Thank you! Still feel like there's a lot of room for improvement, but I genuinely appreciate the encouragement.

I think that was more luck than anything! Thanks for the comment.

Thank you. BTW, your Concussion Trailer submission sounds awesome!

Thank you kindly.

You got drugs????

Awesome, thank you!

I'm not sure I understand the comment, but thank you none-the-less! 😊

Thanks! 😊

Thanks!

In a good way, I hope! Thanks for the comment.

no

I would suggest this kit is an easy and fun little DIY project for novice electronics dabblers - like myself. Nothing very punk about that! But, the manufacturers of this kit named it the 555 Synth Punk, I presume because it is a variation of the Atari Punk Console. I guess most people wouldn’t even associate synths with punk, so I posed the question in the title to ask if it can live up to its name. Ultimately, I think this begs an even deeper question: what is punk? Thanks for the comment!

Thank you for the compliment. I certainly intend to keep uploading!

Thanks. I think the next short should be - 1.21kHz, 1.21kHz, GREAT SCOTT! 🤣

@@UnknownAudio There it is! Your next short!! It’s perfect. I can’t wait to hear your Doc Brown impression saying that! 😂

I wish! It was meant to be 88bpm with a double time feel of 176bpm, but I dragged in a drum loop of 82bpm and the project synced to that, so it ended up like 164bpm. I made a right flux capacitor of it! 🙄

Thank you @garaughty. I have just visited your channel and listened to your composition ‘The Sky Machine’ and I am currently listening to ‘Absence’. Both have a purposeful deftness that is as beguiling as it is beautiful, so I take your comment as a huge compliment. it means a lot. Subscribed.

You're welcome. Thanks for the comment.

Thanks @DavidMunson. Looks like the same markings inscribed on the side, although I can’t profess to know what it says! I do know that it’s a Japanese marking knife I got from Workshop Heaven, and it’s proved itself a really useful little tool! Appreciate the comment.

Soft clipping is a must with something this high-Q, filtering it down a bit would also help.

@antiphlex That is some very useful information, thank you for sharing your knowledge. I am an absolute beginner with electronics, and would very much like to improve, so any advice is definitely appreciated! Perhaps I will do a follow-up video and make some improvements when I know a little more. Thanks again for the comment.

@zinkzensteel Thanks for the input - I need all the help I can get!

Wow, high praise indeed! I feel very flattered. Thanks for the comment.

Thanks bruv! Yeah I thought this mic would be a good candidate for some dirty blues. Defo some STP vibes too - just been on a journey down memory lane listening to Core! As entertaining as they are, I had to edit out a lot of the calamities to get the video down to a reasonable duration!

Agreed, what it lacks in features, it makes up for in retro styling and the aesthetic allure of it's amethyst-ness! Thank you for the comment. Namastè

Thank you. I actually added a ton of post processing! I was using a home-made loop tape, which was extremely warbly, so pitch stability was a real issue. Rather than go for something more musical, I went the sound fx route, so a lot of delay and reverb definitely helped! I also used a glitchy preset from Infiltrator 2 by Devious Machines on the drums, which seemed to pull the whole track together. Peace x

Thank you for the comment Lloyd. I genuinely appreciate the feedback too! I really want to improve the content and the presentation, so a bit of constructive criticism is very welcome. Glad you're enjoying the content - there is more on the way, hopefully with only a tasteful smattering of annoying noises!!

I did find the ATH M50's as having more bass generally, but I didn't notice increased loudness on the left side. However, I have some hearing loss in my left ear, so I am probably not the best person to answer this question anyway! Not sure if that helps or not, but I appreciate you stopping by and commenting.

Thanks so much! One Love☝🏻☝🏼☝🏽☝🏾☝🏿❤️

Haha, I don't know what Mooshrom Beat is, but it sounds like my kinda genre!🍄🍄😄

Agreed, it is extremely versatile and comes in very useful. Great to have in built-in to the application. Thanks for the comment!

Haha, awesome! Thank you.

Glad you found some value in the video. Thanks for stopping by.

Hi, these headphones would work perfectly well for general listening/casual use. The cables supplied come with a regular 1/8 in (3.5mm) headphone jack, which will plug straight into the headphone sockets of most computers/phones/tablets etc. There is also a 1/4 in (6.35mm) adapter, if you need that. One thing to note: these are designed for audio mixing purposes, so they are designed to have a fairly flat frequency response. This just means that they try not to add or take away any high, low, or mid frequencies from the original sound source. Many commercial headphones will deliberately shape the sound. Earbuds, for example might reduce low and very high frequencies so that the mids are louder to make the human voice easier to hear. Other headphones for music/gaming etc. often add more bass and treble, while scooping the mid frequencies, which can sound fuller and more pleasing to the ear in some situations. Ultimately, it comes down to personal taste and your intended usage. If you can, it might be worth doing a listening test before purchasing anything, or looking at returns policies to see if you can send them back if you don't get on with them. Sorry, long answer!!! Thanks for the comment!

@@UnknownAudio Hi Thank you for such a helpful, detailed, and excellent insight into the headphones. With some research as you mentioned, the "flat" frequency from what I read is geared towards professionals/music studio enthusiasts. Would have preferred the Yamaha for the quality of the product, but maybe not a good choice for casual music listening. As the headphones would not be "tuned" up for this manner and cater to a flat (professional studio reference market). As you mentioned without hearing in person it is difficult to engage without having to buy and return. I was possibly looking at Sennheiser 560/599 (good reviews) headphones. The 600 models of the headphones, the price shoots up a lot. For casual via a computer (enjoyable) music listening. Also a low impedance and a DAC not needed. Do like the AKG K371 - but think again they may be for studio and professionals, as they are titled "studio headphones" Not sure if they will be too "flat" and akin to the Yamaha. Any thought or advice be appreciated. As it's a lot of money, rather buy and keep for a a while. Thank You and sorry for the even longer response

​@@audi4581 You're welcome. For music, whether mixing or just listening, a flat response should (in theory) present the music closer to how the artist intended it to sound. However, in all honesty, no headphones (or speakers/microphones etc.) are ever truly 'flat'. They always impart some kind of characteristic. Also worth bearing in mind, most players (iTunes, Windows Media Player etc.) have built in EQs with pre-sets for different music genres, so you can shape the characteristics to your preferences anyway. Obviously, high quality headphones will sound better than more budget options, but the quality of most mid-level headphones is pretty good these days. Without having tested lots of headphones (like the Sennheisers/AKGs) by way of comparison, it's hard for me to give a truly objective opinion, but hopefully this has given you some insights to help with your decision.

@UnknownAudio Hi Thank you for your help and respons to the question. Much appreciated I will try and pick up a decent open back pair of headphones in the sales and see I how I get on. Thank You for your help 👍

Thank you. Hopefully, this video does provide some benefit to those that are already familiar with the plugins, as it is always useful to have a some extra sound design techniques to hand. Sometimes using something, for a purpose that was not intended, can yield some pleasantly surprising results! Thank you for stopping by to check out the video. I appreciate your comment!☺️

Thanks. Absolutely, limitation can focus our thought process and often enhance creative output. I forgot to mention, but these were all one takes, so that I was relying primarily on intuition to inform the shaping of this track.

Hey, thanks for the sub. Hope you find the samples useful. 🙏🏽😊 I'm working on a new drum loop and one shot sample pack, which will include another free 'taster' version. Should be coming soon, so keep your eyes peeled!

@@UnknownAudio sweet!!! Can't wait... 😀

@@audioauracle-dsyswpwanl- You don't have to - it's out now! payhip.com/UnknownAudio Also, check your email, I hope you don't mind, but I sent you a coupon.

Glad you enjoyed it. Thanks for the comment.

Interesting comment. Care to elaborate on what you mean by “doesn’t work”? Here is my take on things. Perhaps the technique does not work on some source material, or for a particular outcome you were aiming for, but that does not mean the technique is entirely without merit. There may be certain situations where it is very helpful. Mixing with pink noise is, to me, just a starting point, a springboard from which to finesse a track to a more polished and professional sounding state, but it is unlikely to be the final step to a “finished” mix. I find it particularly helpful to restore some equilibrium across a mix that has gotten a little out of hand. Similarly, it can be a useful tool for learning how to gain stage and think about the relative amplitude of different instruments/elements, especially as an inexperienced producer. Simply put, it is just another technique that producers can choose to incorporate into their workflow (or not), as and when it suits. Just a tool. Not a magic bullet or fix-all, just another tool. To say, categorically, that it doesn’t work is rather dismissive and inflexible. For example, what is the desired outcome from using the pink noise method in the first place? Will that desired outcome be the same for everyone? Ultimately, if you don’t feel that it works for you, don’t use it. Nonetheless, I still think it is a valuable technique and worth exploring, if only as a learning exercise. Thank you for the comment.

@@UnknownAudio Here's my experience. All frequencies are not going to pop through that noise in the same way. A bass guitar will not cut like a snare drum for example. Secondly, you don't (I don't) want everything the same volume anyway. Certainly a hi-hat should be quieter than the vocals for instance. Thirdly, it didn't take long for that constant hiss to trash my hearing for a particular session. The sound is annoying and unpleasant. For me, much easier and effective to start at a low volume and bring up each element one by one, gauging any issues in real time without the unpleasant hiss. But again, the concept is interesting, it just didn't work for me. I don't normally go into details on a youtube comment, but since you called me out (and legitimately so) I thought I should respond.

​@@rjjrdq Thanks for responding. I think that there are no real right or wrong opinions on these kind of subjects, being entirely dependent on the context and desired outcomes (which could vary drastically), so discussions like this are beneficial to mutually expanding our collective understanding. So here is my perspective (and please bear in mind I am no expert, so this is just from my experience), the point of using pink noise is that it is not meant to allow you to make everything the same volume. The point is that certain elements will not be as easy to hear or distinguish as other elements and so they will need to be mixed louder (relative to the other sounds). For example a hi hat with a very harsh character will be heard much more easily at low volume than a bass. Therefore, the bass should be mixed comparatively louder to be audible to our ears. Pink noise has equal energy per octave, which, unlike white noise which has the same amplitude at every frequency, means that the overall eq curve is biased towards the low frequencies and away from the highs (kind of like a tilt eq). This is generally understood to be more "pleasing" to human hearing (although this is very subjective). Also, many of the professional, well regarded modern mixes, closely resemble the pink noise eq curve. This gives a "ball park" mix balance that should, in theory, be more pleasing to our ears in general, than a mix where every fader, or every sound, is competing at a similar volume. Using this method will usually mean that kick drums, subs, bass instruments etc. will need to be mixed at a higher amplitude than more aggressive sounds like snares, cymbals, brass instruments etc. etc. This also can allow the producer to push the overall loudness of a track higher before clipping occurs - i.e. if a snare drums is too loud in the mix, it will cause clipping and affect the behaviour of compressors/limiters etc. while the rest of the mix is relatively quiet. Again, however, there are conflicting opinions about how dynamic vs how squashed a finished track should be. As for the process of listening to the noise for a prolonged period, I agree, this can be very harsh and fatiguing to the ears. As such, I recommend using this process at low volumes and caution is most definitely advised. You make a really good point about your own mixing process and I would totally agree with you about starting with the faders at low volume and blending each element, being conscious to gauge, and fix, any issues in the process (as you point out). This is generally the method I use in my own day-to-day mixes, as I rarely use the pink noise method these days. The only caveat I would add to this, however, is that mixing in the way you describe takes a lot of practice and experience to do well, and so, the more inexperienced producer may benefit from using this method to get them in the general vicinity. Anyway, thank you for stopping by the channel and for inspiring this interesting discussion. Peace out!🙂

Hi, thanks for checking out the video. I will answer your question as best as I can, but these are just my personal observations. There is definitely a noticeable difference between the HS7's and MT8's, but they share a 'similar' character. To my ears, the MT8's have a more present (and detailed) mid range, whereas the HS7's sound flatter - but this could just be because I am so use to the sound of them (I use the HS7's most of the time). Also, please bear in mind that any monitor speakers will be affected (and sound different) by the acoustics of the room they are in. This clarity in the mid range is good for checking mixes, as I will often hear unwanted distortion/clipping etc. in the headphones that was not obvious through the HS7's. Switching between the two is helpful in this way, but I have noticed that my mixes translate differently and I often make tweaks to find a happy medium. However, on the downside, I find listening through the MT8's more fatiguing to the ears, so not ideal for long mixing sessions. In conclusion, I would say they are more closely related than the ATH M50's, which, by comparison, sound scooped in the mid range, with a more hyped low-end (nice to listen to, but not as useful for mixing). Overall, the MT8's are really good quality headphones, and although similar, there is a noticeable difference to the HS7's. Hope that helps a little?!!?

@@UnknownAudio wow…thank you for the detailed explanation..it helps a lot 😊😊

Thanks. I'm using an Audio Technica AT2020 for the voice over. The rest of the time it is just the built-in camera mic.

@@UnknownAudio Wow. Thanks, sound was very good.

No probs, that's the reason I make these videos dude. Glad it's helped you out!

You're welcome bruv! Should've added some copper to it though. Thanks for stopping by! X

Thank you, glad you liked the video. The track is called Exoskeletal from my album Equilibrium available on bandcamp (link in description).

I haven't used the DT770 Pro extemsively, so I can't really comment, sorry. They certainly do get a lot of praise as very good monitoring headphones. It comes down to personal preference and requirements. Thanks for the comment.

Thank you. I haven't actually used SW, so I can't say for sure, but I would imagine that it would help optimise them for mixing.

Awesome thanks! That may be very useful to know. Not had the pleasure of trying the M50x's yet, but they were on my shortlist before opting for these Yamaha's. Appreciate the comment.