Oni_Onii-san🎚🎙

It's probably not perfect, but automation is my favorite part. I want the elements to hit the processing evenly for a good bit of it. The rest involves hitting things a little harder or softer to emphasize certain elements. I'm learning that a lot of my gain rides really rely on me to follow the groove, so that is a ton of fun. I'm getting a better understanding of how the artists played their parts and the kind of energy they were trying to bring throughout the song.

@gsplays10 @forevrdukhiatma

I wanted to try the BX N channel strip for the first time. I hadn't really looked at it until now, so I was surprised by how ugly it is.

You'll get a scuffed OMF and like it.

I will try.

This is specifically in the context of dialogue post-production. It's common practice to use compression as sparingly as possible. The usual approach is to clip gain the hell out of the dialogue first. This evens out the individual lines as transparently as possible. I go peak by peak and word by word. From there, the compressor only needs to apply a light touch to the remaining higher peaks. The rest of the dynamics are handled manually through a process called riding the fader. You're adjusting the volume by hand to bring up quieter sections and compensate for the natural drop in volume that happens as someone runs out of air while speaking.

Me hearing small things I wish I did differently in my work. Things I could have adjusted better, or small things I missed. Stuff that the average listener can't pick out, but an audio person can.

I remember seeing this in zenless and cringing a bit.