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The VSX blows each and every one of them out of the water, and I believe that comes down to the decision to have a set pair of headphones that compliment what Steven and his team wanted to achieve with the VSX software. The most recent being Abbey Roads Studio 3. Often times when I'm sound designing, headphones help to allow me to zoom in on even the tiniest of details.įor years I've wrestled with all sorts of different products that try to help make the audio engineering experience on headphones more accurate, in terms of how your mixing decisions translate to speakers, and everywhere else.
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Even with a decent speaker and room setup, we all find ourselves incorporating headphones into our workflows.
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The VSX is a product that everyone can benefit from. I'm probably one of those testers that Steven picked for the very nature of their skepticism!Īnd the truth is, as much as I like certain brands, I wont use anything that doesn't work for my personal needs, and I wont recommend anything to anyone if I don't think it will suit their needs either. You mix on $80,000 mastering speakers, on two different car systems, on other pairs of classic industry phones, on emulations of consumer Apple Headphones, and more! You mix with confidence, and know that your mixes will translate everywhere. Once you get acquainted with the virtual speakers in VSX, mixing becomes EFFORTLESS.
#Mixchecker no ilok driver#
Utilizing a state of the art beryllium driver headphone and binaural perception speaker modeling software, you can now create your music in precise models of pro mixing studios, mastering rooms, car stereos, nightclubs, audiophile mix rooms, boomboxes, and even other industry standard headphones, from anywhere in the world. I've proven it with a large group of testers, some picked specifically for the very nature of their skepticism. And I'm sure a lot of you are very skeptical of this technology, and you should be. Twenty years later, and I truly believe that VSX will help solve this issue for many music creators. Room modes were causing all kinds of peaks and dips, and I was non the wiser mixing around them, hence my bad results. What I didn't realize back then was that despite the fact that I'd saved up for some studio speakers and glued foam all over my walls, what I was hearing in that little studio was not the truth. The first thing I did was tell my bandmates to get the hell out of my car, because surely they were blocking the speakers and causing the songs to sound so band. But of course, something must have been wrong. What came out of those car speakers was a muddy, boomy, boxy, unintelligible piece of garbage. I burned it onto a CD-R and all four of us hopped into my Toyota Camry to take a listen in the outside world. The drums were huge, the guitars were wide, the vocals cut through perfectly, and my band was thrilled. I spent days getting that EP to sound incredible. In 2001 I was mixing my band's EP in my little home studio in Boston, Mass. Introducing the Steven Slate Audio VSX system.