Any advice regarding how to hear the difference in delay times below 40 ms ? I use phase cancelation in the low end as an indicator, but it doesn't seems to be reliable all the time (especilally when there's not much or not a all bass freq in the sound)
Like for example, I just had a choice between 3 vs 7 ms.
Clement, one of the things that has helped me in the very low msec range (e.g., single digit millisecond delays) is to note that comb filtering is taking place as the original sound wave interferes with its delayed copy. This then causes certain frequencies to drop out. You can do a pretty simple experiment on this in your DAW - put a pink noise generator on a track, fed the track into a delay plug in, recombined it with the original track, and then looked at the spectrum. You'll see the holes in the spectrum where destructive interference causes waveform cancellations and creates these holes. It's pretty easy to hear frequency shifts and dropouts in the game, then, by comparing what's being played with and without the delay. I'll admit, that game still gives me problems, but this does help me a bit.
I am on level 27 of Dr. Compressor and am finding it trick to tell which is more compressed - the indicators I was using (like things sounding further, or ambiance getting lounder, or even consistency of the part) are frequently not there. Any suggestions as to what I should be listening for?
I am WAY behind level 27 and identifying compression is one of the tougher exercises for me. But I'm finding one cue that often works for me, at least with the drums, which is that the pitch in the compressed version seems just a shade under the uncompressed version.
The description of the game says 'Listen to two sounds - one is more compressed than the other, with very short attack and release for easier detection. Can you identify it?'. I used to try to hear for more pronounced ambience and room sound but now this feels tricky to me. I'm nearing level 100 and most of the time I rely on transient differences, which is what the description implies we should do. If I pay close attention to the transient of the less compressed version, it is more pronounced, snappier. Conversly, the transient of the more compressed version is smoother, more sanded (to use a woodworking analogy). I mainly focus on the kick, and secondarily on the snare. Sometimes it comes easily, sometimes not, but if I have the patience I usually pass the level.
Hey there! I was surprised to see so many good reactions to my song Warrior Tonight form EP Tomorrow (2025). Thank you so so much! I'm so happy. I suppose my song will sound good in this playlist. Have a nice day!
Your Ears Are Literally Reshaping Your Brain Right Now
Hard truth: better mixes usually start with better perception, not better gear. This article makes a strong case that focused training can reshape the brain systems behind attention, memory, and pattern recognition.
So here’s the debate: Team A trusts fast instinct, Team B trusts repeated drills.
Which one actually improved your mixes more? Share one moment where ear training changed a decision in a real session.
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