Why you NEED Psyscope Pro by FX23 (and Duck by Devious Machines)
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- Опубликовано: 26 авг 2024
- In this video I show why Psyscope Pro by FX23 is an indispensable tool for electronic music production. (I also show a little of Duck by Devious Machines, which I think is the best ducking plugin out there, by far.) This is NOT paid promotion. I bought both of these products and have no arrangement with their developers. They're just both THAT good.
Psyscope Pro: fx23.net/psysc...
Duck: deviousmachine...
If you enjoyed this video, please do me a solid and not only like the video (and subscribe to my channel), but also give me a follow on my TWO different artist accounts on Spotify! Thanks!
Baphometrix: open.spotify.c...
DubSkald: open.spotify.c...
/ baphometrix
Thanks for showing psyscope, glad you like it :) all the best'
Nice ! Are you working on a mac version ?
@@valentinfranceries5069 unfortunately im a single dev and currently don't own mac hardware, os, compiler, daws ect to port and deep test/debug in a correct way for now. Hope might have time and money to allocate in the future, but prob won't be before arm switch..
@@23fx23
When ya'll going to add PayPal to your checkout page???
Some of us don't do card details over the net 😉
@@tonytemple8195 i had disabled it because they take me too much fees and their integration with gumroad makes it hard to track correct user/payer mail. But ok , i just re-enabled it ;)
@@23fx23
Wow 😲
That was quick oh, and one more thing, the signup/new account thing is missing too.
Just saying 😁
Got to know you a few weeks ago with some of your tutorials popping up in my homepage. Never have i found such useful advanced tutorials before, really glad you're making these! hope to see MANY more tuts by you because you became my primary source of new info aside of sperimenting myself with plugins and stuff. Absolutely in love, instantly subscribed!
quick edit:
i IMMEDIATLY bought Psyscope Pro (it's on sale for 10 bucks until the 23rd of september)
Again Thank you!
Exactly the same, a year later. Much respect for the guy.
Had this issue with kick and bass since years. Found Your tutorial. Tested Psy. Bought it. Solved it. No thank You can explain how grateful i am!
This fixes so many issues I've had in the past. Not least because I have been using the readings from oscilloscopes all wrong. I cant wait to try this out. Thank you for taking the time to upload this golden nugget of information.
Dude. That was amazing! I could never figure this out before. Ducking would always end up making it either lose the transient or lose the fullness or richness of the bass, no matter how I did it. I'd often just think ducking was overrated. I dont have a Bill Gates PC (thank Zod--I would have just quit in anger a long time ago when every single simple thing I tried to do was like a research project followed by a long form trial and error experiment, followed by more anger and frustration, followed by taking a break for a few days, followed by the thing just magically working without doing anything the next time, only to run up against the next simple thing that inexplicably takes a computer science degree to solve, followed by all my work disappearing and my backup being corrupted, and my other backup won't read properly, so after a couple days of panic I take it to a friend, slowly transfer to his pc, then to mine, after solving a bunch of problems getting my pc to properly network with his, only to find out the next day that windows updated automatically after I told it not to, and now none of my plugins will work at all, and after I spend a few days solving that, I get to work on my project for most of one day before the next problem arises, and it's the same thing all over again, repeating ad finitum until I'm in the loony bin or the machine has been destroyed with a sledge hammer), but I think I can reach the same results using LFOTool, some other oscilloscopes, and my newly acquired knowledge of exactly what's happening to fill in the gaps and estimate what is happening where my scopes might not show me quite as precisely as you were able to demonstrate here. This channel is really the most useful source of important, advanced, next level info I've found. You've been providing me answers that actually make sense to all the problems that arise even after I do everything right based on even the best other info I can find, yet still I don't get the results I want and am left confused as to what I'm missing that's holding me back. Thanks for doing this, and keep up the good work. Tho honestly I have no idea how you can get anything done on a Windows PC. I can look at one of those things and it will break.
You should check what they offer now. Amazing stuff. FX23
Omg studio one 🤩
This is amazing. Thank you!
Excellent tutorial again Bapho.
Excellent tutorial, I appreciate your guidance and knowledge. Precise and comprehensive
Thx you so much bro you the best wit showing us all dese thangs. I learned alot from you!💪🏼💯🔥
Really great Review/Lesson on how to use it properly! 👏 I never really thought about phase issues and this really helped alot man 🤘🏽Thanks again dude
What an amazing vid. this taught me alot about Oscilloscopes and their usefulness
Cool, love the vids, and thanks. I have a question though. What about for subs/ basslines that play different notes? is there any diffrence on technique for a bass with 4, 5, 6 different notes that overlap the kick
You cannot prevent ALL phasing down in the region below 100-120 Hz where it's most audible and most problematic. Your goal is to *minimize* the phasing and find a best overall compromise. A sub instrument that is playing a riff or melody (different pitches) will only have "bad" phasing where the pitches are very close to the pitch of a beefy kick's body/tail. And in most cases, you want the sub really reinforcing the root pitch of the song key, so it tends to spend more time lingering on the root.
One basic trick is simply to remove most of the subby "boom" of a kick (by high-passing most of it out) and make it a very "knocky" kick instead. Then the sub instrument itself is owning the entire sub region and isn't "fighting" with the kick at all. But if you're going to have a heavy kick that is meant to carry the sub impact for quieter parts of the song where the the main sub instrument isn't happening, then you have to consider how often your sub riff is sitting on the same pitch as the kick. And maybe tune that kick slightly so that when it IS happening at the same time as the same sub note, those are in phase with each other during the tail portion of the kick. Hope this helps!
This channel is gold
Melda Auto Align helps w phasing and quick
Wow, awesome dude. I think this will be a great addition to the tool kit. Thanks for the video :)
It's strange that with growing electronic music productions most DAWs don't have a decent build-in ducker. Also nice to see that others demonstrate the importance of a decent mix / mastering workflow. This remains bitwig weak point. Great in sound design, below average in mixing.
Yeah, this was one of the factors that pushed me towards Studio One. I still love Bitwig, but they were taking too long after 3.0 to deliver on their promise of everyday workflow improvements.
@@Baphometrix true i offered my time, help and finances to them but they seems focused on expanding the grid and not basic functionality. I'm considering finishing my projects and sell my licenses (with a sad face).
@@_Patrick_H It's still superior to all other DAWs (even Ableton or FL) in terms of raw sound design power. You can always keep it and just stop buying upgrade maintenance for it. That's what I'm doing. I still open it up fairly often to do some sound-design goal that's simply impossible in Studio One.
@@Baphometrix I moved from reason 10 (crappy vst performance) to Bitwig, now reason v11 my sound design alternative. My bitwig licence is set until 2022, due to my faith and support for future developments. Now i see that the grid dominates future bitwig development cycles. All my question & suggestion about workflow updates seems to splatter on the developer's walls. Example: No support for quick selecting multiple tracks to add/removing/activating plugins in the mixer / Send channels are bound to a group-master or project master, no other easy routing is supported / no support for saving and loading one or more customized/default track configuration. Some suggest that bitwig choose for a unique selling point and have no interest in being ""one of the many available daw's". That a groundhogs day feeling: good ideas overrule solid editing, mixing/mastering workflow (propellerheads reason drama repeats). I'm trying to stay positive but that not always easy.
not telling friends about this tutorial to horde punch for myself. gems thank you!
I have no Idea how to setup multi input for the free PsyScope but there is bomshankamachin.es/plugins/occularScope - the beast alternative at the moment.
Great video - very informative! Thanks for posting
what is a great Psyscope for mac / pro tools?
The Ozillos Mega Scope from Schulz.Audio
oh this is excellent. Thank you baphy!
These are great, thank you for putting these out. I find classic side-chaining still makes my kick/snare jump out of the mix a bit more at times. I usually try both out and see which one works better. These videos are great, lots of food for thought. Thanks you, keep up the good work!
Great VIdeos man keep it up.
By the way you sound like Badger from breaking bad
Awesome plugin Psyscope. But I am having some issues with waveform latencies
though. I haven't found a manual or info page that helps me get this
right. I am in Ableton using Psyscope pro. Can someone help me with some
info to set this plugin up correctly due to the latency issue in
Ableton.
very helpful video ... i wanna know which come first tuning the kick or ducking and hope that you make a tutorial about tuning drums
Typically you pick the kick sound that's closest to what you want for the project. Then you do any additional shaping/tuning/sound design on the kick to get it hitting the way you want. And then finally, you decide what needs to be ducked to the kick and set up that ducking accordingly.
Don't overthink the tuning part. Especially if you're making music that is destined to be played in sub-heavy environments (clubs, festivals, or even SUVs and cars that have subwoofers in them), you typically want a fairly short kick tail, so that the "boom" of the kick doesn't last too long and cause phasing problems in reverberant environments with lots of sub. (I have an entire recent video called "why your great sounding kick might not be so great" that talks about this.
So, when you shorten the kick tail to where it usually wants to be, the actual pitch of the subby sine in the kick tail doesn't matter much. Most bass music producers will typically tune the kick up a 4th or a 5th from the root of the song key, so that it won't interfere and interact too much with the actual sub line.
going to get it once i get home today
So, since Psyscope doesn't work on Mac, would you recommend one that does?
That would be great to know ✅
@@alexfont Glad you asked mate, I was scrolling down the comment to see if someone has mentioned an equivalent for the MAC.
The Ozillos Mega Scope from Schulz.Audio looks pretty good
Oszillos Megascope
Rip Mac users... anyone know an alternative plugin?
~5:15 why don't you put kicks on the grid?
I had to buy ozscilloscope use a Mac and I’m trying to find Baphometrix tutorial info on using that plugin. Which video had that info? I’ve watched so many hours of his CTZ series but still haven’t found it. Help?
Does anyone know how to configure psyscope in bitwig to show each instrument say in cr 78 drumkit of microtonic, can find any info on it. Any help would be really appreciated. cheers.
Awesome but there is always a problem when the sub is not un the same key you could bever phase align that
baphy i have a question, how u set duck to the sub, cause i am making a trap song and i am ducking the 808 but i keep gettin a 1 db more of clip, even tho i am ducking, there is a click in the begining always, and i already try a lot of configurations with duck, please helppp
You know your shit man. Thanks for sharing.
Are you now using KCLIP or Newfangled?
can i do the same with psyscope pro and lfo tool ?
Amazing videos, thank you very much.
I noticed though that it doesn't work in mono channels. Do you maybe have a way to get by it, beside making all my mono tracks into stereo?
Thanks!
Hey, I recently stumbled across your videos and I have to say, they are fantastic. I bought Psyscope Pro and Duck right after this video today, lol. Awesome tools. But if I may ask you one question regarding Duck: I tried it today but I noticed that it causes quite some clicking - only with smoothing turned almost all the way up, the clicking is somewhat gone - but even then it's not completely clean. I tested it on a simple kick/snare + bass loop scenario and used Psyscope to analyze how "quickly" Duck reacts, and even with smoothing turned all the way down (which causes the awful clicking ofc), the bass loop still overlapped with the transients of the drums - which in return leads to exceeding the 0 dBFS ceiling (before, the drums were hitting 0 dBFS perfectly on their own) - I could see this in the "sum" analyzer of Psyscope. With smoothing turned all the way up it was obviously even worse.
I then tried Ableton's utility to manually draw in the gain automation curve to duck the bass signal and analyzed the waveforms again in Psyscope: The result was a lot cleaner - not only is there no smoothing from utility (the bass loop was immediately slapped down to zero, no overlapping with the drum transients) but also there was no clicking at all. The combined signal (sum) stayed exactly at 0 dBFS as there was no overlapping due to smoothing.
As I'm by far not as advanced and knowledgeable as you are in music production, my question is: Do you have any experience with ducking/sidechaining with Ableton's utility? Is it really cleaner and a legitimate way to duck or are there any drawbacks I'm currently not aware of? Or am I missing something with Duck? Because in my test scenario, it appeared to be superior to Duck: it reacted quicker, caused no clicking at all and didn't make the summed up/combined signal exceed 0 dBFS.
I also tried ShaperBox 2, it was cleaner than Duck (less clicking, but not completely clean) and there was less overlapping, but still not as perfect as utility.
I'd really appreciate hearing your thoughts about that, cheers!
Two things going on here. First, since you're in Ableton, it does NOT correctly compensate for PDC clock sync, so you have to use a special control and workaround in Psyscope Pro to sync up the beat clock correctly with the actual audio PDC. Instructions for that are on this page: fx23.net/zcontact/
Next, for the "clicking" in Duck, you probably need to set a lookahead value for Duck to react in time to the transients of the kick. Click the little gear icon next to "Trigger Level" and then try a lookhead of 1ms or 2 ms.
@@Baphometrix Thanks for your reply. In my described testing scenario, I didn't have any latency causing plugins in my project but it's definitely good to know that this problem exists within Ableton. I also tried to play around with the smoothing + lookahead settings in Duck to achieve a good compromise between clean sound + precise reaction timing. It definitely helped but still, I feel utility did a better job and it doesn't cause any latency, no clicks, no smoothing.
Do you see any downsides with using utility for ducking (besides having to manually draw and copy the automation curves across your project for each drum hit) compared to using Duck or other comparable VSTs (ShaperBox, LFO Tool etc.)? I would like to hear a professional opinion on that before I throw my current default ducking setup overboard haha.
@@vipeout4315 Drawing in automation using Ableton's utility device (automating a gain knob or fader) is the best and most accurate way to do the job, it is just way way way more time consuming, but you will get the smoothest, cleanest and most accurate results.
@@Mike_Benz_ Interesting. That kind of confirms the results I had when testing utility vs several other ducking VSTs, utility was super clean for me. Also, I don't feel that it's THAT much more time consuming. I mean, sure, you gotta figure out the right curve, draw it in and copy it across your project for each drum hit. But pasting it with ctrl + d once u got the curve right doesn't take that much longer + one of the greatest benefits is that you can easily switch up/vary the automation curves for specific/individual drums hits. When using Duck or any other dedicated VST, you're always stuck with the same curve for every drum hit, unless you use several different instances of the particular VST. And at that point, it's probably even quicker just using utility.
@@vipeout4315 Exactly right with everything you said. Some people just don't have the extra time or patience to shape every automation curve to every kick, but the results will be the most accurate for what you desire.
Hi, Baph! Talking about ducking plugins, what do you think about Dodge Pro from W.A.?
The Duck volume Shapiro can be triggered by the kick sound? Or we need to use MIDI?
I'm asking because this good example you've made has only quantidade kicks. What made me Wonder "what 8f it was a kind of boom-bap or jazzy beat?", how the Duck could keep following the kick proprrly?
No support for Mac unfortunately :(
nice one !!! but in my daw i cant make it show it.... i have studio one 5 artist.. did u do something special? i already have the dll in the Vstplugin.. but doesnt show u.u
what do you think about "sound radix Pi" phase interaction mixer plugin?
How do think Psyscope compares to Bom Shanka - OccularScope?
I've never used it, but looking at their web page, it seems similar to PsyScope Pro but limited to only two signals: the channel that the plugin itself is on, and one sidechain input. But on the plus side it's OSX compatible so definitely a potential alternative if you're not on Windows.
It’s nice, but far less sophisticated. I wish it showed clipping lines. These would help with the CTZ method.
Well I have a Mac and all the oscilloscopes seem to suck, any ideas?
Any good oscilloscope recommendations like this for Mac?
Any ideas why my sub keeps "moving" on phase? I looked at your other video and sublab resets the phase on each note. At least it says so but something is moving in oscilloscope. In Serum everything is ok
great video, thank you, question is there any tool to move time in studio one (time shift) like in bitwig (your previous video) to make kick in phase? or just tune kick until its sorta in phase ? thank you again
Yes. Studio One has the notion of positive or negative delay on an entire track, just like Ableton Live has. Bitwig does it a little different with their Time Shift device instead of "whole track delay".
@@Baphometrix thank you for your answer, if i may i have one more question, what if kick is in the same key (pitch) as bass root note, but on psyscope i see that bass line (more or less sine wave) is always changing, driffting, so no matter howi delay the signal left or right its never in phase, at some point its in phase but all other times (when my sequence is playing) its not, ( monark patch i made for example) what is the solution then, or just try to duck it as cleanly as possible, if its sounds good its good right? thank you again
Have you tried routing the MIDI from your kicks to Duck and triggering it that way? I wonder if this might be a little faster and thus offer better control of the curve?
Sure. MIDI triggering can be very exact. It also takes time and energy to set up. Audio triggering can be faster. But both methods are available to suit your preferences.
Completely off topic but you I heard you say "it's right on the grid, normally I wouldn't do that". Can you say why you don't do have transients on the grid?
Hope that made sense
Human drummers and musicians are sloppy and their timing drifts all over the place. Nothing recorded by any musician in a band hits exactly on the grid. This is why electronic music can sound sterile and robotic. So savvy producers intentionally introduce some "humanized" randomness to the timing of things, to give their electronic music a little more of an "organic" and "human" vibe.
But there's another benefit to this practice when it comes to loudness. If all your big transients are stacking up on top of each other at grid points, then you have a huge problem with your dynamic range and you can't push your mix very loud. Two little peaks sum together into a much larger peak. The more you have to squash peaks to achieve loudness, the more squashed and overcompressed and dirty and lifeless your mix will sound. So "humanizing" all your drums by moving the transients away from each other so they're a little "sloppy" and natural sounding can really help you achieve clean loudness too.
@@Baphometrix Thanks for the detailed answer!...
I've been debating about this for years that; I'm all for the organic sound of humanising and have that slightly off groove but what about music that is intended for deejays to mix? I've always been told you atleast need your kick and snare to be solid to the grid so they can blend their records together? What's your thoughts on that if you will?
@@chriswftdj I have to start an answer with "I'm a DJ too... a 'producer DJ'". I feel very strongly that EVERY producer who makes any type of dance music can benefit a TON by learning how to DJ and becoming a performing DJ on some level. Even if it's just small parties for friends. Like with musicianship, it's one thing to play an instrument in your room, and another thing entirely to PERFORM on stage. Being a performer forces you to reach for a certain quality bar, and to gain a certain level of understanding about many things that you'll never learn when you just plink around by your lonesome.
So with that out of the way, trust me when I say that NOTHING needs to be precisely, robotically "on the grid" for DJs to do just fine. There ARE some rules of thumb for making a song be "DJ Friendly", but locking your kicks and snares (or anything else) exactly on the grid is NOT one of those rules.
What matters to DJs are mostly just the following things:
A. Can I easily COUNT the bars in my head while I'm distracted with reading the audience and getting my next song queued up and ready to go? Can I easily DISCERN the first downbeat of each bar?
B. Can I easily DISCERN the four-bar and eight-bar "chunks" of an arrangement? Hint: this is why you put in turnarounds of some sort every 8 bars at least, and ideally also more subtle turnarounds at the 4-bar midpoint in each 8-bar chunk. This is why you build a song out of 8-bar loops that are OBVIOUS and easy to hear. This is why you remove some sounds and replace them with new sounds at least every 8 bars ("The rule of 8").
C. Is the producer doing anything "tricky" that messes up my ability to focus on the count and the 8-bar chunking? It's okay to put in an entire extra BAR or two for some tricksy arrangement hijinks, but please please please don't put in an extra half bar or extra quarter note because that will ROYALLY mess up a DJ, especially if they're setting cue points and loops on the fly as they're loading an unfamiliar song up.
D. Is the intro designed to be easy to mix into? And is the outro designed to be easy to mix out of and into the next song?
So consider those four points. The kicks and snares can be humanized and "sloppy" and drift all around NEAR the grid, yet the bars and sections can still be VERY easy to DISCERN and to COUNT.
@@Baphometrix I don't go overboard with "humanizing" drums, but this is something I do with my beats too to make them more "organic". However, this makes me wonder how to duck bass riffs or other sub information when the interaction of kick and bass changes frequently, i. e. they don't overlap identically all the time as in your video. Do you think I could still use the approach you teach in your video? Or would I have to do something entirely different to avoid phase issues?
this is so cool, definitely gonna get psyscope. one question about phase alignment - how do you deal with the sub changing notes? i feel like there will always be different interactions with the kick... would you use a different ducking shape for each note? at that point it might get a bit too micromanagey?
In SOME songs from SOME genres, you have a pretty simple bass/sub line that isn't really melodic, but tends to stay on a single root note of the song and use **rhythm** to be the interesting part. That's where this concern about phase alignment can be useful. In MOST songs from MOST genres, the subs and basses have a melodic movement, and of course when the pitch of the kick and the pitch of the sub are no where near each other, then the phasing issue isn't a concern at all. Two simple ways that EDM producers simplify and remove this issue entirely are:
A) They just tune their kick higher than the root note of the song. That way, when the sub hits the root note on (most) of the downbeats to help emphasize the song key, the kick isn't clashing with the sub at all because it's pitched up to a 5th or 4th or 3rd above the root note of the song key.
or
B) You remove nearly all of the body "boom" from the kick. The kick becomes more of a simple neutral transient pulse than anything resembling the sound of an acoustic drum set kick drum. Now you have essentially no "subby tail" of the kick to worry about. In this approach, you nearly ALWAYS glue a really short sub note right there at the moment each kick hits, and it's the SUB sound in your track that seems to provide the "boom" of the kick. ;)
@@Baphometrix thanks that's a really good explanation! that's actually tend to do the latter thing and make my kicks rather short (esp. on high BPM tracks). still i'm looking forward to optimize the kick/bass relation when necessary and be aware & prepared if phase problems occur
@@Baphometrix I don't quite understand that. All bass notes are going to have a polarity/frequency and all those notes will be in phase or out of phase with the kick drum to some degree. Why doesn't that phase relationship matter for every bass note? For example, in G minor with a kick that is tuned to G, why wouldn't the phase relationship between that kick and a Bb bass note (a minor 3rd above the kick) matter? Surely if phase relationship matters at all in principle, then those two waveforms being in phase is going to sound better than out of phase. Thanks.
Was quite shocked to see you using Studio One, what made you decide to try it out and how do you like it so far / do you think you'll stick with it?
Bitwig keeps dragging their heels on everyday bread-and-butter project workflow. Studio One is a powerhouse for composing, arranging, editing, and mixing. Bitwig and Ableton are still the top dawgs for sound design, but they're both really weak at bread-and-butter workflow stuff. I base all my projects in Studio One now and LOVE it. But Studio One is pretty weak for complex sound design so I still crack open Bitwig on the side when I want to do some tricksy sound design thing. Then I'll bounce clips in Bitwig and bring them into my Studio One project.
What channel do you put the oscilloscope and the ducker on? Is the oscilloscope on the master? What about the duckers? I’m kinda new to these types of tools
Episode 13 in my "Mixing Loud with CTZ" playlist: ruclips.net/video/B1FDzgEYNjo/видео.html
Have you tried MMultiAnalyzer? It seems like a good alternative for mac os, and has a dedicated Collisions view that seems quite handy, then again I only just barely grasp any of this stuff so I'd appreciate your opinion on it. Thanks again for the library of wisdom.
I have not tried that one.
@@Baphometrix I'm finding it to be quite nice, and their MUltraMaximizer has quite a few interesting clipping options you might want to look at too
I see you've moved on to KClip as your go to clipper! What prompted the shift from G-Clip and Newfangled Saturate?
Saturate is still excellent and I do use it on sounds where *spectral* clipping can work really well. Problem is that Saturate adds a lot of latency, so it's not feasible to use it as my general-purpose clipper all over the project. Another problem is that spectral clippers, spectral compressors, and spectral limiters all work their magic by robbing the sub frequencies. This is great for many sounds and many genres of music, but you have to be careful with bass-heavy music.
GClip is still solid for use as a basic non-oversampled hard clipper for simple dynamic range control. KClip is simply much better on several fronts. I stopped using KClip for a while because the developer was making bad installers (for Windows) for nearly a year, but they finally fixed the installer issues and I could get proper updates to KClip again.
any other similar plugin for mac?
Try occularScope by Bom Shanka Machines. It doesn't communicate between channels but it has a sidechain input at least so your u can monitor two channels ie kick and bass simultaneously.
Hi Baphometeix, i am doing the switch feom Windows to Macbook pro M1... and inrwcognized tvat i xouldn't use Psyscope anymore! 😑 what do you say is nexz best? Blue cat audip oscilosxope? Thank you for your thoughts... 🙂🙏
For mac, the closest thing to Psyscope Pro is called "Oszillos Megascope" by Schulz Audio.
@@Baphometrix thanks! I rediscovered it yesterday a looks quite similar to Psyscope 😀
hey Baphy. One question may be you may want to address that in a separate video. what made you shift from studio one to bitwig. I am currently using Studio one am i destined to shift to bitwig ?
I wouldn't put too much weight on my choice of DAW. Every producer has different "must-have" features that fit their personal workflow and the type of music they produce. Studio One is a very capable DAW. Bitwig just fits my overall needs/preferences a bit better.
@@Baphometrix we could take some help from your perspective of choosing a DAW. For years I got stuck with FL Studio for mixing believing that may be I can find out the efficient way to mix on FL because every "DAW is the same". No every DAW was never the same. And reality is there is always a best suited DAW depending on certain workflow song types genre etc. In FL for mixing and stuff, the cpu load management is poor, extra clicks for any function, a lot of inefficiencies not compensated by flexibilities, no intutive integration with even FL native plugins etc. FL might still be one of my favourite daws for music production, it's a hands down poor DAW for mixing purposes and may be even tracking. So since the time I moved to studio one I am really happy but my brain keeps thinking that is there an even better DAW out there That is suited for full stack music production, tracking to mastering. Your experience and suggestions might help.
Just curious, why wouldn't you just use trackspacer to create the ducking?
Trackspacer is good for ducking things to vocal tracks, or for doing *mild* ducking across the spectrum for any reason. But for sounds like the kick and the snare, which need your full RMS and headroom right up to 0 dBFS, you need to push other sounds entirely out of the way, or your transients get too high (too much crest factor) for a loud mix.
@@Baphometrix OK that makes sense, thanks for the response man. love the tuts and info!
Have you give up Bitwig?
No. I actually went back to Bitwig. Bitwig was too focused on their "Grid" features, and I was champing at the bit for them to bring in some everyday workflow features that other DAWs (like S1) had. So I tried out Studio One, but after really learning it decided I still liked Bitwig best. (And during that time Bitwig added Comping and a few other features I had been wanting.)
This is an example of what you can expect from an A student.
What is the best one for mac???Oscilloscope that is?… Lol
Love your fuckin videos man :D
How would you compare Studio One to Cubase?
Honestly, I have no experience with Cubase.
@@Baphometrix fair enough, I saw your explanation for why you moved to studio one and I use bitwig and Cubase in the same way. My gripe with cubase is, its not very stable at all, so I am looking over the fence at studio one. Anyway, great video as usual!
Any alternative for Mac?
Oszillos Megascope by Schulz Audio.
@@Baphometrix just purchased it. thank you for the recommendation
Thanks for the vid. Is there an alternative for mac?
Not that I'm aware of. Certainly not that works in this same manner. Sorry :(
Ozillos Mega Scope ruclips.net/video/8xn9bdugsFY/видео.html
@@sergenity thanks guys
baphometrix... sick channel. Nothing else much on YT that's so indepth
Also seems this is a similar, more lightweight alternative for OSX:
bomshankamachin.es/plugins/occularScope
any way to make psyscope work in cubase? can get only one input.
SC turned on plugin?
I don't know anything about Cubase. But it's possible they have different "sandboxing" modes for plugins (like Bitwig Studio does). If so, you need to use a sandboxing mode that allows plugins from the same manufacturer to share the same host memory process so they can communicate with each other. If that doesn't steer you in the right direction, reach out to FX23. Good luck!
@@Baphometrix hhh in bitwig yes)in cubase you need to activate sidechannel tab on vst face ,something like that
@@Baphometrix thanks for the reply, in Cubase there isn't sidechain button for vst2 only vst3,
actually contacted fx32 and he helped me very quickly,
the solution is to use group channel as 5.1 channel, put psyscope on this group channel and on the inserts of the tracks you want to monitor and send those chanells to the different child busses of the group.
and also make sure to disable the output of this group
Shame FX23 doesn't use PayPal at their checkout. 🙄
Sorry, NO card details over the net 4 me cheers 😏
When using card on official websites like that, your card vendor is responsible for any misuse.
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