in my entire 50 years this is the first time ive seen perfect and intuitive and heck easy and logical and fundamental nature based audio science , and the fact that is terrifyingly points at quantum mechanics is pfff Im speechless ,Menno tell us the truth are you from the Orion constellation (joke) but it is terrifying the level of your intelligence , im a bit broke now but as soon as I get some money ill buy your plugins immediately ,I am completely sold on this one , wish I had this 30 y ago ,kudos to you!
What an informative video. Watching your workflow has really helped the integration of both COS Pro and Monolith. Also, using Monolith after a compressor or tape machine makes a huge difference. Such good stuff. Thank you Menno.
I would love a booklet with some recomendations for noise shapes on different instrument and elbow point as reference. The more videos I watch the more I get it but a ref would be amazing
Roman...we will be releasing a massively upgraded COS Pro in May that not only has lots of powerful new features but also has Universal Mixing built directly into it. At that point I will be creating many new videos regarding Universal Mixing method...stay tuned.
I learned so much by watching this video - THANK YOU! 2 Questions: - What‘s the thing with spectrum smoothing? - When I use Tape-Plugins from Waves: Should I take -30 LUFS (Hit the Tape) or -20 LUFS (Feeding Waves)? Again: Thank you!
Spectrum smoothing gives your spectrum varying degrees of resolution. At 100% it allows the EQ to function more as a Baxandall EQ...at 25% or 0% you can get different tonal results while conforming the EQ to a 50% ceiling (see "Understanding Your Ayaic Plugins" video). Happy mixing.
I've purchased Hyper EQ recently and after taking a long time to wrap my head around it, it's starting to produce really good results. I have a few requests however for future updates (mainly quality of life stuff) 1. Scalable interface. Currently it's too small (similar problem to old Waves plugins) and the fonts can be hard to read. I have a 27" monitor running in 2k 2. Input AND Output level on the meters plus an integrated LUFS meter for level matching (not all of us are also running Mix Monolith yet!) 3. Undo. When you make a change via the ceiling editor and you go to undo it, currently you have to undo every band of the EQ that got moved in that ceiling change individually. This is time consuming and kind of punishes mistakes in a way. The undo should take you back to the EQ setting prior to applying the ceiling instead 4. Snapshots. Not all DAWs have the ability to cycle between different settings instantly to see which variation we like best. This would be really handy for comparison.
All of those features and many more are in the works...not sure of a release date yet as we're making sure to think of and add everything we, and users, would "want" on the next version. Stay tuned.
hello :) , thank you for the video ! To put two sounds on the same level plan, do you measure in LUFS integrated ? over the entirety of the track? Thank you!
@ayaicware thank you ! My issue is sometimes with top end drums ( ride hi hat crash) esprcially with Electronic one. Even at the same lufs as other éléments, they seems way louder and in front. Do you expérience that sometimes ? Thank you
@@SecretsdeFL That's because the elements noise signature is not in balance with noise somewhere...level-planes are noise dependent. This is why COS Pro / Hyper-EQ is the perfect compliment to Mix Monolith...bring up COS Pro and it will show you which part/s of the noise element need correcting...once corrected, the noise element will sit perfectly on a level-plane. I can't stress this enough, everything we hear is simply noise governed by the spectrum of noise and level-planes.
@@ayaicware Dear sir, thank you verry much. Do you usually put hats, crash, ride etc at the sample as the snare and kick ? just to be sure; the strategy for Ceiling of Sound is as follows ? Choose an initial global curve (based on the desired result). Match the highest peaks of the element’s curve to this global curve. Use elbow points between these peaks to create a balanced global curve (so that it consistently follows noise curves everywhere). Perform an EQ match (conform spec to ceiling) with 100% smoothing to obtain a smoothed EQ. Check at 50% smoothing to ensure it matches all my curves. Is that correct? Thank you very much!
@@SecretsdeFL That's one way, yes....you don't have to work at 100% spectrum smoothing...sometimes you may (as I have demonstrated) wish to move the EQ nodes manually to balance to noise...it depends on the situation and need at hand. That said, however you choose to use COS Pro, the objective is to simply balance your noise elements to noise.
I'm interested in both cos pro and mm. My setup is proper and balanced (acoustic panels on walls and ceiling cloud, monitors spaced angled on stands) being pretty accurate but when learning and ear training I can see cos being a great tool for learning. (I'm an audio novice)
Hi - At the end of this video, you have a Waves plugin on the Drum Bus. Earlier you stated Waves plugins like to be hit at -20 lufs. Is this not the case with buses? You've got the MM before tape and Waves, but not before everything hits bus? OR on the Drum bus before the Omni? Great plugins by the way.
Great question...in this instance I knew the combined energy at my drum buss was right around the -20LUFS mark, so a Monolith correction before the Waves plugin wasn't necessary. That said, it's good practice to always check the LUFS levels of your stereo busses and apply correction if needed.
in my entire 50 years this is the first time ive seen perfect and intuitive and heck easy and logical and fundamental nature based audio science , and the fact that is terrifyingly points at quantum mechanics is pfff Im speechless ,Menno tell us the truth are you from the Orion constellation (joke) but it is terrifying the level of your intelligence , im a bit broke now but as soon as I get some money ill buy your plugins immediately ,I am completely sold on this one , wish I had this 30 y ago ,kudos to you!
What an informative video. Watching your workflow has really helped the integration of both COS Pro and Monolith. Also, using Monolith after a compressor or tape machine makes a huge difference. Such good stuff. Thank you Menno.
I would love a booklet with some recomendations for noise shapes on different instrument and elbow point as reference. The more videos I watch the more I get it but a ref would be amazing
Roman...we will be releasing a massively upgraded COS Pro in May that not only has lots of powerful new features but also has Universal Mixing built directly into it. At that point I will be creating many new videos regarding Universal Mixing method...stay tuned.
@@ayaicware i can’t wait 😮😮😮
@@ayaicwarewow! Can't wait!!!
@@ayaicware Hello, will this future May upgrade be free if we already have COS Pro ?
@@macphersonmusix Indeed...All Ayaic upgrades are free.
I learned so much by watching this video - THANK YOU!
2 Questions:
- What‘s the thing with spectrum smoothing?
- When I use Tape-Plugins from Waves: Should I take -30 LUFS (Hit the Tape) or -20 LUFS (Feeding Waves)?
Again: Thank you!
Spectrum smoothing gives your spectrum varying degrees of resolution. At 100% it allows the EQ to function more as a Baxandall EQ...at 25% or 0% you can get different tonal results while conforming the EQ to a 50% ceiling (see "Understanding Your Ayaic Plugins" video). Happy mixing.
I've purchased Hyper EQ recently and after taking a long time to wrap my head around it, it's starting to produce really good results. I have a few requests however for future updates (mainly quality of life stuff)
1. Scalable interface. Currently it's too small (similar problem to old Waves plugins) and the fonts can be hard to read. I have a 27" monitor running in 2k
2. Input AND Output level on the meters plus an integrated LUFS meter for level matching (not all of us are also running Mix Monolith yet!)
3. Undo. When you make a change via the ceiling editor and you go to undo it, currently you have to undo every band of the EQ that got moved in that ceiling change individually. This is time consuming and kind of punishes mistakes in a way. The undo should take you back to the EQ setting prior to applying the ceiling instead
4. Snapshots. Not all DAWs have the ability to cycle between different settings instantly to see which variation we like best. This would be really handy for comparison.
All of those features and many more are in the works...not sure of a release date yet as we're making sure to think of and add everything we, and users, would "want" on the next version. Stay tuned.
@@ayaicware Cheers Menno, that's great to hear!
Learnt a lot again. Looking forward to Part,3. Thanks, Menno.
Thanks a lot
Really needed these tutorials
Waiting for upcoming parts
Be well
Thanks again
Thanks for this information.. makes it more it much more clear on how to use COS Pro.
Makes more sense now. Excellent
hello :) ,
thank you for the video !
To put two sounds on the same level plan, do you measure in LUFS integrated ? over the entirety of the track?
Thank you!
Yes...integrated LUFS. Over the entire part/s.
@ayaicware thank you !
My issue is sometimes with top end drums ( ride hi hat crash) esprcially with Electronic one.
Even at the same lufs as other éléments, they seems way louder and in front.
Do you expérience that sometimes ?
Thank you
@@SecretsdeFL That's because the elements noise signature is not in balance with noise somewhere...level-planes are noise dependent. This is why COS Pro / Hyper-EQ is the perfect compliment to Mix Monolith...bring up COS Pro and it will show you which part/s of the noise element need correcting...once corrected, the noise element will sit perfectly on a level-plane. I can't stress this enough, everything we hear is simply noise governed by the spectrum of noise and level-planes.
@@ayaicware Dear sir, thank you verry much.
Do you usually put hats, crash, ride etc at the sample as the snare and kick ?
just to be sure; the strategy for Ceiling of Sound is as follows ?
Choose an initial global curve (based on the desired result).
Match the highest peaks of the element’s curve to this global curve.
Use elbow points between these peaks to create a balanced global curve (so that it consistently follows noise curves everywhere).
Perform an EQ match (conform spec to ceiling) with 100% smoothing to obtain a smoothed EQ.
Check at 50% smoothing to ensure it matches all my curves.
Is that correct?
Thank you very much!
@@SecretsdeFL That's one way, yes....you don't have to work at 100% spectrum smoothing...sometimes you may (as I have demonstrated) wish to move the EQ nodes manually to balance to noise...it depends on the situation and need at hand. That said, however you choose to use COS Pro, the objective is to simply balance your noise elements to noise.
I'm interested in both cos pro and mm. My setup is proper and balanced (acoustic panels on walls and ceiling cloud, monitors spaced angled on stands) being pretty accurate but when learning and ear training I can see cos being a great tool for learning. (I'm an audio novice)
Hi - At the end of this video, you have a Waves plugin on the Drum Bus. Earlier you stated Waves plugins like to be hit at -20 lufs. Is this not the case with buses? You've got the MM before tape and Waves, but not before everything hits bus? OR on the Drum bus before the Omni? Great plugins by the way.
Great question...in this instance I knew the combined energy at my drum buss was right around the -20LUFS mark, so a Monolith correction before the Waves plugin wasn't necessary. That said, it's good practice to always check the LUFS levels of your stereo busses and apply correction if needed.
@@ayaicware Interesting - good to know - thanks for the quick reply!!
Maybe it would be a good idea to use COS when you are tracking - get as close to perfect noise as possible?
Thanks for a great tutorial!
Indeed...I do this often, when the addition of latency isn't an issue, since placing any plugin on a DAWs input track/s creates latency.
SO COOL