Dexter_prog
New Metal Member
+1. I am a newbie and I still wonder what that plugin does, so a tutorial would be very helpful.
All tutorial requests HERE
- Thread starter ahjteam
- Start date
He's done that one already.
http://www.ultimatemetal.com/forum/production-tips/509526-making-your-tracks-sound-larger.html
Good stuff, finished the kick one, went back to look for snare, whoops no snare tutorial!!! My mixes are starting to NOT suck!
Great work!
~Rob.
Great work!
~Rob.
jagarock
Member
- Aug 31, 2009
- 44
- 0
- 6
Heres some EQ general guidelines i found on some forum
Low Bass: anything less than 50Hz
This range is often known as the sub bass and is most commonly taken up by the lowest part of the kick drum and bass guitar, although at these frequencies it's almost impossible to determine any pitch. Sub bass is one of the reasons why 12" vinyl became available: low frequencies require wider grooves than high frequencies - without rolling off everything below 50Hz you couldn't fit a full track onto a 7" vinyl record. However we do NOT recommend applying any form of boost around this area without the use of very high quality studio monitors (not home monitors - there is a vast difference between home nearfield and studio farfield monitors costing anywhere between £5,000 and £20,000). Boosting blindly in this area without a valid reference point can and will permanently damage most speakers, even PA systems. You have been warned!
Bass: 50-250Hz
This is the range you're adjusting when applying the bass boost on most home stereos, although most bass signals in modern music tracks lie around the 90-200Hz area with a small boost in the upper ranges to add some presence or clarity.
Muddiness/irritational area: 200-800Hz
The main culprit area for muddy sounding mixes, hence the term 'irritational area'. Most frequencies around here can cause psycho-acoustic problems: if too many sounds in a mix are dominating this area, a track can quickly become annoying, resulting in a rush to finish mixing it as you get bored or irritated by the sound of it.
Mid-range: 800-6kHz
Human hearing is extremely sensitive at these frequencies, and even a minute boost around here will result in a huge change in the sound - almost the same as if you boosted around 10db at any other range. This is because our voices are centred in this area, so it's the frequency range we hear more than any other. Most telephones work at 3kHz, because at this frequency speech is most intelligible. This frequency also covers TV stations, radio, and electric power tools. If you have to apply any boosting in this area, be very cautious, especially on vocals. We're particularly sensitive to how the human voice sounds and its frequency coverage.
High Range: 6-8kHz
This is the range you adjust when applying the treble boost on your home stereo. This area is slightly boosted to make sounds artificially brighter (although this artificial boost is what we now call 'lifelike') when mastering a track before burning it to CD.
Hi-High Range: 8-20kHz
This area is taken up by the higher frequencies of cymbals and hi-hats, but boosting around this range, particularly around 12kHz can make a recording sound more high quality than it actually is, and it's a technique commonly used by the recording industry to fool people into thinking that certain CDs are more hi-fidelity than they'd otherwise sound. However, boosting in this area also requires a lot of care - it can easily pronounce any background hiss, and using too much will result in a mix becoming irritating.
Low Bass: anything less than 50Hz
This range is often known as the sub bass and is most commonly taken up by the lowest part of the kick drum and bass guitar, although at these frequencies it's almost impossible to determine any pitch. Sub bass is one of the reasons why 12" vinyl became available: low frequencies require wider grooves than high frequencies - without rolling off everything below 50Hz you couldn't fit a full track onto a 7" vinyl record. However we do NOT recommend applying any form of boost around this area without the use of very high quality studio monitors (not home monitors - there is a vast difference between home nearfield and studio farfield monitors costing anywhere between £5,000 and £20,000). Boosting blindly in this area without a valid reference point can and will permanently damage most speakers, even PA systems. You have been warned!
Bass: 50-250Hz
This is the range you're adjusting when applying the bass boost on most home stereos, although most bass signals in modern music tracks lie around the 90-200Hz area with a small boost in the upper ranges to add some presence or clarity.
Muddiness/irritational area: 200-800Hz
The main culprit area for muddy sounding mixes, hence the term 'irritational area'. Most frequencies around here can cause psycho-acoustic problems: if too many sounds in a mix are dominating this area, a track can quickly become annoying, resulting in a rush to finish mixing it as you get bored or irritated by the sound of it.
Mid-range: 800-6kHz
Human hearing is extremely sensitive at these frequencies, and even a minute boost around here will result in a huge change in the sound - almost the same as if you boosted around 10db at any other range. This is because our voices are centred in this area, so it's the frequency range we hear more than any other. Most telephones work at 3kHz, because at this frequency speech is most intelligible. This frequency also covers TV stations, radio, and electric power tools. If you have to apply any boosting in this area, be very cautious, especially on vocals. We're particularly sensitive to how the human voice sounds and its frequency coverage.
High Range: 6-8kHz
This is the range you adjust when applying the treble boost on your home stereo. This area is slightly boosted to make sounds artificially brighter (although this artificial boost is what we now call 'lifelike') when mastering a track before burning it to CD.
Hi-High Range: 8-20kHz
This area is taken up by the higher frequencies of cymbals and hi-hats, but boosting around this range, particularly around 12kHz can make a recording sound more high quality than it actually is, and it's a technique commonly used by the recording industry to fool people into thinking that certain CDs are more hi-fidelity than they'd otherwise sound. However, boosting in this area also requires a lot of care - it can easily pronounce any background hiss, and using too much will result in a mix becoming irritating.
jagarock
Member
- Aug 31, 2009
- 44
- 0
- 6
50Hz
1. Increase to add more fullness to lowest frequency instruments like foot, toms, and the bass.
2. Reduce to decrease the "boom" of the bass and will increase overtones and the recognition of bass line in the mix. This is most often used on bass lines in Rap and R&B.
__________
100Hz
Increase to add a harder bass sound to lowest frequency instruments.
Increase to add fullness to guitars, snare.
Increase to add warmth to piano and horns.
Reduce to remove boom on guitars & increase clarity.
__________
200Hz
1. Increase to add fullness to vocals.
2. Increase to add fullness to snare and guitar (harder sound).
3. Reduce to decrease muddiness of vocals or mid-range instruments.
4. Reduce to decrease gong sound of cymbals.
__________
400Hz
1. Increase to add clarity to bass lines especially when speakers are at low volume.
2. Reduce to decrease "cardboard" sound of lower drums (foot and toms).
3. Reduce to decrease ambiance on cymbals.
__________
800Hz
1. Increase for clarity and "punch" of bass.
2. Reduce to remove "cheap" sound of guitars
__________
1.5KHz
1. Increase for "clarity" and "pluck" of bass.
2. Reduce to remove dullness of guitars.
__________
3KHz
1. Increase for more "pluck" of bass.
2. Increase for more attack of electric / acoustic guitar.
3. Increase for more attack on low piano parts.
4. Increase for more clarity / hardness on voice.
5. Reduce to increase breathy, soft sound on background vocals.
6. Reduce to disguise out-of-tune vocals / guitars
__________
5KHz
1. Increase for vocal presence.
2. Increase low frequency drum attack (foot/toms).
3. Increase for more "finger sound" on bass.
4. Increase attack of piano, acoustic guitar and brightness on guitars.
5. Reduce to make background parts more distant.
6. Reduce to soften "thin" guitar.
__________
7KHz
1. Increase to add attack on low frequency drums (more metallic sound).
2. Increase to add attack to percussion instruments.
3. Increase on dull singer.
4. Increase for more "finger sound" on acoustic bass.
5. Reduce to decrease "s" sound on singers.
6. Increase to add sharpness to synthesizers, rock guitars, acoustic guitar and piano.
__________
10KHz
1. Increase to brighten vocals.
2. Increase for "light brightness" in acoustic guitar and piano.
3. Increase for hardness on cymbals.
4. Reduce to decrease "s" sound on singers.
__________
15KHz
1. Increase to brighten vocals (breath sound).
2. Increase to brighten cymbals, string instruments and flutes.
3. Increase to make sampled synthesizer sound more real.
1. Increase to add more fullness to lowest frequency instruments like foot, toms, and the bass.
2. Reduce to decrease the "boom" of the bass and will increase overtones and the recognition of bass line in the mix. This is most often used on bass lines in Rap and R&B.
__________
100Hz
Increase to add a harder bass sound to lowest frequency instruments.
Increase to add fullness to guitars, snare.
Increase to add warmth to piano and horns.
Reduce to remove boom on guitars & increase clarity.
__________
200Hz
1. Increase to add fullness to vocals.
2. Increase to add fullness to snare and guitar (harder sound).
3. Reduce to decrease muddiness of vocals or mid-range instruments.
4. Reduce to decrease gong sound of cymbals.
__________
400Hz
1. Increase to add clarity to bass lines especially when speakers are at low volume.
2. Reduce to decrease "cardboard" sound of lower drums (foot and toms).
3. Reduce to decrease ambiance on cymbals.
__________
800Hz
1. Increase for clarity and "punch" of bass.
2. Reduce to remove "cheap" sound of guitars
__________
1.5KHz
1. Increase for "clarity" and "pluck" of bass.
2. Reduce to remove dullness of guitars.
__________
3KHz
1. Increase for more "pluck" of bass.
2. Increase for more attack of electric / acoustic guitar.
3. Increase for more attack on low piano parts.
4. Increase for more clarity / hardness on voice.
5. Reduce to increase breathy, soft sound on background vocals.
6. Reduce to disguise out-of-tune vocals / guitars
__________
5KHz
1. Increase for vocal presence.
2. Increase low frequency drum attack (foot/toms).
3. Increase for more "finger sound" on bass.
4. Increase attack of piano, acoustic guitar and brightness on guitars.
5. Reduce to make background parts more distant.
6. Reduce to soften "thin" guitar.
__________
7KHz
1. Increase to add attack on low frequency drums (more metallic sound).
2. Increase to add attack to percussion instruments.
3. Increase on dull singer.
4. Increase for more "finger sound" on acoustic bass.
5. Reduce to decrease "s" sound on singers.
6. Increase to add sharpness to synthesizers, rock guitars, acoustic guitar and piano.
__________
10KHz
1. Increase to brighten vocals.
2. Increase for "light brightness" in acoustic guitar and piano.
3. Increase for hardness on cymbals.
4. Reduce to decrease "s" sound on singers.
__________
15KHz
1. Increase to brighten vocals (breath sound).
2. Increase to brighten cymbals, string instruments and flutes.
3. Increase to make sampled synthesizer sound more real.
jagarock
Member
- Aug 31, 2009
- 44
- 0
- 6
Kick Drum
Any apparent muddiness can be rolled off around 300Hz. Try a small boost around 5-7kHz to add some high end.
50-100Hz ~ Adds bottom to the sound
100-250Hz ~ Adds roundness
250-800Hz ~ Muddiness Area
5-8kHz ~ Adds high end prescence
8-12kHz ~ Adds Hiss
Snare
Try a small boost around 60-120Hz if the sound is a little too wimpy. Try boosting around 6kHz for that 'snappy' sound.
100-250Hz ~ Fills out the sound
6-8kHz ~ Adds prescence
Hi hats or cymbals
Any apparent muddiness can be rolled off around 300Hz. To add some brightness try a small boost around 3kHz.
250-800Hz ~ Muddiness area
1-6kHz ~ Adds presence
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness
Bass
Try boosting around 60Hz to add more body. Any apparent muddiness can be rolled off around 300Hz.If more presence is needed, boost around 6kHz.
50-100Hz ~ Adds bottom end
100-250Hz ~ Adds roundness
250-800Hz ~ Muddiness Area
800-1kHz ~ Adds beef to small speakers
1-6kHz ~ Adds presence
6-8kHz ~ Adds high-end presence
8-12kHz ~ Adds hiss
Vocals
This is a difficult one, as it depends on the mic used to record the vocal. However...Apply either cut or boost around 300hz, depending on the mic and song.Apply a very small boost around 6kHz to add some clarity.
100-250Hz ~ Adds 'up-frontness'
250-800Hz ~ Muddiness area
1-6kHz ~ Adds presence
6-8kHz ~ Adds sibilance and clarity
8-12kHz ~ Adds brightness
Piano
Any apparent muddiness can be rolled off around 300Hz. Apply a very small boost around 6kHz to add some clarity.
50-100Hz ~ Adds bottom
100-250Hz ~ Adds roundness
250-1kHz ~ Muddiness area
1-6kHz ~ Adds presence
6-8Khz ~ Adds clarity
8-12kHz ~ Adds hiss
Electric guitars
Again this depends on the mix and the recording. Apply either cut or boost around 300hz, depending on the song and sound. Try boosting around 3kHz to add some edge to the sound, or cut to add some transparency. Try boosting around 6kHz to add presence. Try boosting around 10kHz to add brightness.
100-250Hz ~ Adds body
250-800Hz ~ Muddiness area
1-6Khz ~ Cuts through the mix
6-8kHz ~ Adds clarity
8=12kHz ~ Adds hiss
Acoustic guitar
Any apparent muddiness can be rolled off between 100-300Hz. Apply small amounts of cut around 1-3kHz to push the image higher. Apply small amounts of boost around 5kHz to add some presence.
100-250Hz ~ Adds body
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness
Strings
These depend entirely on the mix and the sound used.
50-100Hz ~ Adds bottom end
100-250Hz ~ Adds body
250-800Hz ~ Muddiness area
1-6hHz ~ Sounds crunchy
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness
Any apparent muddiness can be rolled off around 300Hz. Try a small boost around 5-7kHz to add some high end.
50-100Hz ~ Adds bottom to the sound
100-250Hz ~ Adds roundness
250-800Hz ~ Muddiness Area
5-8kHz ~ Adds high end prescence
8-12kHz ~ Adds Hiss
Snare
Try a small boost around 60-120Hz if the sound is a little too wimpy. Try boosting around 6kHz for that 'snappy' sound.
100-250Hz ~ Fills out the sound
6-8kHz ~ Adds prescence
Hi hats or cymbals
Any apparent muddiness can be rolled off around 300Hz. To add some brightness try a small boost around 3kHz.
250-800Hz ~ Muddiness area
1-6kHz ~ Adds presence
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness
Bass
Try boosting around 60Hz to add more body. Any apparent muddiness can be rolled off around 300Hz.If more presence is needed, boost around 6kHz.
50-100Hz ~ Adds bottom end
100-250Hz ~ Adds roundness
250-800Hz ~ Muddiness Area
800-1kHz ~ Adds beef to small speakers
1-6kHz ~ Adds presence
6-8kHz ~ Adds high-end presence
8-12kHz ~ Adds hiss
Vocals
This is a difficult one, as it depends on the mic used to record the vocal. However...Apply either cut or boost around 300hz, depending on the mic and song.Apply a very small boost around 6kHz to add some clarity.
100-250Hz ~ Adds 'up-frontness'
250-800Hz ~ Muddiness area
1-6kHz ~ Adds presence
6-8kHz ~ Adds sibilance and clarity
8-12kHz ~ Adds brightness
Piano
Any apparent muddiness can be rolled off around 300Hz. Apply a very small boost around 6kHz to add some clarity.
50-100Hz ~ Adds bottom
100-250Hz ~ Adds roundness
250-1kHz ~ Muddiness area
1-6kHz ~ Adds presence
6-8Khz ~ Adds clarity
8-12kHz ~ Adds hiss
Electric guitars
Again this depends on the mix and the recording. Apply either cut or boost around 300hz, depending on the song and sound. Try boosting around 3kHz to add some edge to the sound, or cut to add some transparency. Try boosting around 6kHz to add presence. Try boosting around 10kHz to add brightness.
100-250Hz ~ Adds body
250-800Hz ~ Muddiness area
1-6Khz ~ Cuts through the mix
6-8kHz ~ Adds clarity
8=12kHz ~ Adds hiss
Acoustic guitar
Any apparent muddiness can be rolled off between 100-300Hz. Apply small amounts of cut around 1-3kHz to push the image higher. Apply small amounts of boost around 5kHz to add some presence.
100-250Hz ~ Adds body
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness
Strings
These depend entirely on the mix and the sound used.
50-100Hz ~ Adds bottom end
100-250Hz ~ Adds body
250-800Hz ~ Muddiness area
1-6hHz ~ Sounds crunchy
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness
DanLights
Santa Hat Forever
Hey I want to reccomend this post to be in the first post as a tutorial for creating subdrops http://www.ultimatemetal.com/forum/9423533-post10.html
Plus, I think this thread should be stickied more than any of the tutorial threads up there
Plus, I think this thread should be stickied more than any of the tutorial threads up there
DanLights
Santa Hat Forever
just bumping what should be considered the best thread in this forum, this should be on top always IMO
DanLights
Santa Hat Forever
Bump, am I the only one who thinks this should be a sticky? Hell we could take out almost all the tutorials that are stickied and leave this one up
TheWinterSnow
Den Mørke Natt
Or better idea...unsticky all the tutorials and sticky this thread and a thread with a list of tutorials. That would take away from the clutter of stickies but would still be easy to find
DanLights
Santa Hat Forever
Clockwork
Bass playing guy.
Dear god man, thank you for bumping this thread, first post chocked full of awesomeness! I'd say make it a sticky fo show. Just one list of all tutorials.
http://www.ultimatemetal.com/forum/production-tips/648248-yt-superior-2-0-tutorial.html
http://www.ultimatemetal.com/forum/production-tips/615947-metal-bass-guitar-tutorial.html
http://www.ultimatemetal.com/forum/production-tips/648938-official-music-theory-thread.html
http://www.ultimatemetal.com/forum/production-tips/563279-cubase-slip-editing-method.html
http://www.ultimatemetal.com/forum/production-tips/561958-reaper-slip-editing-tutorial.html
http://www.ultimatemetal.com/forum/...ions-trilian-using-guitar-pro-midi-track.html
http://www.ultimatemetal.com/forum/...lyn-johns-acoustic-drum-miking-technique.html
http://www.ultimatemetal.com/forum/production-tips/622633-some-vocal-tricks-you.html
http://www.ultimatemetal.com/forum/production-tips/515941-list-raw-songs-our-mixing-practice.html
http://www.ultimatemetal.com/forum/production-tips/519804-adam-d-micing-tips.html
I like this thread too. It's amazing it hasn't been stickied yet.
Edit:
11-02-07
http://www.ultimatemetal.com/forum/equipment/658077-lots-lots-drum-software-examples.html
11-02-09
http://www.ultimatemetal.com/forum/equipment/661514-focusrite-saffire-series-knowledgebase.html
11-03-10
http://www.ultimatemetal.com/forum/production-tips/669416-lolzgregs-guitar-tracking-thread.html
11-03-24
http://www.ultimatemetal.com/forum/production-tips/586598-tutorial-kinda-being-organized.html
11-03-30
http://www.ultimatemetal.com/forum/andy-sneap/674709-systematic-mixing-series-0-introduction.html
http://www.ultimatemetal.com/forum/...-series-1-poking-holes-high-gain-guitars.html
http://www.ultimatemetal.com/forum/...ng-series-2-soviet-russia-drums-slam-you.html
11-03-31
http://www.ultimatemetal.com/forum/andy-sneap/674931-panic-room-mastering-class-101-a.html
http://www.ultimatemetal.com/forum/...-room-mastering-class-101-1-introduction.html
http://www.ultimatemetal.com/forum/...ering-class-101-2-monitoring-objectivity.html
http://www.ultimatemetal.com/forum/...m-mastering-class-101-3-basic-principles.html
2012-03-25
http://www.ultimatemetal.com/forum/...8-making-real-snare-sound-great-tutorial.html
http://www.ultimatemetal.com/forum/production-tips/710368-yt-match-eq-ir-tutorial.html
http://www.ultimatemetal.com/forum/...es-high-gain-guitars-case-point-tutorial.html
http://www.ultimatemetal.com/forum/...aging-those-who-dont-know-5.html#post10212693
http://www.ultimatemetal.com/forum/...l-ever-improve-feel-your-midi-drumtracks.html
http://www.ultimatemetal.com/forum/production-tips/763494-chorus-harmonies-need-tips.html
http://www.ultimatemetal.com/forum/...mz-production-tips-compendium-newer-guys.html
http://www.ultimatemetal.com/forum/production-tips/615947-metal-bass-guitar-tutorial.html
http://www.ultimatemetal.com/forum/production-tips/648938-official-music-theory-thread.html
http://www.ultimatemetal.com/forum/production-tips/563279-cubase-slip-editing-method.html
http://www.ultimatemetal.com/forum/production-tips/561958-reaper-slip-editing-tutorial.html
http://www.ultimatemetal.com/forum/...ions-trilian-using-guitar-pro-midi-track.html
http://www.ultimatemetal.com/forum/...lyn-johns-acoustic-drum-miking-technique.html
http://www.ultimatemetal.com/forum/production-tips/622633-some-vocal-tricks-you.html
http://www.ultimatemetal.com/forum/production-tips/515941-list-raw-songs-our-mixing-practice.html
http://www.ultimatemetal.com/forum/production-tips/519804-adam-d-micing-tips.html
I like this thread too. It's amazing it hasn't been stickied yet.
Edit:
11-02-07
http://www.ultimatemetal.com/forum/equipment/658077-lots-lots-drum-software-examples.html
11-02-09
http://www.ultimatemetal.com/forum/equipment/661514-focusrite-saffire-series-knowledgebase.html
11-03-10
http://www.ultimatemetal.com/forum/production-tips/669416-lolzgregs-guitar-tracking-thread.html
11-03-24
http://www.ultimatemetal.com/forum/production-tips/586598-tutorial-kinda-being-organized.html
11-03-30
http://www.ultimatemetal.com/forum/andy-sneap/674709-systematic-mixing-series-0-introduction.html
http://www.ultimatemetal.com/forum/...-series-1-poking-holes-high-gain-guitars.html
http://www.ultimatemetal.com/forum/...ng-series-2-soviet-russia-drums-slam-you.html
11-03-31
http://www.ultimatemetal.com/forum/andy-sneap/674931-panic-room-mastering-class-101-a.html
http://www.ultimatemetal.com/forum/...-room-mastering-class-101-1-introduction.html
http://www.ultimatemetal.com/forum/...ering-class-101-2-monitoring-objectivity.html
http://www.ultimatemetal.com/forum/...m-mastering-class-101-3-basic-principles.html
2012-03-25
http://www.ultimatemetal.com/forum/...8-making-real-snare-sound-great-tutorial.html
http://www.ultimatemetal.com/forum/production-tips/710368-yt-match-eq-ir-tutorial.html
http://www.ultimatemetal.com/forum/...es-high-gain-guitars-case-point-tutorial.html
http://www.ultimatemetal.com/forum/...aging-those-who-dont-know-5.html#post10212693
http://www.ultimatemetal.com/forum/...l-ever-improve-feel-your-midi-drumtracks.html
http://www.ultimatemetal.com/forum/production-tips/763494-chorus-harmonies-need-tips.html
http://www.ultimatemetal.com/forum/...mz-production-tips-compendium-newer-guys.html
DanLights
Santa Hat Forever
I added them to the first post.
Lasse, can we please sticky this? It's been only asked like ~100 times in this thread
Lasse, can we please sticky this? It's been only asked like ~100 times in this thread
DanLights
Santa Hat Forever
Campaign for putting this as a sticky and removing a shitload of stickies from the Production Tips. I will bump this thread weekly if needed
DayByDayBand
Thrashin' With Pashin'
Great thread! From looking on here there are some great tips and tutorials but it's usually from different people with different techniques talking about different instruments or processing.
I'd like to see a video of a project done from scratch to finish. From the opening of the DAW to the finished mastered product and all the inbetween processing. It sound a bit long but none of the tracking or recording needs to be seen being done, just the processing that goes into the project (including settings for, well everything) All the tweaking can be left out as long as you see what ever it was set to before and after.
I think it would give a complete example of everything instead of bits and bobs here and there from different sources and would show differences that each individual person does in the process.
I know I've watched a few videos and they have all been great but I'm then thinking "what happens next" or "what about the master bus" or "whats' that set to" because a great sound is all the small parts making the whole and I'd like to see all those small parts being made by the same person!
I'd like to see a video of a project done from scratch to finish. From the opening of the DAW to the finished mastered product and all the inbetween processing. It sound a bit long but none of the tracking or recording needs to be seen being done, just the processing that goes into the project (including settings for, well everything) All the tweaking can be left out as long as you see what ever it was set to before and after.
I think it would give a complete example of everything instead of bits and bobs here and there from different sources and would show differences that each individual person does in the process.
I know I've watched a few videos and they have all been great but I'm then thinking "what happens next" or "what about the master bus" or "whats' that set to" because a great sound is all the small parts making the whole and I'd like to see all those small parts being made by the same person!
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