Your Masters Matter


As usually happens, it all started with a crazy idea. For a while now I had been considering changing all of my copies of the tracks I had written to AIF files, instead of wav files like I had been using for…. well, ever.  The main driver was that I wanted a better way to make sure all the graphics I had created for my releases stayed with the audio files. And as the DJs among you might already know, AIF files support not only embedding artwork, but also meta-data.

And speaking of DJs, I wanted to convert all of my Tarekith DJ and live sets as well. Not just for the artwork aspect, but also because I could then embed the tracklists in the files as well. Just makes it easier to ensure all the relevant info is there when I need it.

And just for fun, I figured I would also do the same for all the MP3 versions of my songs, except I would create 320kbps AACs as the compressed format. I’ve already been releasing all my tracks online as AAC’s over the past year, and so far it hasn’t been an issue for anyone. Why AAC? Read my blog post on the subject here:

Of course, nothing is ever easy is it?

The plan had been to first create all the different formats I needed from the original wav files, and then bring everything into iTunes to do all the tagging and artwork embedding. But as I started collecting all the current files I had, I realized that somehow things had gotten sloppy over the last 20 years. Sometimes I might have a wav version of a song but no MP3 version (not a problem), other times I might only have an MP3 version of one of my DJ sets, but I didn’t have a wav version saved on my hard drive (problem).

I’m normally really organized when it comes to my own music, but over the last 20 years I’ve written over 130 songs, as well as dozens of live and DJ sets. Somehow a few tracks didn’t get copied to the right folders I guess. I wasn’t too stressed about it though, because I ALWAYS make physical back ups when I finish a track as well, typically to CDR or DVDr.

As I started going through my stacks of CDR backups however, I began to realize that some of the really old ones had hit that point where they were no longer readable. Or maybe I had saved the DAW project files for a song, but no longer owned that DAW (Cubase, Reason, etc). Either way, quite a few of the back ups were either unreadable, or I couldn’t access the data easily which really defeats the purpose.

That’s when the fun started. 🙂

I had to slowly go through every one of my archives and check to see it was readable, then burn a new copy if it was more than 5 years old. In some cases I had to enlist the help of friends with different software to help me get access to DAW projects I couldn’t open on my own. In the end, I was able to create the AIFs and AACs I needed for all of my songs and sets, with only one exception. Luckily that was a crap song I did last minute for a contest years ago, so it wasn’t a huge loss.

Still, a scary reminder that physical media isn’t permanent, and that we need to check our archives every so often to avoid scares like this! I always knew it was going to happen eventually, this is just the first time I had experienced it with some of my own archives. Crisis narrowly averted! 🙂

Once all the new files were created, the next step was to track down all of my artwork for the releases. Pretty easy for the newer stuff, since those were all on my website with the artwork already. But for some of my older tracks, I had to either revisit the CDR back ups, or spend a lot of time hunting around online for the right images. My previous artist name was “rEalm”, so it’s not as simple as you’d think to find some of this stuff via Google!

The last step was to get all the info I wanted to embed in the files. Things like details I might have posted on forums about how I wrote a track, or maybe copying the descriptions from my blog or tracks I had for sale on Beatport and Addictech. Just any information about the song that I, or maybe other people, might find interesting in the future. Maybe.

Last but definitely not least, I had to bring it all into iTunes and get it all organized. I thought a lot on naming conventions, standardized formatting for the info, tags I wanted to use, etc. Just to make sure everything had a consistency to it and would make sense to anyone other than me who happened to look at the info.

The final step was then to burn all of the new master AIF to disc once again as a redundant back up, along with copying them to a couple USB sticks. I still have to re-grid everything in Traktor, but right now I’m burnt out on this project since it took so much longer than I expected. Someday! 🙂

Now, I can see some of you shaking your head at all this. It’s a lot of work, and since I had wav versions of just about everything anyway, why bother? Well, for me this is my legacy. This is showing what 20+ years of hard work did, it’s what I’ll leave behind when I depart this world. More than that though, it reminded me that just because we religiously save and make back ups, it doesn’t mean they will last forever.

Media decays, formats change, tools come and go from our arsenal, things get lost or misplaced, you name it. In short over a lifetime of making music you’re going to generate a lot of it! Take the time now and then to go through some of your old back ups and make sure you can still read them. At the very least, get in the habit of saving a high resolution copy of your masters and keeping them all in one place.

You never know when it might save your ass, and at the very least it’s a good habit to make sure you really have the back ups you think you have!

Ear Career

ErikBabyDJ(your blog author was already hooked on music as a baby)

By far, the question I get asked the most often is “how do I get that professional sound in my tracks?”  It’s interesting, because while I definitely know exactly what people are referring to, and remember wondering the same thing with my own tracks at one time, and I can’t think of the moment when I thought “aha, I’ve done it!”.

Barring any sudden insights or learning some hidden secret, that means it was a more gradual process.   Anyone who’s been writing music for some length of time likely realizes this, but what exactly is it that we have to learn?  Obvious answers are usually that you need to learn your tools better, or study different production techniques so you know how (and when) to apply them to improve your music.

I suppose there’s also the need to improve the tools you use as well, from the instruments used to create the music, to the monitors we use to listen to it.  Certainly the tools we use don’t necessarily define the quality of music we make, but better tools do tend to lend themselves to better results much easier.

Still, I’ve met a lot of producers who managed to hit all of those marks fairly early on in their production careers, and yet they still struggle with getting that “sound” that they’re after.  It’s easy to say the rest comes down to practice (and I’ve done so many times in this blog), but practicing what?

It’s sort of strange considering it’s music we’re talking about, but you really don’t find a lot of people talking about how they trained their ears over time.  And I don’t mean with specific ear training exercises like being able to identify fixed frequencies or EQ points (though that’s definitely good to do!).  Rather I’m talking about the skill of learning to step back from your music and really HEAR what the overall picture sounds like.

It sounds like a simple thing, but if you’ve ever tried to teach someone how to do it, you realize it’s not as easy as it sounds.  Learning to not focus on specific parts of a song we like, or perhaps a section that gave us a lot of trouble while writing it doesn’t come naturally to our ears.  We tend to focus on what we know, or what we were working on most recently rather than the big picture.

But it’s not just the big picture of our own songs we need to listen to, but also how our song works in other environments.  Everyone I know realizes how important it is to listen to your music on other speakers to see how well it translates, but doing so efficiently and accurately takes a long time to learn.  I know early on I would often find myself burning multiple CDs to listen to mix revisions over and over in the same listening environments.  So it’s not just the act of referencing your song elsewhere that’s important, but how easily you can hear flaws this exposes and correct them too.

All of this is a rather long winded way of stating that one of the most useful skills you need to learn as a musician is just the ability to hear things as they really are.  I know that sounds rather nebulous, but I think it’s one of the most important skills successful musicians and producers have learned over the years.  It’s not just learning YOUR speakers in YOUR studio, but learning how things sound elsewhere.  And most importantly, then being able to make the correct correlations that allow you tweak and tune your music to sound even better.

To me, that’s what defines that “professional sound” more than anything else.  It’s not about the tools or techniques per se, but that knowledge of how music works in different environments and becoming good at minimizing any issues that might compromise your message as a result.   We’re attracted to songs that just sound good no matter where you hear them, and that skill more than any other is what tends to separate the “professionals” from those still learning.

While there may not be an easy way to learn that skill other than repetition, it’s definitely something everyone can work towards improving.  It takes practice to learn to stop focusing on one part of a song and step back to hear how everything works together.  Take a few minutes every day that you’re working on a song and try to do it.  Stop for 5 minutes and just listen to the song pretending it’s the first time you heard it.  What sticks out, what works, what doesn’t?

Likewise learning to identify problems in your tracks when you hear them for the first time on a new set of speakers somewhere else takes time too.  Try setting a goal of listening to a song you know well on a new set of speakers or headphones once a week.  How quickly can you spot known problems, what sounds best in your song on the new set up, what sounds worst?

Little games like this are things I find successful musicians do all the time without really realizing it.  Getting into the habit of always being aware of how things sound in your environment, and how you can use that to adjust your own productions is one of the best skills you can learn if you want to get better at getting a nice, polished sound in your tracks.   When you spend the time learning to hear what doesn’t work well, you’re going to be left with only things that do work, and that’s ultimately the sign of a quality production!

Hope you enjoyed the article this week.  Now that my hand is healing and I can type much easier, I’m hoping to start getting these blog posts out more frequently once again.


I don’t often ask for help, but this is one of those times I’m turning to my readers to help me out if they can.  This month has been slower than normal for the mastering business, and with medical bills from my recent broken hand coming in, the timing couldn’t be worse.   It would be a big help if you could pass on my contact information to anyone you know who might be looking to get something mastered.   Referrals like this are truly the only way I get new customers, so just quick 1 minute email or Facebook post to a friend can help me out more than you know.

Thanks everyone, I appreciate all your help and support over the years, and especially in difficult times like this!

Pedal Power


Whew, it feels like it’s been forever, but I’m finally done with Physical Therapy from my shoulder surgery.  I also had the cast removed from my broken hand earlier this week, talk about relief!  Feels good being able to hold a guitar properly or play a keyboard, not to mention just being able to type like a normal person again 🙂

All of which means…. I can now get back into writing regularly for the blog, woo hoo!

I figured now would be a good time to go over the guitar pedal board I’ve been assembling over the last few months while I was healing, as well as offer some quick reviews on the pedals I ended up using.  While I’ve long been a fan of modeling devices like the Line6 Pod series, I’ve always wanted to put together a really nice custom pedal board too.  Since I’ve mainly been using my Taylor acoustic guitar these days, the pedals I ended up going with were bought largely to use with that guitar.  But, guitars are guitars, so I know they’ll work well with my Parker electric too if I need to.


This whole idea started when I got the Boss Tera Echo pedal last year.  I was really happy with my HD500 at the time, so I’m not sure what prompted me to buy it other than it sounded like a unique delay pedal (and I love delays!).  I ended up liking the simplified editing and small form factor so much, that I started giving serious thought to taking a break from modelers and focus on individual pedals instead.

Here’s a (sorta) quick break down of what I ended up getting and why:

1. Pedaltrain Jr.

When looking at all the options out there for a board to place the pedals on, I kept reading a lot of good reviews about the Pedaltrain brand of pedal boards.  I knew I didn’t need a huge amount of pedals to place on it, so the smaller Jr. version worked the best for my needs.  The board itself is a nice light-weight aluminum that has just the right amount of angle to it, along with plenty of ways to hide all the cables for the pedals to keep them out of the way.

It comes with a nice gig bag, and more than enough velcro to attach many pedals to the board and move things around while you find the best layout.  I have to admit, I still find it weird attaching expensive electronics to something using sticky tape with velcro on one side, but so far it seems to be working well 🙂  There’s also two brackets included if you want to mount a power supply (PSU) for the pedals underneath, though you’ll need to drill your own holes into the frame depending on the PSU you pick.  Easy enough.


 2. Decibel Eleven Hotstone SM Power Supply.

I knew I wanted a dedicated PSU for the board, something with isolated outlets for each pedal.  There’s not a ton of options out there for this, and most of the more popular ones are pretty expensive too.  I almost went with one of the Voodoo Labs PSU’s since they get such great reviews, but then I found the Hotstone SM for half the price.  It has just the right combination of power outlets for my needs too, since the digital pedals I use can draw a lot of power.

I had to hack together a way to get it to fit with the brackets the Pedaltrain came with, but once done it’s a nice snug fit underneath.  Nothing too exciting to add about the Hotstone, it powers my pedals just like it’s supposed to 🙂

3. George L’s Cable Kit.

Cabling up all the pedals turned out to be one of the more frustrating aspects of this endeavor, something I didn’t expect.  I tried a lot of the shorter cables intended for guitar pedal boards, including some from Mogami and other higher-end brands.  But I kept having issues with the cables being too short or too stiff for my needs, it looked sloppy too.

Right when I was about to hunker down and solder my own, I came across the George L pedal cable kit.  You get 10 right angle connectors, and 10 feet of cable you can cut to exactly the lengths you need.  The cable is super flexible for easy routing, and best of all you don’t need to solder the connectors.  It’s an ingenious system and it worked perfectly for my needs, I can’t recommend it enough.

Let’s move on the the pedals, in order of the signal flow coming from my guitar:


4. Xotic EP Booster.

The downside of pre-amp in my Taylor acoustic, is that the output signal is quite low, too low to feed normal guitar pedals.  I tried a few pedal pre-amps, but most had a lot of functions I didn’t need or altered the tone of the guitar too much for me.  Eventually I found the EP booster, which provides a simple gain boost with a tiny bit of color.  Combined with a mic to line transformer prior to it in the signal path, I can easily boost the acoustic guitar signal to useable levels.  Sounds great too!


5. Boss Multi Overtone.

After being so pleased with the way my Tera Echo sounded, I wanted to try out another pedal from Boss’s new line of pedals.  The Multi Overtone (MO-2) has three settings altering the pitch of the overtones, from bright and shiny, to an added 5th, and then an octave lower.  But it’s more than just a pitch-shifter or harmony pedal, it responds dynamically to how you play, and alters parts of the frequency spectrum differently.  It’s a very unique effect, definitely digital sounding, though the Tone knob takes the edge off things some to give it a bit more warmth.

I find that having too wet of a signal from the MO-2 just sounds too weird, even for me.  Used subtly though, it really thickens up and sculpts the sound in a pleasing way.  At first I wasn’t sure if I was going to keep this one, but the more I use it the more I keep finding  some great and unique sounding tones.


6. Boss Tera Echo.

I’ve already covered the Tera Echo in a review, so I won’t go into it again.  Still an effect I enjoy using for that cascading waterfall of delays sound.  Like the MO-2, best when used in moderation or it can be too much.


7. TC Electronic Flashback X4.

Did I mention I like delays?  🙂  I knew I wanted a pretty well-featured delay pedal given how much I’d use the device.  I briefly considered something from Strymon or Eventide, but both were pretty expensive and seemed to require a lot of menu diving to program.  In the end I settled on the Flashback x4 since it has quite a few options without needing to deal with any menus.

The best part is that TC Electronic has the Toneprint function if you DO want to dive in deep and program your own patches.  With the iPad or computer software they supply for free, you can edit all of the underlying parameters for each of the 11 delay algorithms accessed on the front panel. Each algorithm has different parameters too, so there’s a ton of depth here if you want it.

The neat trick is that you can save the patch to pedal via USB, or by holding your iOS device speakers near the guitar pickups and hitting send in the app.  This causes a loud noise burst similar to a fax machine to play from the speakers, which the pickups on the guitar hear and transmit to the pedal via your regular patch cable.  It’s dead simple, takes a couple seconds, and feels like magic in use 🙂

I don’t plan on editing my own patches too much right now, trying to avoid doing sound design when I want to play.  Nice to have that option though, and you can store up to 4 Tone Prints on the X4 at a time (well 7 if you save three to the footswitch presets).

The Flashback also has a looper built in, great for doing cool ambient droney things.  All in all a great pedal, my only complaint is that I wish there was at least a Tone knob to alter the sound of the delays.  Other than delay time, feedback, and note division, there’s no control over the sound of the delays from the front panel.  They sound great though, so it’s not a huge deal.


8. TC Electronic Hall Of Fame.

I was so impressed with the Flashback x4, that I knew I wanted to go with TC again for my reverb pedal.  It only has one Tone Print slot, but that’s fine for me.  The rest of the reverbs are lush, smooth, and sound different enough from each other than you get a lot of variety in one pedal.  It kind of freaked me out the first time I used this pedal, the sound is incredible and feels so weird coming from such a tiny box on the floor.

The Tone and Decay knobs do more than just simple EQ and Time tweaks, they can control multiple parameters at once over defined ranges (via the Tone Print Editor).  You get a lot of control and tweakability from just a few controls, it’s a brilliant way of doing things and reminds me in some ways of my Ableton Live DJ Racks!

Well, that’s the run through on the new pedal set up.  I still have room for one more, likely a modulation-based pedal, but for now I’m going to wait awhile before I buy more pedals! 🙂  Really happy with the range of sounds I can get out of this set up though.  Combined with the looper on the Flashback, I think it would be a really fun thing to use in my live sets.

But first I need to find a new drum machine….


… Stay tuned!


Of all the interesting quirks I see in musicians, one of the more frequent is people having no confidence in their own music. You might have seen this too, someone posts their track for others to offer feedback on, and then they proceed to point out everything wrong with it and why they don’t like it. Before anyone even had a chance to listen with a fresh mind and decide for themselves, the producer has already skewed their opinion negatively.

Another common example I see in my mastering business is people coming to me and saying things like “I know this isn’t as good as what you usually work on, but could you still master this?”. The surprising thing is that usually these are very good songs too, not nearly as bad as the producer thought!

I think as artists we all have insecurities in what we produce. Will other people get it? Does my lack of experience show? Will it sound good on other playback systems? Of course, just saying be more confident doesn’t work, things aren’t that easy for some people.

I’m lucky in that I also get to work with a lot of musicians who DO have confidence in their music. And I think it’s important to state that I believe there’s a huge difference between confidence and being cocky. I see that too 🙂

One of the things I’ve found that separates the confident producers, is that no matter their skill level, they are aware of how long it takes to truly become a talented musician or producer. They know they are just at one point on that path, and that they still have a lot to learn. Doesn’t matter if they’ve been writing music for one year or twenty years, they know that they are putting their best effort forward all the time.

To me, it seems that confidence for them comes not just from having achieved some success, but being realistic about their skills at any time too. When you know you have an endless journey ahead of you, and take that desperate rush out of the equation, you become more accepting of what you feel your current limitations are.

You can more freely seek help from others and be open to their suggestions. It’s no longer an affront to your belief in your skills if someone offers a critique of your work, because you understand what your strengths and weaknesses are. It allows you to remember the positive things you can do, while recognizing the areas you have to focus on next.

The next time you find yourself feeling uncertain about your own music, don’t project that to others. Remember we all have certain things that come easier to us, and that everyone progresses at a different rate. There’s nothing wrong with wanting to push and drive yourself to succeed, but temper that with the realization that this is a LONG process. As long as you are always striving to better your music making, you can be confident than you’re doing the best you can.

Take some pride in how far you’ve come already, and have the confidence to know that your music is just as valid as everyone else’s!

Tyler D2x Full Review

This was originally posted on Gearslutz, but I thought I would copy it on the blog as well for those that are curious.

Tyler D2 07

I spent months researching new monitors for my Seattle-based mastering studio, and one of the names that kept coming up again and again is Tyler Acoustics. There’s a decent bit of information on their flagship D1x’s online, but I didn’t find a lot of information on the smaller D2x’s, so I wanted to write a review for others who may be considering this monitor.

One of the things you’ll hear the most about Tyler Acoustics, is just how friendly the owner Ty is. When I called to discuss the D2x’s I was interested in purchasing, Ty was the one who answered the phone and happily ran me through all of the options available. All of his speakers are available in 4-5 standard wood finishes, but if you want he can also use one of over 80 custom veneers. There’s a slight up charge for this, but Ty only charges you exactly what he pays for the veneers so it’s a far price I felt. Since I’m based in the Pacific Northwest, I really wanted a sitka spruce veneer and this was only an additional $200.

Because these monitors are primarily designed for audiophile listening rooms where the listener is seated lower than your typical mastering engineer, the tweeters are roughly 12” inches below I needed them to be. Not a problem, as Ty also builds custom stands for his monitors for just this purpose. If you buy the stands with the monitors, he cuts the stand price in half to $200, not a bad deal for custom woodworking!

Shipping and tax are included in the price as well, so with my sitka veneers, two 12” stands, brass feet, and “mastering engineer” discount Ty was offering at the time, the total price for the monitors was $4680. A full refund minus shipping is available if you’re not happy as well, making a large purchase like this almost worry free. All of Tyler Acoustics speakers are built to order, and I was quoted 3-4 weeks before the speakers would ship. Despite a small 3 day delay due to bad weather in Kentucky where these are made, Ty’s shipping time was spot on too.


The Tyler’s arrived on a standard palette with the stands, each boxed individually and heavily padded on the inside. Each speaker weighs about 155lbs in the box, so I recommend having a friend help you get them into your studio. Especially if it’s on the 3rd floor of a building like mine is!

One of the things you hear a lot about Tyler speakers is how well made they are. Unboxing mine I was certainly impressed with the build quality of both the speakers and the stands, which match the shape of the speakers perfectly. In fact, they almost look like one unit when stacked and in place, putting the full height at 64”. With the D’appolito style speaker layout, it makes for a very impressive looking speaker!

I admit, I was a little surprised that there was some tiny chipping (checking) of the veneer on some of the edges. I’ve done a lot of woodworking myself and know this is common with certain woods, and especially when cutting veneers. However I was surprised that no effort had been made to fill these, as it would likely have made them unnoticeable. It’s a tiny thing for sure, and maybe that is just how it’s done with higher end speaker cabinets. But it’s not something I expected to see for speakers costing this much money, even if it is relatively minor. Oh well, easy enough for me to fill on my own if I decide to.



The Sound

(I am powering these with an Emotiva XPA-2 amplifier, and for comparison my main studio monitors for the last 3 years have been Event Opals.)

One of the other things you will read a lot about when researching Tyler Acoustics speakers, is that they REALLY need about 200 hours to burn in and sound as flat as they are designed to. In fact Ty himself told me this a few times during our phone conversations, give them 200 hours before judging how they sound.

Keeping this in mind, I set about listening and comparing the D2x’s to my Opals, while fine-tuning their positioning in my studio as well. Right off the bat the first thing that came to mind about their sound is that it’s “bigger” than my Opals were, which is no surprise given that the Opals are a much smaller monitor. The D2x’s had a much more immersive sound field, and the low end in particular was much more present than I was previously used to. No excessive, but definitely more revealing of what was happening below say 60Hz.

At the same time, the tweeters felt very dull and restrained in comparison, and while I knew I was hearing more low end, it didn’t feel as accurate as the Opals. The Opals just were a lot more revealing in the high end, it was easier to hear excessive sibilance or cymbals that were too harsh. I chalked this up to the monitors being new and not broken in, and spent the next 8 days playing music and 96kHz pink noise through to fix this.

Every couple of days I would compare them to the Opals again, and even after just a few more days of using them, it was apparent that they were slowly sounding better and better. The highs were opening up a lot, and the low end was getting deeper and more controlled sounding. I know some people don’t believe the “myth of breaking-in speakers”, but in this case the differences in sound were very obvious to me. Especially listening back to back with the Opals which I know very well (easy to A/B via my Lynx Hilo), giving me a standard to compare them to.

I also used this time to fine-tune the positioning as I mentioned. Because I work in a small to medium sized mastering studio, I was noticing that the imaging was very susceptible to small changes in placement. By the time I had roughly 200-240 hours on the D2x’s, I had the placement dialed, and felt they were properly broken in. The highs were much smoother while still being detailed, and the low end response felt a lot flatter than it was initially.

The biggest change in sound over the Opals was the low end for sure though, the D2x’s simply have more of it available making excessive sub-bass issues in the tracks I was working on dead easy to spot (and fix). I will say I was glad that I had added an extra 128 cubic feet of bass-trapping to my studio as part of this monitor upgrade though. I could easily see the low end being too much for smaller rooms without lots of bass-trapping, probably less of an issue for larger studios and listening rooms of course.

I don’t want to start using a lot of nebulous, vague terms to describe how these speakers sound, so I’ll just keep it simple and say they help me work better plain and simple. It’s easier to hear issues in the mixes I’m sent for mastering. Great mixes sound amazing and I’m able to polish just a tiny bit as needed, while poor mixes and all their flaws stand out like a sore thumb allowing me to really zero in on the faults.

Definitely one of the best upgrades I’ve done for the studio, and at a really fair price given the results. Just be sure you have the patience to really burn them in before you start to judge how they sound, as this did make a huge difference I feel. Coming from a smaller near-field monitoring set up, it’s been a real pleasure getting to know a full-range speaker set up and seeing just how much of a difference it can make in my mastering. Looking forward to working on my Tyler Acoustic D2x’s for many years to come.

Happy to answer any questions that people might have as well, just drop me a message or post in the comments!

Loudness Wars Part 2

Screen Shot 2014-03-05 at 12.08.48 PM

I’ve been getting a lot of questions about my blog post on winning the loudness wars earlier this week, so I made some examples to put this in perspective. Don’t analyse or anything first, just play the first one and turn up your monitors until it sounds nice and loud like you’d normally listen to your music:

Now without touching the volume, play the second one:

Both of these were peak normalized to read -20 LUFS (Loudness Units Full Scale), just like they would be in the ITU-R 1770 spec we’re talking about. The actual number doesn’t matter here, just the fact they they are both set to the same LUFS value, and thus should sound the same loudness.

At first listen, not too much different right? So big sigh of relief people, we’re not talking a huge change here. 🙂

However, when you listen a little closer, hopefully you can hear that the second file is a little less punchy, just as loud but not quite the same impact from the sounds. A tiny bit distorted too, a side-effect often times of the volume levels we must master to today.

So there’s definitely an audible difference, but it’s not huge. At least in this example, I’ve heard worse with examples like these.  Like I said, some people won’t care given that it’s not a huge difference. For those that do, likely it means you’re just going to be mixing and mastering the same as before, you just won’t use a peak limiter at the end. That’s it.

Same EQ and colorful compression if you want, but no need to slam it to make it loud, as you can hear it’ll be just as loud as one you do limit. So why bother? Aesthetic reasons perhaps, but it won’t be a knee jerk reaction that you apply to every song as a matter of course like it is now.

Hope that helps!

(Don’t forget to turn your monitors back down 🙂 )

We Won The Loudness War?

Fellow Seattle producer and Ableton Live Trainer Isaac Cotec asked me to write an article for his blog about the recent news that an end to the Loudness Wars as we know them might be coming soon.  I attempt to give a brief overview of why people are saying this, and how it affects your average producer now and going forward:

Hope you enjoy, and expect to me return the favor and host a music production-based article by Isaac in the future!

Learning To Listen Again

Inner Portal Studio Upgrades 2014 #2.

Well, as I mentioned a few weeks ago, I ordered some new monitors for the studio, Tyler Acoustic D2x’s.  Due to huge snow storms in the US, they took an extra week to get to me, but the wait was worth it.  Last Thursday, 4 big boxes arrived via UPS Freight, the 2 speakers and their stands.  

The freight truck couldn’t make it up my driveway, and the UPS driver was lazy in his own weird way, so we ended up pulling all 4 boxes at once up a long hill on a dolly.  It was sketchy, but soon they were safe inside.

Tyler D2 02

The next step was getting them up to the studio on the third floor, knowing that the large boxes were almost 160lbs each.  Oh, and I did it myself, with the injured shoulder, fun.  🙂  A bit of leverage and using my legs to push from below made it not too difficult, but still a bit intimidating as you don’t want to slip and have one of these come back at you!

Tyler D2 03

The only really difficult part was getting them on the 12 inch stands I had made for them (gets the tweeters at ear level), but by that point I was determined.  Luckily it all worked out, and after a couple hours playing with the positioning of the new D2x’s (as well as the Opals now), it was all working well.   This is obviously a pretty big upgrade for me, so it’s nice to see it all set up in the studio finally:


 Of course the $6000 question everyone keeps asking me, is how do they sound?

In a word, different.  I know, not very descriptive, but that’s the best way to describe it.  Right away I could tell they had real depth to their imaging, placement of instruments was incredibly precise.  But I knew before I bought these that they would need 200 hrs to break in, something the manufacturer reminded me of a few times in the process of ordering them.

Like most of the reviews of Tyler Acoustics speakers, at first they come across as a little underwhelming.  It’s a big sound, you feel like you’re really IN the music in a way I’ve never experience at this level of clarity.  But the lows were frankly weak, and the highs were frankly dull.  They sounded “good”, but not reference grade mastering monitor good.

Again, all this I expected, and having confirmed it with my own ears, I set about breaking them in.  They’ve been playing non-stop since I got them, so I’m at about 120 hours now.  I have the Hilo set up to switch between the Tyler’s and the Event’s with a button press, so it’s been easy for me to compare the way they sound (in a nice level-matched way) quite simply.  The Opals are a tiny bit closer together than they used to be, but otherwise they are what I know inside and out, having used them exclusively for the last few years.

Right away it was apparent the Beryllium tweeters on the Opals were a lot brighter than the D2’s, the highs were right in your face while the D2’s were much more muted.  It wasn’t bad, but definitely more smooth than I was used to.  Luckly I’m told it’s pretty easy to swap out a resistor on the tweeter crossover to make them a little more present sounding, so I always have that option later depending on how they break in.

The D2’s also have a more prounced low end, it’s not so much louder as just deeper and more physical feeling.   I had always used the way the Opals made my chest feel for deep bass as a guide for how much was too much, and with the D2’s this is much more a whole body affair. 🙂

Still, I know that I have to break them in fully before I draw any conclusions, so that’s what I’ve been doing.  Anytime I’m not listening to music on them and comparing with the Opals, I’m blasting pink noise at 96kHz through them to really get all the speakers working.  After 5 days of non-stop use, they already sound a LOT  better.  The subs are much more apparent, and the tweeters have brightened up a little too.  Still a big difference from the Opals, but I’m only halfway there.

It’s been interesting trying to assimilate this huge change in the way I’m going to be hearing things, while at the same time knowing I have work coming in too!  When you’re used to a playback system so well that you never have to second guess yourself, learning how to hear music all over again is both a fun challenge and a bit stressful too!

But, I’m not complaining 🙂

I’ll post some more of my thoughts on this change in a couple weeks once everything has been broken in and I have some more mastering done on them!


I just wanted to remind people one more time about my video series on Optimizing Sound Quality In Ableton Live too.  Been getting a lot of good feedback on these 4 videos, and I can’t recommend the rest of the Warp Academy stuff enough.  If you’re a Live user, you probably won’t find better deal on Live training:

Thanks everyone, until next time!

Optimizing Sound Quality In Ableton Live

Screen Shot 2014-02-05 at 7.48.10 PM

This is something I’ve had to keep under wraps for quite awhile now, and it’s something I’ve been pretty excited about.  A long time ago, in a galaxy…  well actually just a long time ago, I was contacted by DJ Vespers about a project he was working on.  His plan was to create a way of providing world-class Ableton training for rates that were more accessible for a wider range of producers.

While the plan was to release content only from Ableton-Certified Trainers, he asked if I would still be interested in doing a set of videos for the site.  I’ll admit, I was kind of hesitant.  I get a lot of people approaching me wanting to work on projects that sound too good to be true.  And I’m really trying to be 100% focused on my mastering business these days (big changes coming in a couple weeks!).

But the more we talked, the more I could see that he had a solid plan in place, and experience getting projects like this off the ground on the scale he was talking about. And with the core group of Certified Trainers he already had onboard (Jake Perrine, Isaac Cotec, Michael Maricle, amongst many others) I could see that this had real potential to be something important that I wanted to be a part of.

We talked over a few ideas, and in the end I decided that my first series of videos should be about something I’ve spent a great deal of time looking into, achieving the best sounding productions in Ableton Live.  Over and over I’ve seen even experienced producers miss some of these options, and then wonder why something in their song doesn’t sound right.

In the 4 videos I produced for Warp Academy, I quickly break down and explain all of the different places in Live where you might be inadvertantly hurting your audio quality without realizing it.  A detailed explanation of each of the videos is here:

Warp Academy has a special $19/month membership fee going right now, and that gets you unlimited access to a LOT more content than just my videos.  Even if you don’t care about videos, I highly recommend you take a look at the site and see what’s on offer.  $19 to access all of that training (let’s be real, you could unsub after one month if you REALLY wanted) is a great value.  Hopefully some of you use this chance to really increase what you know about Ableton Live!

Expect to see a lot more about Warp Academy in the coming weeks, this is just a soft launch for friends and family 🙂  Ableton themselves are going to be promoting this heavily shortly, as there are now a LOT of Certified Trainers making content for the site.

Inner Portal Studio Upgrades 2014 – Part 1


Well, 2014 has barely started and I’ve already been pretty busy with some important changes for my studio.  The biggest is ordering some custom Tyler Acoustic D2x monitors to replace my Event Opals.  I love the Opals, but for a long time I’ve been wanting to upgrade to a larger, full-range speaker more ideally suited for mastering.

Tyler D2 03(A D2x unfinished cabinet next to the larger D1x)

Unfortunately, these are build to order, so there’s a 3-4 week wait for them to be fabricated and tested.  Hopefully I will have them in the studio in the next week or two though, and I can’t wait!   More details in a future blog post once they arrive.  🙂

In the meantime, I decided that adding more bass-trapping would probably be a good idea, especially since I’m upgrading to a much larger monitor.  As you can see in the top picture, I had already installed some GIK Super Bass Traps in an old closet area at the back of the studio.  The shape of the closet walls worked well with the traps in the corners like that, it reduced a lot of the bass build ups in my room just as it was.

Still, in smaller studios like mine, you can almost never have too much bass-trapping to tame the low end.   After shopping around online, I found a store called that had some really good prices on the bulk insulation types used for most acoustic treatment.   Using the noise-reduction data I found in the link below, I was able to compare various types of insulation and how they absorb sound at different frequencies:

I initially was going to purchase cheaper Roxul (Rockwool) material for the bass traps, as it’s ever-so-slightly better at absorbing the low end compared to the more common Owens Corning 703 insulation typically used.  But the downside of Roxul is that it’s less rigid than 703, so you pretty much need to make frames for it to work best.  There’s a chance I’m moving to a larger studio in a few months, so I didn’t want to make a bunch of frames that might be the wrong size for the new room.  In the end, I decided 703 was the best way to future proof this investment, so I ordered 8 cases of this:

Owens Corning 703 Panels

If you order from the site above, and are ordering more than just a couple cases, be sure to call them about discounted shipping rates.  It’s MUCH cheaper than the calculator on their site says.  So then, time to build!

IMG_2676(5 of the 8 boxes of 703 in total that I ordered)

The basic plan was to pull the shelving units out of the old closet area, and build a (roughly) 20″ thick wall of solid 703 aross the whole back wall, then put the shelving units and GIK traps in front of it.  Overkill….. yes!  🙂   Because these panels would not really be seen, I didn’t need to use fancy fabric to cover them.  I ended up using weed-blocking cloth from a home improvement store, which cost me only $10 for a roll and was more than enough for the job.

The first step was to stack the panels making one thick panel that I could wrap with a few layers of the cloth, before being placed in the studio.  Pro Tip: If you need to cut the insulation, an electric carving knife makes the job really easy!  Same with any foam (like Auralex) for your studio, the electric knife cuts it like butter.

IMG_2678(The ends of the bundles were covered first, then I wrapped the
middle with multiple layers of cloth to hold it all together.
T-pins were used to fasten the fabric to the insulation)

IMG_2674(Almost empty closet)

IMG_2680(New panels in place, with one more layer of cloth to cover them
and prevent any insulation fibres from becoming airborn)


(The final result, doesn’t look much different than it did at first – as planned!)

All together it took me only a few hours to get all the insulation bundled, wrapped in fabric, and placed in the studio.  A few people have asked me if there was any smell from the insulation, since I was using such thin fabric to cover them.  There was a slight smell for a couple hours, but by later that night it had dissipated and hasn’t returned.

I’ll be honest, I was a little curious how much of a difference this would make since I was trying to do this fairly cheap.  And because I wasn’t able to make these proper panels, since my shoulder surgery means no carpentry right now. Plus not knowing if I was even staying in my current room for more than a couple months.

Happily, there was a HUGE difference in sound once I was able to give things a listen!  A much bigger difference than I even hoped for in fact, the low end is incredibly tight in the studio now.  Notes across the low end are even and clearly heard, and the sweet spot for my monitoring increased dramatically too.  All in all the difference was immediate, and obvious to the ear.  All that mass stopped a ton of reflections from being directed back into the studio, my whole back wall is like an audio black hole now.  🙂  I might need to get a diffuser for back there now in fact!

Of course, it wasn’t until AFTER I installed all that bass-trapping that I thought about measuring the low end in the studio using the reference mic and software that came with my Opals for just this purpose.  So unfortunately I only have the “after” results, I don’t have any readings from before the treatment, sorry.

Opals Flat - Post Bass Trapping(Not too bad at all!)

Overall I’m plenty happy with the way this part of the studio upgrade turned out, it really made a much bigger difference than I expected.  And best of all, it really didn’t take that long to do either.

The next step for me is to space my current GIK 242 panels a little bit off the wall, likely just an inch or two to improve how well they work at absorbing the lower-mids.  And then of course, I have some new monitors coming in a couple weeks too.  I don’t think I need to say how I excited about that I am.  Well, except for the part where I have to carry 155 pound (each) speakers up two flights of stairs.

Check back for more pictures and a run down of the speaker install in Part 2!