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aaron j. trumm

Review: Image-Line FL Studio 21

The latest release of FL Studio, 21.2 from Belgian-based Image-Line Software, combines a beatmaker’s workstation, tape machine simplicity and a mixing platform. If you’re already familiar with FL Studio, you’ll find an enhanced experience with more resources than ever. If you’re coming to it from elsewhere, you’ll find a new paradigm that will cause new results.

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Review: Adam Audio T5V Active Studio Monitors

When I was asked to review Adam Audio’s lower-cost monitor offering, I was beyond excited. I spent many an hour in Stanford recording studios mixing on Adam monitors, hoping one day I could afford a pair for my studio. When I found out they were the same price as my trusty Yamaha HS5s, I was blown away – and a little nervous. After all, sometimes high-end brands disappoint when they release more affordable gear.

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What’s the best audio interface for your _____ (Mac, Shure Sm7b, windows, etc)

I’ve been seeing questions like this recently: “what’s the best audio interface for mac?” or even more specific, “what’s the best audio interface for shure sm7b?”. So I thought I’d just address this one point – it doesn’t matter much what the other gear is. Interfaces work the same regardless of the mic, and in most cases, regardless of the operating system.

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Using Udio and Martinic plugins together

If you haven’t heard of WavTool yet, pause here and bookmark their site. WavTool isn’t the first browser-based DAW, but it sure is a cool entry into that growing area. The main thrust of WavTool is AI-assisted composing, audio generation, stem separation, audio-to-MIDI, and other generative AI tools designed to assist you rather than replace you. But WavTool also has one particularly cool feature that we wanted to point out.

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Using WavTool Bridge with Martinic Plugins

If you haven’t heard of WavTool yet, pause here and bookmark their site. WavTool isn’t the first browser-based DAW, but it sure is a cool entry into that growing area. The main thrust of WavTool is AI-assisted composing, audio generation, stem separation, audio-to-MIDI, and other generative AI tools designed to assist you rather than replace you. But WavTool also has one particularly cool feature that we wanted to point out.

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Why do we use reference tracks in mixing?

So. Why DO we use reference tracks in mixing? And how do you apply what you learn when you listen to stuff in your new space or on your new speakers? Here’s how I think of this. There are two opposite factors in mixing that seem counter to each other on the surface but when you dive deeper are actually more like the two sides of a coin that together make the whole.

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Underdubbing: The Power of Getting Rid of Stuff for making space in a mix

Back in the day, mixdown sessions consisted of 24 tracks, max. Now, it’s not uncommon for a DAW session to consist of 100 or more. In addition, mixers continually face the problem of “let’s lay it ALL down!” – where every idea, lead line, extra part, and party background is included in the session.

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Making the Most Out of Not Much Audio Gear

There are no artists who don’t suffer from writer’s block occasionally. It may seem that some don’t, because they consistently generate great work, but they’re human too. In reality, professional songwriters simply have tools they can use to get out of a slump, and to prevent writer’s block in the first place.

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