text is a tough way to do audio — ⇧ SHIFT — ⌃ CONTROL — ⌥ OPTION — ⌘ COMMAND
Apple’s Cocoa text system is a complicated beast, but also extremely flexible, and with a bit of work, it can be molded to match many working styles. This how-to covers the 2 major ways of customizing the text input system: Default key bindings, and for still more control, input managers.
This is fundamental knowledge for Mac users who type on keyboards. With luck many of the default rules apply to iOS as well.
I have been using the Emacs key-bindings since 1975…
‘[Compression: When and How to Use It in Nectar, Neutron, and Ozone](https://www.izotope.com/en/learn/compression-how-to-use-it-in-nectar-neutron-and-ozone.html?utm_source=twitter&utm_medium=social&utm_campaign=Compression_Nectar_Neutron_Ozone)’
Compression: When and How to Use It in Nectar, Neutron, and Ozone
In previous articles, we covered different types of hardware compressors and why their behavior matters in this hybrid/digital world. We also covered typical mistakes engineers make in using compression. This article expounds on compression in a specific way: we are diving into the various compressors available in the iZotope ecosystem and relating them to real-world applications.
by Nick Messitte, iZotope Contributor December 9, 2019
Q. When should I use mono reverb as opposed to stereo reverb?
Another nifty trick for chart-targeted pop and EDM productions is to widen a reverb effect until it gives that ‘outside the speakers’ illusion, and then use just a small amount of it to expand the apparent width of your mix as a whole. Although such a reverb will have such dreadful mono-compatibility that it may pretty much vanish in mono, that’s rarely a great loss in practice, because the reverb serves no musical function. Better to lose some reverb in mono, than an important musical line!
Mike Senior, “Sound on Sound”
Freeware Of The Week #27 | Mike Senior on Patreon
However, the freakiest of the lot comes courtesy of Melda, in the form of their MFreeformPhase plug-in, which allows completely variable frequency-selective phase adjustment via an EQ-like graphical interface. So, for example, if you don’t like what comb-filtering is doing to the low midrange, you can adjust the phase relationships there without affecting the rest of the spectrum.
Frequency Phase Alignment…
In addition to standard MIDI messages, Logic uses two special message types to carry out certain operations and to communicate among its various components. In the Logic Notes column in SOS December 2002 we had a look at Fader messages, which are used for track-based automation. Here we’ll examine Meta messages, which have several functions within Logic. One thing to keep in mind as you read this is that these special message types only travel within Logic — they never venture down the MIDI pipeline to confuse your gear or other MIDI applications.
The Wayback Machine takes us to 2003 to get a description of Meta messages and what the are good for in Logic — even today, sixteen years later…