Producer, Mixing Engineer – RealHomeRecording.com
Adam
Producer and mixing engineer behind Real Home Recording.
Biography
Adam is the producer and mixing engineer behind Real Home Recording, a website and YouTube channel about real engineering for the home studio. Recording since the HDV tape era, Adam sets out to bridge audiophile standards and home-studio budgets, and the channel is best known for its documentary ‘Why Modern Music Sounds Bad’.
Mix analyses and loudness-war demonstrations, of songs by Metallica, Linkin Park and Alanis Morissette among others, help listeners train their ears. Real Home Recording also reviews plug-ins and gear, and publishes guides on preparing tracks for mixing and on gain structure, along with raw audio files from its tests.
“This really is a special workhorse channel strip, because it covers so many important mixing bases. PR seems to be designed by sound engineers, for sound engineers. The Medley Equalizer and convolution reverb/delay with built-in ducking are worth the price of admission alone! It’s been very tough keeping this effects box a secret.”
“At first I thought, ‘Oh no not another Motown equalizer plugin.” But in typical NoiseAsh fashion, they’ve gone beyond the original hardware design to keep things fresh. The traditional fixed frequencies were intelligently chosen by the original engineers! However, Motone’s continuous frequency multiplier and gain controls fill the gaps for modern mix engineers who found the original to be technically limiting. Other features like NDS and mid/side round out the package.”
“Tight lows and brightness without ear piercing tonality… that’s the classic 1950s design Peter Baxandall invented which has stood the test of time. Backs goes ‘beyond the bax’ with sweepable frequencies, some spicy preamps, mid/side processing and a handy mid-band parametric filter. Perfect for subtly improving an already great mix and sub-group bus enhancement as well.”
“The Need Preamp and EQ Collection will give you the greatest vintage equalizers/preamps hits plus a modern one to round the package out. NoiseAsh did an astounding job modeling the hardware. When demoing the plugins, it was tough to pick a favorite because they all have their uses. This plugin collection give instruments/voices *that* coveted track separation–something that not all plugins can do. They allow you to quickly get the sound you imagine in your head to come through the speakers. They also never crashed on me while mixing, which is a huge plus! Because of their dark/subdued GUI design, you can use them for hours on end without eye fatigue. They allow you to concentrate on the music, without any distracting flashy interfaces.”
“Smooth, modern and expensive is how I would best describe the 533. It’s perfect for mastering, but it can work anywhere you need a clean yet still musical equalized sound. Variable bandwidth (Q) knobs give you deep control over the sound. Band bypass allows for quick before and after checks.”
“Looking for a refined vintage British iron sound? This is the one to turn to. Thanks to NoiseAsh’s mid band doubled design, you can use this on anything. A true workhorse equalizer! Sounds particularly sweet on vocals, string instruments like guitars/pianos/violins along with drum overheads and drum room tracks.”
“The 81 equalizer is one I turn to on every music mix and for good reason. It sounds killer on drums, synths and acoustic guitars! It’s extremely versatile thanks to the large assortment of frequencies. Now, thanks to NoiseAsh’s Nuance Deviation System, there are now twenty Need 81’s at my disposal! It can easily clean the mud off a boring/lifeless track.”
“High end transformers give audio tracks their “weight” and “depth”. It’s the ingredient that’s missing from the vast majority of audio interface microphone preamps. The four Need Preamp emulations provide that harmonic mojo in spades. The drive feature makes it easy to dial in the right amount. A great first slot plugin!”
