Drews Sound

There’s things in freaky movies that seem to go good together, rain, always goes with the odd or scary stuff.ever seen the movie joyride? This totally reminds me of a start to a scene from it. I Captured this diesel engine with Jake break this morning in the rain.

I was playing guitar last night. It was kind of a somber mood. I was playing in d a d g a d, capo’d up on 3rd fret for an hour or so. Man In The box popped in my head. I thought, how could this be different? This is what was born.

https://m.soundcloud.com/drewweber/man-in-the-box-backwoods-cover-arranged-by-drew-weber

What a beautiful venue! Such great acoustics! Captured from the front row right by the stage! I love that crowd all around me singing 🙂

In my last post regarding the hardware processer/compresser/limiter, I mentioned one of the reasons for purchase was to use it in mastering music, as I am an artist. I have to say I am pleased with the results, while, maybe being -2 DB lower than mainstream masters, it still produces loud masters, and they sound closer to the mix, being loud, than I have been able to come up with software solutions in the past. It is hard to keep the sound of the mix, for me, while obtaining loudness, without squashing the master, or, at least parts of the song. Below, you will find the ARTSCL2 Hardware Master, along with the mix, and the master from EMaster.com that is out on streaming services today, as well as a file that flips between the different versions, to help one to understand the differences without stopping to flip to the different audio files.

The mix: This is the mix, without any mastering solution at all.

Hardware Master: Here is the master from the ARTSCL2

E-Master.Com: Here is the master that is on streaming services. Though I like the volume, it is squashed, and brings out the suddle verb and delays, and is to bright between 8-16KHZ

Difference In Mix/Masters: Finally, here is an audio that flips from, the mix, to the hardware master, to the E-Master.com master, back to the Hardware Master. There is clicks intentially where the mixes transition to assist in knowing where they do so.

It will be interesting to see what other fine tunements I may bring using the hardware, and how I can profect future release masters with this hardware.

I’ve been looking for a stereo compresser for multiple needs for some time, actually because of the huge varying dynamics in movies, it’s been for probably 20 years. I found one on Amazon that was for a really, in my opinion, decent price, under $200. It has a stereo link, which intrigued me a lot, as that was what I was looking for.

I am an artist, so, something that was pro grade enough to use in my mastering chain, but hardware, so as, to compress, litterly, almost in real time. It’s just a couple millaseconds, vs 3-6 seconds of some software solutions that I have used, in combo with line-in latency as well. I came across this gym, great reviews on Amazon, and I am very impressed with the audio quality. The rear pannel has in and out, balanced quarter inch, and xlr. I purchased some xlr to RCA, yes, unbalances the signal, but it still is super clean, as I purchased as my main use to run in my 2.1 stereo system, to run through a tape loopback. I am not sure how many bands the processor has, butt it is very musical sounding. Here is the front pannel layout.

Compressor/limiter hardware controls:
Starting from left to right:
sl2 stereo compressor
bypass button
Threshhold knob -40 db goes to 20 db
hard/soft button
rashio knob starts at 1.1 to 10.1
Attack nob
auto/manual button
release nob
output master output
expander gate button
Expander threshold nob
stereo link stereo in button
bypass button
then starts over
Threshold nob
rasheo nob
atack
auto
release
output left balance and right
expander/gate button
expander/gate nob
power on/off when it’s down it’s offf up on

Here are audio samples from the Amazon Alexa, music. It’s not technically one volume, but things keep pretty level, especially when listening to entire songs vs switching like this.