Jean-Michel, these are some great ideas. I'm all about efficiency and already have plans to add many more powerful new features to M3...these will definitely improve the workflow as well.👍 Thanks and feel free to reach out anytime. - Menno

Hello, M3 and Mix Monolith are two separate plugins. After inserting M3 on your master channel you must insert additional M3's on your individual tracks. The M3 modules will populate the mixer window as you insert them. Check out the video - https://youtu.be/EU9nBzkYIzg

You must use your recorded pink noise file from your speakers to "flatten" your speaker response using the pink noise ceiling.

Certainly, your COS Pro correction preset will get your speakers where they need to be, then the multiple room measurements you take with your ARC3 will finalize your listening position/s even further.

Regardless of stereo or mono...all sound is simply noise governed by the spectrum of noise and level-planes. Stereo tracks comprised of dual-mono files should be treated as "double-tracked" elements...in other words, setting both dual-mono tracks -3dB lower than the intended target level-plane means their combined volume will sit on that level-plane (-28LUFS + -28LUFS = -25LUFS).

For Stream suggestions please feel free to email me directly at: menno@ayaicinc.com

Hello, that partly depends on the genre/sonic-content of the Bass. For example, the overall sonic balance of an overdriven Rock elec. bass may follow a -4.5 or brown ceiling, whereas an R&B or Reggae bass may follow a -7.5 or -9 ceiling...a sub or Dub bass may follow a -10.5 or -12 ceiling. In the end you'll follow the ceiling that best fits the sonic tonality or genre you're going for.

@dataMountain Yes it will...on YouTube.

Hello Ali, I will soon begin streaming on Twitch. In my "Master Class with Menno" I'll be using/demonstrating COS Pro & Mix Monolith in various real-world mix situations. You'll quickly have a full grasp of the amazing power of these two plug-ins and how the enhance working with all of your other plug-ins. I use the guides constantly on every element so you'll soon understand how to work with them easily with or without presets. Please visit: www.twitch.tv/ayaicware and follow us for notifications on upcoming stream times. - Menno

Yes...very soon. We have already fixed that bug along with a few others...unfortunately due to the current Covid climate, final testing is taking a bit longer than expected. That said, we should have an updated installer by mid/end of February. I appreciate your patience.

Instrumental tracks work will with your master-fader Monolith set to -20LUFS. If you are bouncing down to a reel-to-reel 2-track begin by creating a Monolith preset using a 1kHrz tone and calibrating it (setting Monolith target LUFS) so that your 2-track VU reads -18dbfs. This preset should then work well for all material, Song & Instrumental.

Hello Marc, we will be releasing updated installers of both COS Pro and Mix Monolith within a week or so (just doing final testing) that should take care of the issue. I'll keep you posted. - Menno

Jhed, we are working on M1 chip compatibility that doesn't require the use of Rosetta. I'll keep you posted.

@mtu1250 Just FYI...we will be adding features to the Monolith in the new year, including a "gain to fader" function that will automatically apply the Monoliths "applied gain" setting to your host DAW faders...with the click of a single button. Stay tuned...and yes...upgrades/updates will always be free for Monolith users.

@mtu1250 Make sure to run your stereo buss "learn" pass after your initial "all tracks" pass...in order to make sure your buss Monoliths are analyzing the correct energy input. When done you should be around -18 / -20 LUFS at your master buss even before applying a Monolith to it...that's how we designed the Monolith presets. The Monolith is designed to take the place of your fader, in a sense...all processing should be done prior as you usually would. However, it works beautifully as a gain-stager as well for all of your virtual tape plug-ins, which are generally first in the chain (as they would often be in the real-world).

Also remember that once your drum kit is Monolith'd you should Monolith your "Drum Buss" as well (-25 LUFS)...the drums are a "single" element and the combined energy of a multi-mic'd kit will exceed it's desired LUFS energy/target.

There are (2) things I notice from your example: 1) please give the Monolith a bit more time to analyze the LUFS of your individual element/s...especially with live drums. 2) LUFS are static, in the sense that they do not compensate for frequency/dynamic-range in an element. If, for instance, a snare isn't compressed tightly where it's dynamic-range is around -23/-20 LUFS (it's DR is -29 LFUS), it's signal will be turned up to -25LUFS thereby clipping the track. This is not a problem though...simply compress the DR of the element or if a '''loose' sound is the target, drop the "level-plane" (5dB = (1) level-plane) of each Monolith to compensate...the snare/kick/toms would be at -30 instead of -25. Note: -20 DR is a good general target to aim for when compressing an individual drum element. EQ of an element also plays a factor...a LUFS measurement's final determination will be overall energy, regardless of what frequencies make up that energy.

Yes there are benefits. Since programs like Spotify automatically adjust levels for streaming, most platforms use -14LUFS, supplying them with an audio file already at their preferred LUFS setting ensures there will be virtually no change to your audio level...it will sound as you have supplied it. It will also help you while working to ensure that you have no digital clipping happening in your audio @ -14LUFS.

Hello, I recommend starting at -25LUFS if the element to sit on the songs main (front) level-plane and -35LUFS if it's intended to sit on a secondary (back) level-plane...then adjust by level-planes +/- until the sound is where it should be. Remember that a level-plane is an increment of +/-5dB. Save as your own preset for commonly used sounds.- Menno