest variation in sound, grains of sand in a shell, muscles racked by weight. Musically you are reminded of a church organ at its most abstract and, indeed, when compositions “8” and “9” arrive, there is a flash of recognition in the hymnal quality of the tracks, the former in the lower register, the bass notes fluttering delicately and the latter adding minor distortions to the upper notes. Thereafter, Stern builds on the emotional heft foreshadowed in the album’s opening. The decomposing delay and reverb on “11”, “12” and “13” evoke a suffocating desolation in which the organization of sound signifies defiant hope. Between each piece the quiet hum and crackle of idle machines recharging for the next surge. It ends on an elegiac note on “17” with the barest hint of a piano motif beneath oscillating sinewaves. 

Deathprod’s ability to conjure soul from his machines is key to the power of his music. If his last album 2019’s Occulting Disk seemed designed to alienate, Compositions for all its formality and repetition has a far more human aspect. Lugubrious yes, sometimes harsh but its granular beauty has a mesmeric effect that lingers. 

Andrew Forell

[imalma]

New single. Just the keyboards again this time. I like the interactions with the delay effect, especially with some rack amp effect for warm tone. Lot of envelope amount tweaking rather than filter tweaking. DX11 is just the Sy. Perc 2 patch turned into a pad again, but I put a Leslie on it and did a lot of vibrato and pitch shifting. Kinda wish I had thought out a consistent melody/progression for the DX11's part, but eh.

There is no greater artistic message in this audio, take off your clothes

[butwhatifidothis]

ayo damn how you getting such fast times on hades 👀 been trying to better my own times but i never get it under 20 never mind 15 mins lmfao

In general I just try to go for builds that rack up a lot of damage quickly! They change for which weapon I use, of which I tend to go for either the Hera bow, Zagreus' spear, or Demeter's twin fists, but generally speaking I try to find the combos with the best synergy. And also luck too of course lol.

For that run specifically: I used the Hera bow and started the run with Aphrodite's cast, which erases the cast's downside of having doodoo range by slapping it on the bow's attack instead. Then I got Ares into the run in Asphodel through his keepsake and got his attack that inflicts Doom, which eventually led to me getting his and Aphrodite's duo that continuously inflicts Doom on Weakened enemies (and since both statuses are caused by my attack most of the time that means that happens A Lot). After that is Artemis in Elysium and I get her Call and Exit Wounds, the first cuz that shit can do Big Damage and the second cuz it synergies so well with the Hera bow + Aphrodite cast combo.

All that are what I actively sought to get since I knew from the jump they'd all work well together - I'd beaten the 32 heat challenge with a build similar to that in terms of damage output (of course not exactly lmao but ye). Another factor though for this run specifically is the fact that Demeter and Zeus dropped by and happened to give their Dash (Demeter) and their Reflex (Zeus - that "near miss" thing where he shoots lighting on a well timed dodge) that makes it to where the Jolted effect doesn't wear off if the enemy attacks, which definitely helped some no doubt lol. Another luck factor that I always go for with the bow is the Explosive Shot - the slightly slower attack time is made up for damage and the additional range the explosion gives the attack, that kind of thing.

And also!! Don't be afraid to go to Chaos!! That's how I snagged me an extra cast despite not getting Artemis' legendary, and the boosts they give to other things can be real game-changing if you're willing to take the risk they first impose lol.

(if you wanna see that in real time, here’s a video of the second half of the Hades fight - not the best quality and the audio cuts out near the end but ye)

And that general idea is how I go about trying to go fast! Just look for combos that work well together lol

Here's how my mirror looks too!:

(Fated Persuasion especially helps a looooot with better curating the run to better suit what you're aiming for lol)

Hope that helps any! <3

[ifyouhappentoremember]

hi! this is the same anon who asked about the chemistry b/n the main trio cast. i saw the monday evening performance this week and wanted to thank you again for your response!

i saw jeremy stolle as the phantom, julia udine for christine, and paul shcaefer for raoul. i thought they worked well together, i was a big fan of julia before going so i was excited when i saw that she'd be on for christine via the website. i was honestly a bit disappointed with not being able to see ben crawford since i've grown really fond of his phantom recently. the playbill said that jeremy is the phantom for monday&wednesday performances- is this a new development? i've heard recordings of ben from mon&wed shows, so i was a bit surprised when i saw that. either way, it was still an amazing experience! jeremy just wasn't my favorite, but i recognize that i was definitely an outlier in the audience. i'm a bit crazy about comparing phantom actors and their characterizations and just the little nuances of their performances, and i know that what doesn't work for me will work for others

i know next to nothing about singing from a technical standpoint, but he sounded a bit off when when i saw him- just not as strong and controlled as i thought he'd be. i've heard recordings of his that i've enjoyed and i know he's a favorite for a lot of people on here, so maybe this was just an off night? what's your opinion on him?

also, other notes- nehal joshi as andre was absolutely amazing, i've never given much thought to the managers but he was just so entertaining. trista moldovan was on for carlotta and she was great as well, i appreciate the character more and more every time i listen to any cast. there was also a lot more humor than i expected, though my frame of reference is mostly audio recordings so i obviously miss out on some visual elements (still, there wasn't as much laughter in the audios as there was when i saw it on monday). stuff seemed to be added, like meg saying "rehearsals, always rehearsals," or something to that effect, when madame giry kicks her out after angel of music. i hadn't heard this in some audios from as recent as august, is it just something that some megs do? there seemed to be other similar small variations that added humor- has it always been like this, was it changed post-covid/more recently, or did i just have an extremely-reactive audience? it felt almost tonally-dissonant with the amount of little gags they had

i apologize for this essay of an ask, the TLDR is --what are your opinions on jeremy stolle? and --what's up with the humor, were my expectations just off?

I'm glad to hear that you enjoyed the show!

The cast listings in the playbill can be updated weekly so for prescheduled absences (like for vacation), they will note the changes accordingly. A casting change that is relatively short notice will have a paper slip inserted into the playbill and if it's really short notice, they will make a preshow announcement.

Nehal Joshi is a great André! His André is such a delightful mix of enthusiastic and worried. And I'm jealous that you got to see Trista Moldovan as Carlotta! I've been hoping I'd get an opportunity to see her but so far Raquel Suarez Groen has rarely missed a performance I've attended (not that I'm complaining - Raquel is a wonderful Carlotta).

I've been racking my brain, trying to remember when the 'rehearsals, always rehearsals' line had been added to the Broadway production. Since reopening, it has definitely been standard. I want to say they added that line around 2012? It started as an ad-libbed, throwaway line that the audience wasn't supposed to catch, but now it's morphed into a comedic moment. But how prevalent that line really depends on the sound engineer as they are the ones who control the microphones. I find that the comedic moments in Phantom really depend on the level of audience engagement/enthusiasm. When the audience is really into it, I find that the actors milk the comedic moments a bit more. I've been to some performances when the audience has been dead and things were kind of dull on stage. I've also seen moments I thought were really funny but no one in the audience was laughing so I had to try and stifle my laughter because you do not want to be the only one hysterically laughing. Yeah, humor can be very subjective. But considering that every performance now is sold out, half of the audience lightly chuckling is going to be 800 people making noise all at once. It will be loud!

And now, we turn to Jeremy Stolle. When I saw his Phantom back in August, I had the exact opposite reaction to you when I got a look at the cast list. I was really excited to get the chance to see him (and it was a Jeremy/Elizabeth pairing!! no disrespect to Ben but I'd seen him 8 times at that point and I needed to see someone new). Jeremy's Phantom has a lot of neat touches. The way he says fool is iconic for a reason and he isn't called 'Jeremy Strolle' for nothing. He (along with Elizabeth Welch) delivered the best rendition of Point of No Return I've seen live. Vocally, when I first saw him, I was shocked by him. He sounded very strained. I'm looking back on the notes I posted about that performance, and reading between the lines I can clearly see how disappointed I was by his vocals. I ended up seeing his Phantom back to back in very quick succession and I ended up assuming he was recovering from a cold or something. I remember listening to audios from around 2014 and his voice was great! There was this operatic, booming quality to his singing voice that I really liked and I had a feeling that he would sound better live.

I'm actually really sad to hear that in a performance 4 months later, he still continues to sound strained. That tells me that Jeremy Stolle is probably having some sort of vocal problems. I'm not an Otolaryngologist or a Laryngologist, so I'm not going to speculate on the cause of his vocal strain. What I can say is that listening to every available audio I can find of his Phantom, you can hear the gradual change in his singing voice.

[hardnahas]

Ableton live lite music making software

Ableton live lite music making software software#

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All instruments have the essential macro tools for controlling Filter, Resonance, ADR Envelopes or Volume. And 647 samples: one-shots and multi-samples. In detail you will find 371MB of content in 24-bit samples and Ableton Presets - 18 Bass Racks, 28 Drum Racks, 13 Pad Instruments, 9 SFX Racks, 7 Real Instrument Presets, 22 Synth Racks and 3 Vocal Phrase Racks. From Drum & Bass to Dubstep to Hardcore to Techno, Funk, Reggae, RnB, Rock, Chillout or whatever you do, you will find plenty of ingredients to mix your own dish. Cross genre boundaries easily with Ableton Live Artist Racks, take inspiring material, then bend and twist it to fit your game, learn from the major-league sound designers. Native Instruments Kontakt 5, Steinberg Halion, IK Multimedia SampleTank и др.

Ableton live lite music making software software#

Even though, most trial software products are only time-limited some also have feature limitations. After that trial period (usually 15 to 90 days) the user can decide whether to buy the software or not. Trial software allows the user to evaluate the software for a limited amount of time. Demos are usually not time-limited (like Trial software) but the functionality is limited.

Ableton live lite music making software license#

In some cases, all the functionality is disabled until the license is purchased. Demoĭemo programs have a limited functionality for free, but charge for an advanced set of features or for the removal of advertisements from the program's interfaces. In some cases, ads may be show to the users. Basically, a product is offered Free to Play (Freemium) and the user can decide if he wants to pay the money (Premium) for additional features, services, virtual or physical goods that expand the functionality of the game.

Ableton live lite music making software download#

This license is commonly used for video games and it allows users to download and play the game for free. There are many different open source licenses but they all must comply with the Open Source Definition - in brief: the software can be freely used, modified and shared. Programs released under this license can be used at no cost for both personal and commercial purposes.

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Open Source software is software with source code that anyone can inspect, modify or enhance.

Ableton live lite music making software professional#

Freeware products can be used free of charge for both personal and professional (commercial use). Limitation (saving and exporting are disabled).Īlso Available: Download Ableton Live for Macįreeware programs can be downloaded used free of charge and without any time limitations. Use any MIDI hardware to get hands-on with Live. Access dozens of add-on Packs from Ableton or thousands of community-built Max for Live instruments, effects, and more. Get more sounds, add controllers, or customize almost everything about how Live works. Since Live handles keeping everything in time, you can play hardware or software instruments, trigger loops, process audio from other musicians, and focus on making music. Take your music out of the studio and onto the stage, with Live’s powerful performance workflows. With extensive editing workflows, great sounding EQs and compressors, great looking meters and waveforms, and fast, flexible exporting options, Live gives you everything you need to get music done. These can be broadly split into three categories: enhanced tracking capabilities, new tools that will be primarily useful in a live performance context. Live 11, in that vein, features a large number of changes and improvements. Live helps you get from a collection of musical ideas to a finished song. Best of 2021: Ableton has a long-held tradition of incrementally improving its DAW rather than radically altering it. Work with a huge range of included sounds, instruments, and effects. Mix and match loops and samples from any tempo. No matter how you start your music, Live offers a workflow that will help you get going.

[beatsforpurchase]

How to Make Free Hip-Hop Beats

One of the most well-liked musical subgenres worldwide is hip-hop. See here how you can make free hip-hop beats in the USA effectively with the best processes without much guidance.

Formulate a workflow that suits you

Apply the Convert instructions to existing drum loops to cut them apart. By using this technique, you can create MIDI that you can utilize as the basis for new music.

Start with the Drum Rack presets in live. This technique is great for quickly laying down a drum rhythm.

Utilize a MIDI controller, such as Ableton Push, to record beats. Instead of manually sketching MIDI notes or sequencing samples on a timeline, you can tap out beats.

To create rhythmical patterns from incoming MIDI chords or notes, use Live's Arpeggiator instrument. This technique works well for developing original hi-hat patterns.

Also Read : Some info On How to Get Beats for Free Online

Choose the Tempo

The sounds, rhythms, and tempo used all play a part in determining the style (or genre) of free hip-hop beats.

Hip-hop music, for instance, often ranges in tempo from 60 to 100 BPM. To give the song a half-time feel, you can also double the real tempo.

Hip-hop, trap, and R&B are the genres that use half-time and double-time beats the most. With hi-hats, snares, and other percussions, this method makes it simpler to create faster percussion rolls.

Doubled tempos maintain the same time signature. It merely alters how the rhythm feels. In double-time, there are still four beats per bar.

Load a Preset for a Drum Rack

Sketching out rhythms in Live with Drum Rack presets is one of the quickest methods to create music. Live includes a ton of Drum Rack kits. It's crucial to know where to get, how to use, and how to edit these sounds if you want to streamline your creative process with leasing beats.

Using a preset and then swapping out the drum and percussion samples once you've laid a foundation is quicker.

For more about making hip-hop beats, check the Adelante Music website.

Full Audio : Listen Here

[jedidiah24497]

Week 6: SCO Liang Wern Fook's Composition Showcase, 6-8 June, Esplanade Concert Hall

For this project, we were only tasked to do the recording. Esplanade crew would handle the mics, as they were amplifying the orchestra and singers. After their FOH and monitor engineer handled the signals, they would pass them to us by means of a stage box.

Day 1: We bumped in as per normal, setting up behind the stage left door just like we did for BHSO. Due to the number of channels SCO requested (~90+), we needed two lines of 64 channel, 96khz MADI. Alongside our regular audio rack, we had a separate Sound Devices 970 to expand our MADI capability. Unfortunately, there were delays that led to us only working around the afternoon. This represented 1/4 of the total rehearsal time. When Esplanade crews had finally setup all the mics and were ready to transmit us the audio, I was told to connect to the split output of their Digico SD rack. However, there was no signal coming in, which was problem 1. Also, the 970 would not establish word clock sync, no matter how i tried to connect it within the rack. Due to these issues and my lack of expertise with the equipment, we were unable to resolve the issues in time for Day 1, and could not check levels for the incoming audio. Ultimately, this was resolved after the full-timers came to help in the evening. The SD Rack needed to have a setting on its panel changed, and word clock sync was established by reconfiguring BNC cables between our rack, their rack and the 970.

Sounddevices 970 providing an extra 64 channels over MADI, 24 bit/96khz

Day 2: There was a rehearsal in the morning, however we were unable to capture anything useful due to numerous problems in the setup. Between the troubleshooting and LX plots (nobody else onstage), we took the time to settle our own issues. We routed one output from the 970 into the back of the MTRX to use as a sync, since we could see the same channel being recorded with a latency between the MTRX and 970. Then, there was a passage where the suona section would stand up and makes sound effects with their mouthpieces. With the existing mics, this would have been completely lost in the recording. Hence, we setup a high stereo bar with two 2011s on wireless to capture this moment.

After the troubleshooting and LX plots, vocal styling etc, it was time for the full run at night. To our horror, ProTools simply would not start the recording. This was while the full run was ongoing, and they obviously would not stop for us. After a frantic scramble to find out the issue, we discovered that us downscaling to 48khz recording instead of the usual 96khz was the issue. Again, an extremely counterintuitive problem, as 48khz meant that the files were a mere half the size of 96khz files, and logically should cause less problems for any piece of technology out there. Fortunately, we could still record a fragment of the full run after changing the session settings and upscaling the files.

Day 3: The second round of troubleshooting commenced, as not all of the channels were plugged into were they were supposed to be. I primarily helped to check the audio, not an easy feat given the sheer channel count and the convoluted channel listings. Ultimately, we were able to iron out all the kinks before the actual show. With all the groundwork being laid, the only thing left to do was the regular concert work (score-reading,concert timing etc) and the strike.

Learning Points: This was by far the most complex setup with the biggest number of critical issues. Even for the full timers, some of these problems were completely unexpected. We also had many areas where we would co-operate with the crew, despite us not being involved in the setup. Additionally, having the esplanade screw, SCO team and us all working together was a fulfilling experience.

Troubles aside, I learnt how Esplanade's sound system worked, and how my company could expand their track count even more, by bringing a relatively simple, small device.

Composer Liang Wern Fook

[charlesmwa]

How to Ensure Proper Ventilation for Your Audio Equipment

Proper ventilation is crucial for maintaining the performance and longevity of your audio equipment. Overheating can lead to reduced sound quality, poor performance, and even irreversible damage to your gear. To avoid these problems, it's essential to ensure your equipment stays cool and operates efficiently. Here's a comprehensive guide on how to maintain optimal ventilation for your audio equipment, including tips on using cases and covers safely.

1. Place Equipment in a Well-Ventilated Area

The most basic yet essential step in keeping your audio equipment cool is placing it in an open, well-ventilated area. Avoid setting up your gear in enclosed spaces such as cabinets, shelves with poor airflow, or tight corners. When audio equipment is placed in cramped areas, heat builds up, causing the components to overheat. Ensure there's enough space around the equipment for air to circulate and for heat to dissipate properly.

Quick Tips:

Leave a few inches of space around each piece of equipment.

Position gear away from direct sunlight and heat sources.

2. Avoid Stacking Equipment

Stacking audio gear can be tempting if you're limited on space, but it significantly restricts airflow. When devices are stacked, heat from the bottom units rises to the top, creating a buildup of hot air. This can shorten the lifespan of your gear and lead to performance problems. If you need to stack equipment, try to use shelves or racks that provide enough space between devices for proper ventilation.

Solution:

Use a rack system that separates equipment to allow air to circulate around each piece.

For large systems, consider investing in custom racks designed for airflow.

3. Use Cooling Fans

In cases where your equipment is stored in a rack or enclosed cabinet, external cooling fans can make a significant difference in temperature control. Cooling fans help dissipate heat more effectively by circulating air and keeping hot air from building up. Some racks come with built-in fans, but if yours doesn’t, external fans are a great solution.

Pro Tip:

Place fans strategically near air vents or the hottest parts of your setup to maximize cooling.

For smaller spaces, USB-powered fans can offer a compact cooling solution.

4. Clean Air Vents and Filters

Dust buildup can block air vents and reduce your equipment's ability to stay cool. Dust acts as an insulator, trapping heat inside your gear and causing overheating. Regularly cleaning air vents, fans, and filters will ensure unobstructed airflow, which is essential for keeping the equipment running smoothly.

Maintenance Checklist:

Clean vents and filters every few months or more often if your equipment is in a dusty environment.

Use compressed air to blow dust out of hard-to-reach areas.

5. Monitor Temperature

It's important to stay vigilant about the temperature of your equipment. If it feels too hot to the touch or if you notice issues like random shutdowns or performance slowdowns, it could be a sign of overheating. Use temperature-monitoring tools to track the internal temperature of your gear and adjust ventilation as needed.

Monitoring Tools:

Some audio systems come with built-in temperature monitoring.

External temperature sensors are also available for more precise tracking.

6. Proper Cable Management

Tangled and unorganized cables can block airflow and trap heat around your equipment. Take time to manage cables properly to ensure they don't obstruct vents or create hot zones behind your equipment. Use cable ties or sleeves to keep wires organized and away from airflow paths.

Tips for Cable Management:

Keep cables untangled and neatly routed.

Avoid placing large bundles of cables near air vents.

7. Choose the Right Equipment Cases and Covers

Using cases and covers is a great way to protect your equipment from dust, debris, and accidental damage, but it's important to choose the right ones to avoid hindering ventilation. Hard cases and padded covers are excellent for transportation and storage, but if left on during operation, they can trap heat and restrict airflow, leading to overheating. Visiting some professional audio shops like VIP PRO AUDIO in Brooklyn is advisable to look for cases and covers designed with ventilation features, or simply remove them when the equipment is in use.

What to Look For:

Use breathable covers when your gear is idle to prevent dust buildup without trapping heat.

For travel, select cases with ventilation holes or mesh sections to allow air circulation.

8. Avoid Overloading Power Supplies

An often overlooked aspect of overheating is the power supply. Overloading a power outlet or strip can cause equipment to run hotter than normal. Make sure each piece of equipment has a dedicated power source, and avoid daisy-chaining multiple devices into a single outlet.

Maintaining proper ventilation is vital for ensuring that your audio equipment runs smoothly and enjoys a long lifespan. By placing your equipment in well-ventilated areas, using external cooling methods like fans, cleaning vents regularly, and ensuring proper cable management, you can prevent overheating and extend the life of your gear. Additionally, using cases and covers wisely can protect your equipment without compromising its ventilation. With these steps, your audio equipment will stay cool, reliable, and ready to deliver high-quality sound for years to come.

[musc3603-riki]

AUGUST 20. A bit of a gap between working on this. I felt a bit put off with the whole vocals thing, and also it is pretty challenging just limiting myself to such a small sample, but I feel confident in what I've made so far so I feel fine to keep working in this technique.

Since the vocal thing agitated me so much I have been working a lot on them. I maybe went too crazy on them. will attach everything here

compression

reverb. autofilter

convolution reverb

with the dry wet automated like this

EQ Three

Big Crazy Audio Effect Rack

With this on the vocals combined with that Noise I made a few days ago, the section sounds like this: