Little addition with a lot of power. The ADT-Audio TM222 mastering compressor. The main goal behind this machine was to create a tool that increases the loudness in a very musical and clean way. First tests are very promising! 🤩 #adt#adtaudio#mastering#masteringstudio#music#compression
OUT NOW ON ALL PLATFORMS
Brutalism Live At St. Gertrud
Following on from our audiovisual experiences in St.
Gertrud’s church in Cologne, this album contains eight excerpts from live sets, specially produced for the unique space of the building designed by Gottfried Böhm, in an attempt to capture its architecture and sound.
Tracklist:
A1 Dornen - Elegy
A2 Dornen - Fake
A3 lomi - Chateau Rouge
A4 Dornen & lomi - Chains
B1 lomi - Drumming Rain
B2 Måtyrer - Tempel
B3 lomi - Temporary Water
B4 Dornen - Piece For A Burning Cathedral
Release Date: 21.06.24
Pre-Order via Kompakt (link in bio)
Written & Produced by
@a5021472@brutalist_aesthetics@rheiner3k
Mastered @arclab_mastering by Leon Bölting
Design by @j_____g_________
Photography by @lo__l1ta
Cut by @matteroffactvinyl
Distributed by @kompaktrecords
Production tip: Mixing is always a race against time. If it takes too long, you lose the vibe of the mix and sometimes even destroy it. A good tactic for better and faster results is to first focus on the loudest elements of the mix. Kick drum, bass, synth...you name it. If the loudest elements in the mix sound decent, you’ve already reached a good point. #productiontips#musicproduction#audioproduction#musicproducer#masteringengineer#masteringstudio#mixing#mixingengineer
This example shows the importance of clean work in mastering. Start and end points of tracks must always be checked. This scenario is occurring more and more frequently. The recording of the mixdown ends without a fade out and this creates a loud cracking. This can be removed very easily with Sequoia's Spectral Cleaning. By the way: In order to optimize music optimally for streaming, you should always have 100-150ms of silence at the starting point so that the first kick drum hit is not lost due to latency.
In electronic music, the problematic frequencies are often in the 160-300Hz range. This can make the mix sound boxy and unbalanced. Especially with distortion on the kick drum or bass elements, these areas are easily overemphasised. Keep this in mind when producing. Pro tip: Apart from classic subtractive EQ, try the pultec trick to solve these problems. #musicproduction#masteringstudio#masteringengineer#electronicmusic#technomusic#housemusic
INSTINKTLAB016
Sycon Cilatum - Flatliners
Sycon Cilatum - Critters
Sycon Cilatum - Virtual Nightmares
Sycon Cilatum - Im Körper des Feindes
“Sycon Cilatum” is a collabo project by “Hohe” & “Darwin Wagner”, the result of a jam recording that turned into 4 techno cuts. The main protagonist here is the OB-6, with texturizations and endless scapes playing an indispensable supporting role alongside the solid groove design. The result is a psychedelic and functional techno EP with an old school approach and a modern twist.
released April 12, 2024
Artwork by Darwin Wagner
Mastered @arclab_mastering by Leon Bölting
@hohe.audio@drwnwgnr@kribs___@milespinkert@instinkt.lab@sycon_cilatum
Production tip: What is a linear phase EQ?
Any type of filtering we apply with EQ, whether analog or digital, will introduce a short time-delay/phase shift to the signal. Most equalizers used today are called minimum phase filters and will only introduce slight phase shifts for specific frequencies depending on the filter settings. Luckily, the ear is not sensitive to absolute phase changes (whether the frequency is at its positive or negative part of the cycle) so if you’re applying moderate filtering the introduced phase shift won’t be very noticeable. As such, you can safely apply EQ changes without the fear of introducing artefacts that will dramatically change the sound.
Use the Linear Phase EQ where phase coherence between tracks is needed, such as multi microphone recordings. The Linear Phase does not introduce any phase shift to the signal.
There is a trade-off with linear phase EQ which must be taken into consideration. All linear phase EQs introduce an overall delay to the signal which is automatically compensated for by your DAW. When the DAW compensates for this delay an artefact called pre-ring is introduced. Pre-ring manifests itself as an audible pre-echo before the actual transient or/wave of the signal begins. With subtle EQ changes this effect can be negligible. However, with higher q values, steep filter slopes and large gain changes the effect will be more audible. #productiontips#musicproduction#musicproducer#masteringengineer#masteringstudio#audioproduction
