u/Quote_a

Regardless of any negative feedback around the initial pricing model (seems like it will be standalone at a later date), this tool is absolutely incredible for EQing. For starters, being able to just double click on the graph to create a filter, then adjust the Q value and see it change in real time, feels much smoother than manually typing values in on squig. The way the tone generator is linked directly to which frequency you click on the measurement makes it very easy to tell where your ears are different or similar to the measurement.

I found that Listener's MIRE data for the 480 Pro matches up incredibly well with my own ears, besides a couple of different peaks in the treble (and a couple that matched!). After I figured out where the graph lines up with my ears, I basically sculpted those parts of the graph to be visually smooth and near the middle of the preference bounds, then used the tone generator and a frequency sweep to clean up what I missed and check all the assumptions I made, aiming for no obvious peaks or dips on a frequency sweep, and a relatively similar volume for all parts of the graph when using a 1 octave pink noise. Finally I listened to music and felt like I needed some wide filters to change the tuning a bit, with lower mids and treble brought a little closer to the top of the bounds, and lower treble moved closer to the bottom of the bounds.

Only listened to about an hour of music or so after I was done making adjustments, but I'm already quite pleased. Not sure how to describe it but it feels like every part of every instrument is intimate yet also the perfect size and shape, the space is neither cramped nor huge but is just "right", with great clarity from top to bottom. I might still need some tuning tweaks to my tastes but this already feels more correct than anything I've been able to get from using Owliophile and trying to achieve something similar to this.

Recently-medicated schizophrenics listening to Old Town Road be like "can't nobody tell me nothin"

What is your process for EQing, and what type of crossfeed do you use? It sounds like we perceive headphones in a similar way so I'm curious to hear more details.

My current EQ method for my 480 Pro is basically Oratory's profile to get bass and treble mostly at the right level with easily tweakable filters, then using Owliophile and eqbyear.com to EQ out some peaks. It mostly sounds fantastic although there's maybe something a bit off in the ear gain, I'm actually still working on figuring out what exactly is slightly off about it.

Definitely anything by Tipper. His album from this year, Cloaked, is probably my favorite by him, very melodic but also full of structures. His 2014 album Forward Escape is my second favorite, more rhythm and percussion focused with some extremely detailed sound design.

It's funny to me that even in 2022, he used the Fortnite comparison as a reason why he didn't want normal humans. Why is he so opposed to looking like one of the most popular games of all time? It's not even like Fortnite has a monopoly on normal human models.

I've tried many analogs and 1V is the only one that feels unique. If normal LSD is "warm", 1V is "cool". The visuals are a little different different and the headspace is a little less chaotic. Slightly slower come up compared to normal LSD.

Wake up babe, 3 new shows mixed by Stu just dropped

Weird that FoV wasn't mixed by Stu and the Aus shows were.

Cartoonibalism

These are my 2 favorite albums so it's cool to see them together. I just know they're dating 😍

Two outcomes to how he answers that question in his "apolitical" stream:

If he said yes: confirms everything his entire community has been assuming for the last several days

If he said no: a few genocide supporters in his chat get sad :(

This is the smoking gun for me tbh, absolutely no reason why he wouldn't just say "no" unless he supports the current admin and knows he shouldn't say that.

This interview confirms something I assumed, which is that the jam session was the basis for this album, but the whole thing is pretty considered and has been probably completely rewritten and rerecorded since that jam. I've always wondered if their "jam"med albums actually include the original jam recording but it seems like they don't!

I've noticed this as well, Dan seems to think the fact that something/someone is queer is a joke in itself, and it's obvious anytime he's involved with something even a little bit gay.

I feel like I might one of the only people that isn't in love with the stock sound on these. To my ears there's a big dip in the lower mids, around 140hz to just under 400hz. Much wider than the midbass dip most people seem to have. I'm also not a fan of the 1-3k region, there's not quite enough ~2k and a bit too much ~3k for my ears. Overall, I get the feeling that something is missing if I focus too closely on a single instrument. For ears-unfocused listening though, it's great, especially for separation and soundstage.

I use 4 filters for these instead of 1 like many people. One around 180, a wide one around 300, one around 2k, and one around 3k. All these (minor) changes bring them to how I think other people hear them. Full clarity, nothing off in the timbre or the treble, good soundstage in general and not just for a closed back.

Same here. The jam section between the Motor Spirit quotes and the TSC quotes is so beautiful, absolute peak Gizz.

Love this song cuz it's the best of everything I love about repetitive Gizz. Basically the same melody almost the whole time but they find so many ways in the sound design to make it unique as it repeats over and over. Just gets me so pumped.

The section that starts at about 3 minutes in makes me transcend every time, it's such a cool vibe shift and a really unique sound for the overall album.

It's crazy to me that these sort of polymeters/polyrhythms haven't been done to death by electronic artists. It's relatively easy to do with modern tools and yet no one seems to be doing it quite like Gizz did on this album.

For the overall album, I agree, it does change the tone of album in a cool way that makes the darker parts feel less out of place. For my autistic ass though, constantly relistening to the album, the vocal-only parts aren't as interesting to listen to over and over. There's just not as much going on as there is on the rest of the album, no weird time signatures or dense sound design. They also last just long enough that I'm tired of it by the time the instrumental finally comes back.

Similar example actually is Theia Extended Mix. I'd say it's one of my favorite Gizz songs, but the part at the end where they do the lyrics from The Silver Cord kind of drags because there's not as much going on and it lasts for a while.

Same for me, actually. First listen I only vibed with like half the album. Second listen I was like, wait there's a lot of cool stuff going on here. Third listen I got my head around the polyrhythms and sound design and the whole thing clicked.

Same. It seemed like they really liked the group writing, so I was worried that all their albums were gonna be like that from now on. I'm glad Alien Metal was back to just Stu and Joey for the actual music, with Amby on vocals.

yuh did it yoself

Some of this is wrong though, at least Dreams is. The kick drums and bass are 11/8 but the synth and vocals are 12/8, and the snare is in 4/4.

I've had the same problem for years. Perfect hearing tests, no wax buildup, horrible stereo balance on headphones but no issues with speakers or day to day life.

I think the culprit for me is having different ears. My outer ears are quite different, my right is more cupped than the other with a bend on the outer ear and a smaller ear canal than my left. Maybe your ears are different as well.

The best fix for me was to use a frequency sweep to target specific frequencies that were off balance. You can use the left/right channels in PEACE for EQ APO to apply your filters. I would listen to a frequency sweep on Owliophile when I had the overall volume balanced (as you said in your post, when everything is centered except vocals). If the sweep seemed to move to the left or right off center around a certain frequency, I would add a filter to turn that frequency down. For example, if the sweep shifted left, I would find where the shift was centered and EQ it until that specific frequency sounded centered. Then I would go back to the sweep and adjust the Q value until the whole sweep sounded centered in the sweep surrounding that target frequency.

After I found a dB and Q value that worked, I would halve the magnitude, then create an equal and opposite filter in the other ear. For example, 1000 hz +2 dB Q8 in the left ear AND -2 dB Q8 in the right ear, as opposed to just doing +4dB in the left ear. Doing the filters this way makes it so that your left/right adjustments aren't affecting the overall sound.

I would also say don't be afraid to use really high Q values, up to like a Q of 20. If you make an adjustment and it sounds off somehow when you go back to the sweep, turn the Q value up. I personally use a couple filters with a Q of 14.

For vocals the problem areas were in the upper mids and lower treble, so maybe start at 2000 hz and go up to like 8000 hz to find what's off balance. If you need more details or anything I can give them later, I typed this on my phone at work lol. Good luck!

Crazy find! These things are worth hundreds now. I think the Mid especially is worth more. I got the darker shade of it in the final wave on Gizzverse, so glad I did!

One of the biggest things is the amount of dynamic range they use, which is a measurement of how much volume difference there is between the quietest and loudest sounds. Some of them are really compressed which gives a sort of "wall of sound" effect where everything is the same volume, which makes the drums sound worse and makes it harder to pick out all of the different guitars. it basically makes the quiet parts of the mix just as loud as the loud parts of the mix which to me just sounds very unnatural.

The good ones like you mentioned are the ones with lots of dynamic range which sounds more like what the actual concert mix sounded like, with tons of space between the instruments and drums louder than everything else. You get a better sense of hearing subtle details with high dynamic range, and when they're playing quietly it can actually sound quiet.

Another thing is just that some bootlegs are mixed by Stu, who has a pretty distinct and interesting way of mixing, and some of them are mixed by someone else with a less unique mixing style. The Stu-mixed ones sound much Gizzier to me.