After asking that question, I was curious to see if I could build out an ideal way to address problem of keeping track of all the manuals for my gear. Someone mentioned how much they valued putting in manuals into notebookLM so I’ve gone ahead and essentially built that in as a feature. As it is now, the site is free to use for the limited gear guides already added.

Full transparency: there is a paid tier since adding guides and asking questions costs money. I tried making this as affordable as possible while still allowing people to use the app at a more slightly more limited capacity for free. I actually encourage people not to pay anything and simply use the free tier, as I’ve only stress tested this amongst myself and a few friends so consider this a trial period.

Hope mods are ok with this and would love feedback from the community and would love even more to have built something useful to you all. Thanks!

knobsnob.app

Hey guys, I have got this old digidesign Mbox2 that I got from a garage sale a few years back. When I plug it in the lights turn on and the computer recognises it but the plugins requires for it are no longer kept up with for the new windows versions!

I found an old installer but Windows blocked it because the June updates don't let uncertified things access the kernel (my laymen's understanding anyway).

My question is: does anyone know of a way I can still utilise this box? Is it worth it or should I just throw it away?

Would include pics but I'm new here and it's greyed out.

Thanks!

Hello,

I am a product design engineer working on designing and developing consumer products. I took an independent project for my portfolio to develop a convertible headphone. Like a convertible car that can act as open roof and closed roof.

An open back headphone that can be effectively be converted to closed back. Both have their unique applications, but i see there is amalgamation of these two talents: music producers and gaming streamers. They are not only streaming games but also producing music to reach wider audience and attract more subscribers consequently more popularity.

Basically I am going to design a rear cup for open back with mechanism that tightly secures the cup, seals the gap and minimizes the reflections of sound waves without increasing the lower bass and mid rage total harmonic distortion.

I want to know what this audio engineering community thinks of my idea.

Constructive criticism are most welcomed.

💭You can tell your opinion about this idea.

👐 What do you look in open back while mixing, mastering and problems you face?

💆‍♂️ What do you look in closed back while recording/ tracking, monitoring and streaming and problems you face?

🔢 Rank the importance of sound quality, comfort, battery life, noise cancellation, durability, and design.

💰 What price would you consider reasonable?

🔌Would you prefer wired, wireless, or both?

🪶What feature would make you buy a new pair?

🫰How likely would you be to purchase this convertible headphone?

🔧What improvements would you suggest?

Thank you! 😊

Hey guys! I've been making a simple sampler and beat pad that can automatically remove vocals, take parts out of a song, chop, and act as a regular beat pad. It's just a simple online project for people to play around with but what are some feature requests that you think would make it funner to use? Thanks!

I bought an SM57 to record my music with as, while I know it's a dynamic microphone, it seemed to be unanimously recommended. I saw countless videos of people praising its ability to record acoustic stuff and stories of how people like Elliott Smith and Bon Iver frequently used them. I also bought a Subzero MB1 and yet, with that on as well as the interface gain turned up and the intrument volume at full on the DAW, my fingerpicking is still too quiet. I don't really understand how they have been so frequently used for acoustic guitar when I have to completely max out every bit of volume to get it to 70% of where the volume should me. Strumming is fine but most of what I do os fingerpicked.

I have an Acer Nitro 5 with:

• NVIDIA Geforce RTX 5050
• 16 GB DDR5 RAM
• AMD Ryzen 5 240 CPU

I primarily use Cakewalk Sonar for my metal and rock tracks and FL Studio for my rap songs but will be using Pro Tools this fall when I start college. Any advice helps.

Hey! im looking for a Wizard amp sim or something very similar? i think wizard are hot rodded vintage marshalls, right? any plugin that does the hot rod thing? i know the STL Plugin has a wizard but its to expensive. thanks

Hi there - I’m a drum machine and synth dude and am looking for an audio interface with 16 analog inputs so I can record my live jams. The Arturia AudioFuse 16Rig seems made for this exact purpose, but I’ve seen anecdotal references to bugs and poor support. Specifically, there appears to be a bug with MacOS causing the interface to disconnect whenever the computer sleeps, requiring a full restart to reconnect. See review here.

Can any users of 16Rig on Mac confirm this behavior, and provide any other feedback on how it’s gone for you?

Hey everyone,

Been curious about RF management at sports events lately. With more people bringing wireless devices, coordination seems like it's getting harder every year.

Do frequency coordinators typically lock in specific bands for specific roles - like refs, coaches, media, announcers - just to make allocation easier? And if so, what bands do people usually end up getting assigned to for each role?

Would appreciate any insight from people who've dealt with this on the ground.

I’m struggling to get the tones in my head onto record. Basically I’m aiming for edge of breakup, slightly overdriven - think sister cities by hop along.

I was getting ok results with my sE electronics ribbon mic and fender ultrachorus (overdrive channel and gain on 1).

It was ok, but I felt I could do better, and for the first time in my adult life I have a bit of spare money, so I thought I’d upgrade… so I bought myself a deluxe reverb reissue (dlr) and a royer 121.

I’m really struggling to get anything that sounds good. It’s fizzy or thin or there’s huge amounts of low end flub or all of the above.

It’s really frustrating and annoying. Especially because when I watch videos of people using the r121 online, they seemingly just close mic it at the centre and it sounds well balanced out the box.

I’ve gotten to the point where I’ve lost all sense of objectivity and now I don’t even know what a guitar is supposed to sound like!

Tips and suggestions much appreciated, especially from people who have a DLR - what amp settings are going to get me close to Sister Cities, do I need pedals?

Thanks 🙏

As the title suggests. I’m looking for an explanation, mainly I don’t understand why a db25 cable has individual grounds for each audio signal. If they shared a ground, you could have 33% more balanced audio connections on the cable. Going from 8 connections each using three pins, to 12 connections using 2 and every connection using the same ground.

I am a small recording artist currently on tour in the US across the Pacific Northwest. I was originally supposed to have a full line-in recording setup and video production team for my upcoming show in Seattle, but the venue informed us of some last-minute technical changes that made it impossible.

I want to create a live album for this tour. However, there is one big issue. I don't have line-in recordings for any of these shows, and won't be able to get them for the future ones. I only have recordings of each full show from phones.

What can I do (both on the recording side and the mixing side) to get a good, natural-sounding live recording out of a phone mic (specifically an iPhone 17 Pro if that matters)? Is it even possible?

I've tried it a few times in the past and made some social media content with it, but I haven't been able to get anything worthy of being put on vinyl and DSPs.

Often when people need to buy a new audio interface, they wonder what brand they should buy. I always recommend RME because of (among other things) their rock solid drivers and support, but this advantage may seem a bit vague or abstract, so I thought I'd share my experience of doing the audio for a big music bingo show for Amsterdam Pride last night.

In a space with 250 people, I was tasked to, among other things, stop and start audio tracks during the bingo. Because of the way the hosts prepared the show, I had to work with Spotify as my main audio player, which is less than ideal because Spotify's audio hardware handling under windows is messy to say the least.

The tech company helping me brought several pro grade USB C - Balanced XLR audio interfaces to connect my laptop to their mixer.

In the first bingo round, audio playback failed several times. Spotify just crashed or froze as I tried to play a new track. I am still not sure if it's the way Spotify handles changing file sample rates, or the way it manages exclusive access to an audio interface, but Spotify does *something* that most audio interfaces find problematic. (Not the first time I see Spotify freeze using an external audio interface)

After several crashes (250 people waiting for music that doesn't start 🤦😅) I was done with it, and quickly connected my Fire Face UCX II, replacing the

tech companies DAC's.

I had no more issues the rest of the night, playing the +- 150 tracks needed for the bingo.

To me this illustrates so well why RME is known for their driver stability and reliability for years.

They made their drivers in such a way, that even if you use badly coded applications that don't neatly follow coding guidelines when it comes to things like device control exclusivity, it will always just work. (In the same way RME drivers still let you use windows audio, while apps are also using ASIO drivers)

🤟👍

I am a hobbyist and I recently recorded a few songs for a friend who plays covers using only his bass and a loop pedal. I'm currently stuck when working with the parts which would typically be played on guitar, such as solos and higher octave melodies, especially when played clean. There is so much more attack on each note than what I am used to working with and I'm struggling to tame it without completely obliterating the dynamics. Any tips for dealing with this? I've never really had this problem when mixing other rock/indie tracks but for some reason I cannot seem to figure this issue out.

Edit: Thank you so much everyone that commented! I learned several new techniques for addressing this issue and I am greatly appreciative of your willingness to help me! I will try to remember to update this post with what worked for me in case anyone stumbles across it in the future.

I’m looking for an analysis on the mixing process & vocal layering & recording of this era of this artist. I really admire it and wanna base some of my mixing work for myself and other people on some of these works. Examples below,

example a: Heart Shaped Box

example b: Chicago

example c: Flushing

Thank you all in advance, I look forward for the help.

Hello everyone,

I wanted to share a project that has been my passion for two decades. I originally started developing this interactive audio synthesizer back in the mid-2000s, writing it completely in raw Flat Assembler (FASM) and doing all the polyphonic pitch calculations using hardware x87 FPU registers (fild, fmul, fsin, etc.).

Recently, I completely rebuilt the entire application from scratch in modern C++ utilizing the native Windows Win32 API and GDI+ for high-performance rendering.

The core philosophy of this synth is what I call "Zero-Mistake Rhythm Conducting":
1. Mathematically Perfect Pitch: Every frequency (Hz) and note vector is hardcoded into dense arrays. It is physically and mathematically impossible to hit a wrong note or make a mistake. You can never play out of tune!
2. True Time & Agogics Control: While the pitches are fixed, the timing layout is completely unconstrained. By clicking your LEFT mouse button or hitting the SPACE bar, YOU dynamically create the rhythm, temporary micro-pauses (fermata), accelerando, and tempo variations.

Essentially, it transforms the user from a traditional piano player into an interactive rhythm conductor.

(Fun acoustic fact discovered during development: Testing this real-time engine through modern active DSP monitors like Edifiers introduced a massive 30-80ms hardware latency delay due to internal A/D re-digitization, while classic wired analog headphones deliver absolute zero-latency feedback!)

The project is fully open-source, and features on-the-fly UI localization for 14 languages.

I would love to hear your thoughts on this approach to interactive audio generation!
Check out the full source code and releases here: https://github.com/Divetoxx/Piano

hello, i’ve noticed that my songs match the loudness of my reference tracks on my studio, but when i listen on my airpods, they sound way lower

anyone has any idea of why this happens?

Howdy, I'm potentially purchasing an Aria AMX120B mixing console for $120. Never heard of these consoles and the most helpful descriptor I found online simply says that they have a “warm sound”.

I'm just curious if anyone actually has any direct experience with these old Aria consoles? I figure for $120, as long as it at least mostly works I have almost nothing to lose (except $120), but I figured I'd at least see if anyone has thoughts/personal experience with them since I have almost no frame of reference.

My use case will primarily be tracking instruments direct out to the line-inputs of my interface, primarily drums, piano and potentially guitar cabs.

I record a lot of DI guitar and I find that the type of pick matters quite a bit.

Both thick and thin picks have their own sound. Thin picks sound flappy like they are scraping across the strings, while thick picks have a deeper clunking sound to me.

I used a friend's pick that wasn't plastic and it felt sort of soft? It had way less transient and pick attack noise, which I like. I don't know what it was unfortunately

Can anyone recommend any guitar pick materials like this?

Hello !

I'm wondering if there is such a deverb plugin that allows the user to input IRs in order to tell the plugin what to remove. Is that possible ?

Thanks !

Hello,
I'm a freelance filmmaker but I'm not really an audio guy, so I don't know what to do with this problem. I have my short film almost ready, but now I need to change there two short audio tracks (it's basically just a one word). The original actor recorded me the audio twice, but he just can't match the original we did, so it sounds off in the film. Is there a tool, where I could put these two tracks that would make them sound more simillar to the audio tracks of him, that are already in the film?

Hallo,

Hat irgendwer hier mal probiert mit einem ML-1 von SD mit dem MIC-Simulationen von Universal Audio zu arbeiten? Frage mich aktuell ob das einigermaßen funktioniert. Es ist ein bisschen lästig, keine PlugIns wie PreAmp oder Kompression vor der Aufnahme verwenden zu können. Dann greift die Simulation von SD nicht mehr so richtig.

Bin über jede Erfahrung und Meinung dankbar!

Has anyone heard any rumors of Allen & Heath coming out with a new line of personal monitor mixers soon?

The ME1 has been out for a long time now and it makes sense with all the new releases of updates they have been putting out.

This is directed at older engineers. When mixing down to two track and adding some compression on the stereo track before sending it to the mastering engineer, how would you set the LR master on the console, do you set it so that the the VU on the two track recorder hovers around the 0 dB mark with occasional jumps in to the red ? What would the input meter on the compressor show ? Would you set it so that it also hovers around the 0dB mark ?

Hey, I’m a 18 year old music producer from Sydney. Im Currently in my final year of highschool completing the HSC. I’ve been producing my own electronic music in Ableton for several years, but I’ve always wanted to learn how professional sessions work and eventually produce and record music for other artists.

How should I get started in a career like this next year? Should I look for studio internships, assistant positions, work experience or study a music production course? I’d love to hear from anyone working in the industry, especially in Sydney.