EVEN MORE audio samples and studies - Again, a high-speed connection is necessary for streaming, as the bit rate can exceed 500kbps in certain places. Did you arrive at page 2 by mistake? CLICK HERE to go to the main Audio Samples page.    SAMPLE SEVEN 2.1 MB, Power Metal - (A/B Comparison back and forth) - An early ‘08 Clash of the Titans on this one -- Tristan Grigsby (Project: Storm, Daitribe) and Nick Bowcott (Grim Reaper) on the guitars, Dave Ellefson (Megadeth) on bass, Jason Bittner (Shadows Fall) on the drums and Tim “Ripper” Owens (Judas Priest, Iced Earth) on vocals.  Fitting all those high-octane metal machines together in one mix is a job I don’t envy - But Jay Walsh (Farview Recording) did a fine job of squeezing all that energy onto a solitary stereo track. Typical issues from what were no doubt blisteringly loud and long mixing sessions -- You can hear on the non-processed sections (especially after hearing the first processed section) a “whistling” build up on the guitars at around 2-3k that interfered with the vocals cutting through. The recording was otherwise very “warm” and seemed to lack a little “excitement” in the high end -- without making it fatiguing (which is why it was a little on the “warm” side in the first place). A lot of mid-side on this one - both equalization and dynamics - to increase the energy, but keeping it dynamic.  SAMPLE EIGHT 7.5 MB, Rhythm & Blues (A/B Comparison back and forth) - Rhythm & Blues artist Damon Cooper with another version of what happens when the MIX is allowed to speak for itself. The A/B comparison differs in volume, air and “punch” to a point, but the essence of the mix basically stays the same. The typical precautions needed to be carefully thought through - For example, making sure the hi-hat sounds and other high-pitched parts don’t increase in volume above the rest of the mix - Rather, they change in level only slightly from the original mix, while the volume of the mix increased more apparently. As the clarity in the high end becomes more “open” sounding, the level of the high end parts, if left unchecked, easily become overwhelming by comparison.  The balance is kept, without the high parts becoming harsh and fatiguing. Generally speaking, getting the mix “polished’ a little without getting in its way too much.  SAMPLE NINE 4.4 MB, Contemporary Jazz Guitar (A/B Comparison back and forth) - Virtuoso guitarist Car Eichman from his 2006 “Hidden Symmetry” CD. Great recording. Just wanted to be “more in your face” - Highlights are the seeming closeness of the nylon strings contrasting the apparent distance of the snare drum that seem to sound nearly on the same plane in the “before” parts. The harmonized pizzicato guitar parts also fared well. Just a sample of one of several outstanding tracks on this disc. SAMPLE TEN 4 MB, Pop Punk *EXPLICIT LYRICS ADVISORY* (A/B Comparison back and forth) - Hockey fans will undoubtedly know where the Canadian power-punkers The HEXTALLS got their namesake from... Their new release includes this track “Chuck Norris - King of the Forest.” In typical pop-punk fashion, the mix was heavily compressed at the track level. This got the overall volume up pretty high, but left us enough room to work the EQ and compression to smooth out some of the peaks IN the EQ. A bit of polish on this quick and fun tune that pays tribute to one of North America’s favorite Martial artists. Did I mention the EXPLICIT LYRICS ADVISORY? SAMPLE ELEVEN 4.4 MB, Alternative, for lack of a better term (A/B Comparison back and forth) - Tumbledown from the “Safe and Sound” CD - A mastering engineer’s worst nightmare wrapped around his wildest dreams - Telephonic vocals, stacks of tracks of sparse percussion, drums, palmas, simplistic acoustic guitar plucks - Transients on top of transients until sudden “wall of sound” guitar and drum stingers.  Very dynamic, and far too important to lose the impact and open quality for the sake of sheer volume - But still hit it pretty hard and it handled it very well. Why? The mix was great. It wasn’t a “repair job” by any stretch. Just another example of how well-tracked, well mixed projects can sound considerably enhanced sonically, but without losing their essence and personality in the process.  SAMPLE TWELVE 4.3 MB, Contemporary Pop Gospel (A/B Comparison back and forth) - One of four singles from Mark Mallett’s “Through Her Eyes” double CD. Another well recorded piece, as one would expect from Mark Mallett. Mark left a lot of room for creativity in this project - There were several directions to go in and picking the “right” one took a bit of experimenting. The challenge was bringing a tune with a very wide dynamic range into a more “commercial” range while keeping the dynamics and power intact. Compression and imaging techniques were employed to “fill in” the sonic space instead of just compressing and limiting for the sake of increased volume.