EDIT: 2 different final masters in this comment: https://www.skool.com/fix-the-mix-challenge-2089/newest-production-in-progress-broke?p=562fceeb I felt in a rut lately, not working on mixes or productions, my last production which I yet have to mix was made in February. I couldn't finish mix and master work I worked on last because of gaps in knowledge and getting fed up. I noticed problems with my headphones while training on Soundgym lately and I want to get OLLO Audio X1 in January, but what sense makes all the training and "collecting" gear if one doesn't work on projects anymore? I felt the need to create a new track, and today I started to work on the latest Cymatics contest, I was pretty angry because of private circumstances not worth mentioning here and so far only worked on pack loops (and some other drum loops from my library), creating a foundation, only very little editing done and tuning by Loopcloud. I'm not yet sure what to do add to the track, obviously it needs more of my own creative additions, I'll continue working in following days, lots of time until Jan. 30th deadline :) I'd maybe put it into Neurofunk (Drum'n'Bass sub-genre) category, I think to call it "broke".

So they arrived 4 days early yesterday. Great but, Register the S/N which then creates an account which then generates an xps calibration file but nowhere to explain how or where to insert that, then a link to usc software on a different site with redeem code, whcih then creates and acc and linl to download. Installed it tried to authorise which it did and has the hardware ID , but not activated lol. Today decided to screenshot they error messages etc and was about to send when I decided on the usc website to go the offline route. Got immediate file which I dragged dropped on and it authorised and registered. Like no explanation! Now have to figure out the xps file. Weirdly there is no L and R on the H/P except you face the jack socket to front, but cable is wired with both red cables not a L or R to a stereo jack. So how does it tell which is which? Might get round to using them soon ...🥺🙁

Does is feel to you in SoundGym that the reproduced sound differs always, by design? I mean, like the reproduced sound has a bit different character and even when you only choose between 2 possibilities, they both don't recreate exactly the same sound? I had that feeling often enough, and especially today in Compressionist, paying huge attention, it felt like no matter how close I got the make-up gain, both neighboring attack options sounded different in dynamics to the "original", like the "real" number is somewhere in between, or like the "original" sound has a bit different timbre or something. Maybe so far it's still my lack of experience, but it feels like something is different, maybe even a different codec or whatever. But it's great to see how one's progressing and how short targeted trainings in the DAW help one to progress in those games with some certainty and not "wild guesses" :) After the shock one might get in the first trainings, it feels really great and somewhat magic, to be able to say with some certainty "exactly what Hertz my ears", etc. :D I'm still very bad, but in 10-12 sessions, not sure exactly, half of them still in free version, I got better than 43.2% of users :) Guessing that most of them gave up very fast. https://www.mediacollege.com/media-guru/audio/frequency-trainer.html <- this one is easy and a great help in progressing also. I failed SoundGym's Peak Master at the first level close to 10 times, yesterday I began with Mastering.com EQ Course (not having yet finished the Compression one), played in the DAW with 1st assignment (not sure why I didn't do same before on my own, but lately there were problems with iLok and otherwise, so I didn't start the DAW for quite some time again), got 10/10 in the said Frequency Trainer, and today finally progressed to the next level in Peak Master :)

Hi again, everyone! I worked on a mix+master adjustment of a 2021 track and am running into problems again, mostly of the PC performance kind, what makes committing first necessary. I wanted to ask for your opinion before I do so - if the only persisting problem is the bass side-chains or if you might think that I already kind of over-treated that track to death and/or need to adjust stuff like basses' dynamic EQs first. I spent about 5 or 6 days working on the track lately, most of the time micro-editing values and often not being able to playback properly, first because of NVIDIA driver problem, then probably by using too much heavy plugins together, I already went to maximum buffer size and closed/disabled whatever I could in Windows or in the DAW's cue channels (Analysis/Reference/2nd headphone Sonarworks) before going back into the project the last times. While micro-editing those values to get rid of that damn ugly distortion in the basses when they coincide with vocals, the overall feel of the basses changed multiple times, current version not sounding the very ideal way and maybe already being too over-processed to a lackluster extent, it's hard to say. I'm also not sure if the VocalSynth2 affected tracks (the buzzing synths) sound "attractive enough" at that moment. And those VocalSynth2 tracks and the Ozone Dynamic EQ instances on the basses are causing the most of the resource load on the system that still can be saved by bouncing the single tracks... Other than that I'd probably like at the end to add some Oxygen to the Tops, but otherwise I'm content with that master. What would you say regarding those concerns or what other comments do you have? Can you maybe even recognize the clashing regions in the frequency range that should be easily adjustable between those Basses and VOX or other sounds? Am I over-limiting maybe? I'm sorry for not having labeled the single channels properly, the legend on screenshot is: red for Kicks, yellow for Tops, brown-orange for Drum-loops and stuff like Claps, green for Basses, pink for VOX, violet/dark-pink for VocalSynth2, cyan for a Synth-loop.

I did a couple of times run into phase issues in my mixes, and the special offer ($70 instead of $100) mail about MAAT RSPhaseShifter interested me a bit, especially since I also recently saw videos about Neutron 5 and its new Phase module, I wanted to gather info on what alternatives are also there. I currently own FUSER, which has phase rotation option and different modes of phase auto-correction in side-chain. But FUSER is kinda a heavy-weight plugin. I am also 99% sure that I'll upgrade to Everything Bundle of iZotope again in January (did so 2 years ago) with a PayPal payment plan, so I'll own Neutron 5 soon enough. What I'd love is to get my hands on some Multitracks with different kinds of phase issues (not just allignment, Cubase can take care of that just fine, I believe). The way I see it, what can be done with RSPhaseShifter, could also be done with putting either Neutron 5 Phase or maybe also FUSER on different bands of Waves StudioRack, also stuff like mid-side splitting could be done there. As for side-chains in StudioRack, I will have to look on it specifically as well, didn't yet try that. I produce almost exclusively with samples and VSTs, having only really rarely recorded my voice and some SFX with a mono mic before, but I also want to learn to be able to mix and master recorded stuff with different issues and learn what kinds of problems can be fixed with some tinkering and what kinds are "fatal". I already got trial versions of Neutron 5 and RSPhaseShifter installed and only have a week left on Neutron. I tinkered around on a track I lately was working on again ("the possessor") the day before yesterday , as at least one of sub-tracks was problematic, but i think that its problem cannot be fixed by those means (a slight improvement only), I rather need to go back to the pre-bounce production phase. And the phase issues I had in my own projects before were usually of layered kicks and basses kinds, where I see FUSER as the preferred way, having used it a couple of times for it.