Check out the latest music video from Ronin Asylum! This is End this Way and tells the tale of The Ronin wandering the desert trying to outrun the grief of losing someone he loves. Sounds like a lot of fun. Check it out.
Here is the official video for the song Absolution that will be available on the album After the Fall available this summer. While no AI was used to compose, perform or record the music, AI was used to generate all of the ridiculous visuals. If you can’t tell if they are real or not you may have other problems unrelated to this video and should speak with someone. Not me.
Today we will talk about the difference between screwing around and writing a song. I’ll also share my process in hopes it will provide a jumping off point for you to develop yours. Everyone works differently but we all have at least one thing in common. We all screw around too much and should finish the song.
I wanted to see what went in to making a music video with AI. I chose a platform at random, uploaded my song and gave the service a single prompt and 3 reference images. We will look at what happened next together. Moving on!
Whether you are a seasoned producer or a songwriter, the rapid evolution of generative AI in the music industry is impossible to ignore. This video explores the technical and ethical boundaries of AI-generated music, identifying where tools transition from creative assistants to potential market disruptors. The shift from AI-assisted tools—like automated mastering and frequency management—to full-scale generative models has moved faster than the industry’s legal and ethical frameworks.
In this deep dive, we break down: The Creative Line: Distinguishing between AI as a “plugin” for human creativity versus the complete replacement of the musician. Market Displacement: How the influx of AI tracks affects royalties, distribution channels, and the visibility of human-made music on streaming platforms. The Copyright Crisis: The emerging legal issues surrounding training data and the ownership of AI-generated compositions. Visceral Authenticity: Can an algorithm ever replicate the visceral imagery and emotional weight found in human songwriting? #AIMusic #MusicProduction #AudioEngineering #AIRevolution #Songwriting #TheBelhavenMediaCreatorHub
UPDATE: This is an archived page. This software is out of date and purchase links have been removed. Ronin Asylum does not recommendthis software.
Dr. Drum can help clients make the best Hip Hop thumps around rapidly and effectively. Certainly there is an expectation to learn and adapt in the matter of the product itself and in addition the interface being utilized, however the featured instructional exercises help users get past the halfway point rapidly. Alongside Hip Hop beats musical performers can likewise effortlessly make Dance, Urban, Grunge, House, Techno, Rock, Jazz and substantially more.
These beats are made with a solitary four octave console that is a piece of the Dr. Drum interface. No equipment other than your PC is required albeit different devices can be utilized as a part of show with Dr. Drum. When a beat is created it can be sent out and utilized as a part of different DAWs, for example, Pro Tools, Cakewalk, Cubase and the sky is the limit from there.
Dr. Drum is usable on PC and Mac and can create amazing .WAV documents that can be utilized as a part of an ace sound environment. Alongside the console the interface likewise permits the maker to control individual channel volume, trade in 44.1 stereo WAVs, output tracks for individual sounds and change reverberation on individual tracks and sounds.
Most inquiries that clients have are immediately replied in the instructional exercise feature arrangement gave by Dr. Drum, and in the event that they don’t there is a prospering library of extraordinary data on YouTube that will answer any inquiry you can consider.
If you are a drummer or know what you are doing enough to fake it then EZdrummer 2 might be for you. The software will let you edit a drum loop down to the individual note as well as create a beat from scratch using various interfaces. Drum pads, keyboards, pedals, and other MIDI interfaces can be used to control EZdrummer 2 but are not necessary. It is possible to manipulate the software with your computer keyboard and mouse although that would be somewhat limiting.
It is important to note that EZdrummer 2 is a plugin that is usable with many Digital Audio Workstations (DAWs) and is not a standalone product. For a standalone beat maker Dr. Drum is a great choice. DAWs that will run EZdrummer include:
There may be more but please be certain before you make a purchase.
EZdrummer 2 takes drum generation to a radical new level. It was intended to eradicate any restrictions of your inventiveness and presents a few weighty elements for speedy and simple songwriting.
Tap or record your beat to develop a rhythm and shop by channels or search the conventional path in the helpfully laid out MIDI program.
Utilize several tools to momentarily change the main instrument or the Amount or Velocity definitions to control the unpredictability and speed in your chose groove – while it’s playing!
In EZdrummer 2 you can:
Go from a musical idea to a full track! Move and customize drum parts to assemble your own particular track specifically in the project – or let EZdrummer 2 do it for you! On the off chance that you drop a notch in the Song Creator, it will list all records with a comparative vibe and style. It will likewise let you lay out a complete track utilizing included or client made melody formats.
Surprisingly in a drum programming setting, you can now “impart” with your drummer. Utilize the Power Hand to promptly change the main instrument or the Amount or Velocity handles to control the unpredictability and speed in your chose groove – while it’s playing!
Finished with your track? EZdrummer 2 has a wide determination of instant, client controllable impact affix presets to guarantee that the last blend sounds precisely a good fit for your tune.
EZdrummer 2 has a totally new blender and accumulation of impact chain presets, both for the advanced and the vintage setup. The impact motor is based around the various quality impacts in Toontrack’s generally acclaimed EZmix 2. Every setting incorporates a back-end of different impact chains including any semblance of compressors, reverbs, postponements and EQs. With settings covering anything from great rock to disco and cutting edge metal, you can quickly ring a beginning stage for your tune and, on the off chance that you so pick, keep on customizing it into something totally new with every setting’s one of a kind arrangement of parameters.
This is the transcript of the video above. Just watch the video. You’re not fooling anyone. You don’t read. Click above.
Today we’re going to talk about unmasking. This is a mixing technique. It takes place during the mixing process and it allows to clarify or create separation between one or more instruments that share a similar frequency range. This is most commonly a problem with something like bass drums and a bass guitar stepping all over each other. So, whenever they’re together, it creates muddiness. Uh, and it’s they’re essentially fighting over a very narrow frequency range. And unmasking is going to carve out areas within their frequency range for the drum in this case and the bass guitar.
This also happens when there’s a whole lot of guitars and a whole lot of vocals, which is every heavy metal song. And what you’ll find is unless the the guitar player is scooping out all the mids, which does happen occasionally, you’re going to have the guitar and the vocalist stepping all over each other all the time. So today we’re going to talk about how to carve out an area for vocals to sit more easily within a given mix.
You’re going to want to get your want to get the volume set before any of this starts. So create the best best mix that you can. You know, get everything sounding okay. And then if you’re still hearing muddiness, which you’re you’re there’s going to be some. There’s always some. Uh, but if it’s too much, you don’t like the way it sounds, then you can take this technique and carve out areas. Now, I’m going to talk about unmasking, and I’m going to talk about sidechaining,and we’re going to talk about routing for just a bit.
Uh, and I will link to some deeper dives into those areas. Look at this instance of Reaper that I have up and you will see that I have routed all of the instruments into this particular track which we’ll call track one because it is and all vocals into vox all which is track two.
Now there is a main vox there’s four different main voxes here. There’s a ton of choruses and towards the end and something that we’re going to take a look at. I’ve got here this listed as monster voice and that’s fun and it also created some issues of its own because instead of singing which I sing in a higher register uh I was speaking and it was very very low and it got very muddy. It was really bad and also the passages are in Latin which meant even I was saying it and even I didn’t know what I was saying. So, uh, we’re going to take a look at that, too. But here we go. All right. We’re going to look at the first verse of a song called Absolution. And again, all the instruments are going into track one.
And all the vocals, chorus, everything, everything’s going into uh track two. And I have several plugins in the master out. I’ve disabled all of them. So, what we’re hearing is uh whatever’s list, whatever’s on the main track. So, you’re going to have some digital delay, you’ll have some reverb, and you’ll have on the backing vocals, you’ll have autotune. And I wanted to leave them there because they’re going to create the mud we’ve been talking about more often than not.
So, I’m leaving all that on. We’re going to hear it affected, but I am turning off the program we’re going to use to unmask the vocals. Now, let’s just listen to the verse quickly. We won’t listen to the whole thing. We fall for yet another day. Speak your heart, my son, so we may pray. I took these lives on them. Have no fear, my son. Now you may >> All right, we uh did get muddy there towards the end when the vocals started slipping into a lower register and
that’s good. So we can look at that. So what do we do? All right, we’ve got all of our vocals into this into track two and all of our instruments into track one. Now we want to protect the vocals. So we’re going to load the unmasker which today we’re going to use curves resolve from waves. I am this I am in no way sponsored by anything or anyone. No one’s gonna give me money for this crap. So, you can use any myriad of things, but what I really liked about curves was it’s got the little AI thing that everything has where it’s going to listen to everything and it’s going to create a base to start from.
And while we’ll probably make adjustments after that, it’s really good to start 75% of the way there and kind of have to so you’re you’re putting your effort into that last 25%. Because starting from scratch if you especially if you don’t know what you’re doing is a pain in the ass. But everything that we’re going to do here can be done with free plugins with Reaper, no problem.
All right. So, we’re going to load curves resolve stereo. There we go. All right. Now, we need to put the vocals into the side chain. And so, we’re going to do that. And we’d already done that. So, that’s how you do the side chaining in Reaper. Give it a quick listen. There’s the instruments. >> Speak your heart. >> Now, as you can see, you can see the vocals up here and you can see everything else down here. That’s because the vocals are being loaded into the side chain.
Anything side chained in, it’s going to protect. That’s what you’re basically telling it. So load this or whatever plugins you’re using onto the instrument track and sidechain everything else into it and it will protect it. Let’s look at it again. >> All right, everything’s going through. We’re going to tell it to learn. And as you can see, it’s going to analyze the side chain to create a static curve. So I’m going to hit learn. yet another day.
>> It said stop. >>
Now we have a big knob here. This knob is how much are we going to suppress the instruments for lack of a better term. It’s it that sounds very negative. It is not. How much are how much are we gonna suppress the frequencies that are occupied by both instruments and vocals to allow the vocals to push forward? And here you go. >> Speak your heart. >> That’s too much. Now, as you can see, as you turn up the uh as you turn the knob, you can see the vocals becoming more and more uh dominant within the given frequencies.
Let’s do it again and watch the vocals start to push down the given frequencies when they come in. Give me father voice in yet another day. Speak your heart my son so we may pray >> if you crank it up all the way. >> Obviously while fun but that is not very useful. >> All right let’s do it one more time. I’m gonna start bringing it up slowly and we can see how it makes the change. >> Speak your heart, my son, so we may pray.
I took these on and them away. >> That’s nice. That’s nice right there. uh any higher and it starts to get a little weird and you can really hear it pumping and it was essentially if you’re gonna tap down the entire song versus the vocals that’s too much. So, one more time, I’m going to start it out without resolve at all, and then we’ll activate it so you can hear the difference. Give me father yet another day. Speak your heart, my son, so we may pray. >> The sibilance is very acute when it comes on.
I have an easier time hearing the higher end of the vocals. uh with that when that comes on. And again, we want it to be subtle. We don’t want the thing to just go crazy and annihilate the song every time the vocals come in. But as you can see, this gives you a great deal of control. And if you do want to make it profound, especially if you’re doing like voiceovers for YouTube videos, for example, that’s another great use. You can throw some background music in there. And I think we all know how annoying it is when you’re trying to listen to someone while they turn background music on and you can’t hear a goddamn thing they’re saying.
And what you could use is a tool like this to tap down the music a lot harder when someone is doing a voice over. All right, I’ve deactivated curves and we’re going to listen to uh at the end of this song, as I said earlier, we have there’s a spoken word part. It’s in Latin and it’s I call it the monster voice in the track and that’s appropriate because uh I’m speaking in a deep voice.
It’s got a ton of crap on it. It’s got a phaser on there. I think there’s who knows what. Sounds weird. But it gets buried and I’m going to play it now and you can hear it get buried. Do not enter into judgment, my lord. >> Let’s do that again. >> All right. Here’s what it’s supposed to sound like. >> So that gets lost. Uh, we’re going to use curves. >> All right. >> Check this out. As you can see, it’s all in the low end way down there.
>> So, here it is without Here it is with >> it’s much more obvious. I may want to turn it up a little bit more. What I’m going to do is reroute all the monster voices to their own track and then I’m going to really squash the instruments. Blessing on the coolless. >> Nice. Well, that’s more similar to spoken word like a voice over and whatnot where you can really stamp down the music. You don’t want to stamp it down that hard. But, uh, this is a perfect example of a whole lot of messy frequencies stepping all over each other and it fixed it.
And that’s out of the box. I mean, essentially, I hit learn and then turned a knob. That’s exactly the kind of tools I’m looking for. So, again, that is curves resolve from Waves, but there’s a bunch of plugins that’ll do the same thing. And if you want to learn how to use uh multiband compressors, there’s some free ones you can do. Now, it’s not going to be hit learn and crank a button, but uh there’s a thousand ways to do this.
I’m choosing the easiest way because that’s what I’m all about. So, that’s Curves Resolve. If you want to know more about side chaining, I’m going to put a link to uh Glenn Fricker’s Spectre Sound Studios where he does an entire piece on just side chaining, when you should do it, the best ways to do it, and if he says anything that disagrees with me, he’s right and I’m wrong, and do what he says. So, until later, thanks for coming by.
Like, subscribe, and all that stuff and whatever. Give me free money on Patreon for no real reason. And uh you know, if you’re old enough to know what a cashier’s check is, you can send me one of those, too. That would be great.
In the “before times”—specifically anything pre-2023—removing reverb from a recording was the audio engineering equivalent of trying to take the eggs out of a baked cake. You could try some clever gating or multi-band expansion, but you usually ended up with a “watery” vocal that sounded like it was being broadcast from a soggy cardboard box.
Fast forward to April 2026, and the landscape has shifted entirely. We no longer “filter” reverb; we deconstruct it. Thanks to generative neural networks and real-time source separation, we can now isolate the direct signal from the reflected energy with surgical precision. Whether you’re a podcaster who recorded in a glass-walled office or a film editor dealing with a boomy cathedral, the tools available today are nothing short of sorcery.
In this deep dive, we compare the titans of the De-Reverb space in 2026, examining how they handle everything from subtle room tone to the dreaded “bathroom echo.”
To understand why 2026 tools are so much better, we have to look at the math. Traditional de-reverb relied on spectral subtraction. It looked for the “tail” of a sound and tried to duck those frequencies.
Today’s AI uses Deep Neural Networks (DNN) trained on millions of hours of “dry” vs. “wet” audio pairs. Instead of just turning down the reverb, these models predict what the original, dry vocal should have sounded like, effectively reconstructing the frequency components that the reverb masked.
A key metric we look at in 2026 is the RT60 Reduction Efficiency. While we rarely use the full Sabine formula in daily editing, the underlying principle of reverberation time remains:
Where $V$ is the room volume and $A$ is the total absorption. AI tools today essentially “fake” an increase in $A$ by identifying and removing the late reflections without touching the initial transients.
iZotope remains the “Photoshop of Audio.” In version 13, the Dialogue Isolate module has become a hybrid monster. It no longer just removes noise and reverb; it has a “Text-to-Resynthesize” feature that can actually rebuild words that were completely lost to echo.
Best For: Professional post-production and forensic audio recovery.
The 2026 Edge: The new Spatial Match feature allows you to take the dry vocal you just cleaned and instantly place it into a different virtual room with matching acoustics.
Link: iZotope RX Official Site
Adobe has moved away from the “all-or-nothing” approach of their early “Enhance Speech” tool. The 2026 update introduced Source Separation Sliders. You can now independently control the level of “Speech,” “Ambience,” and “Reverberation” as separate layers.
Best For: Content creators and YouTubers who need a 95% solution in five seconds.
The 2026 Edge: It’s entirely browser-based but uses local GPU acceleration (via WebGPU), meaning you get pro-level results without a $3,000 rig.
Link: Adobe Podcast
Waves changed the game with their “Neural Networks” (NN) engine. In 2026, the Clarity Vx Pro is the go-to for live streamers and broadcasters. It has nearly zero latency, allowing you to de-reverb your voice while you are still speaking into the mic.
Best For: Live streaming, zero-latency monitoring, and fast-turnaround TV news.
The 2026 Edge: The Reflections knob allows you to keep just a hint of early reflections so the voice doesn’t sound “uncannily” dry.
Link: Waves Clarity Vx Pro
Supertone (the tech behind some of the most impressive AI voice clones) released Clear a few years ago, and by 2026, it has become a cult favorite. It uses a unique three-knob system: De-Noise, De-Reverb, and De-Voice.
Best For: Musicians and high-fidelity vocal tracking in non-treated rooms.
The 2026 Edge: It is incredibly lightweight. You can run 20 instances of it in a DAW without breaking a sweat.
Link: Supertone Clear
We put these four tools through a stress test: a vocal recorded in a 10×10 tiled bathroom with a high RT60.
| Feature | iZotope RX 13 | Adobe Podcast | Waves Clarity Vx Pro | Supertone Clear |
| Artifact Level | Near Zero | Moderate (Metallic) | Low | Very Low |
| Processing Speed | Slow (Render) | Instant (Cloud/Web) | Real-time | Real-time |
| User Control | High (Spectral) | Low (Slider) | Medium | High |
| Price (2026) | $1,199 (Advanced) | Subscription | $249 (Perpetual) | $99 |
As an AI, I’ve seen enough waveforms to tell you that “dryer” isn’t always “better.” In 2026, the biggest mistake amateur editors make is stripping all the life out of a recording. This leads to Listener Fatigue, where the brain becomes unsettled by a voice that lacks any spatial context.
The best de-reverb strategy in 2026 is the 80/20 Rule:
Use AI to remove 80% of the room reflections.
Use a high-quality algorithmic reverb (like FabFilter Pro-R 2) to add back 5-10% of a “pleasing” virtual room.
This creates a “Studio-Natural” sound that feels professional but grounded in reality.
To stay ahead of the curve, I recommend keeping an eye on these high-authority sources that consistently benchmark these tools:
Sound On Sound: For deep technical reviews of audio hardware and software. soundonsound.com
Dark Horse Institute: Excellent for learning the foundational physics of sound before you let the AI fix it. darkhorseinstitute.com/blog
Gearspace: The definitive community for “real-world” testing by engineers who actually get paid to fix bad audio. gearspace.com
If money is no object and you need perfection: iZotope RX 13. It’s the only tool that allows you to manually “paint” out specific echoes in the spectral repair window.
If you’re a hobbyist or podcaster on a budget: Adobe Podcast. The 2026 updates have significantly reduced the “robotic” artifacts that plagued the earlier versions.
If you need it for live work (Zoom, Twitch, etc.): Waves Clarity Vx Pro. Its ability to process audio with under 5ms of latency is still the gold standard.
Audio repair used to be about compromise. In 2026, it’s about intent. You are no longer a victim of your recording environment; you are the architect of your acoustic space.
This guide explores the technical architecture required to produce studio-grade vocal audio for TikTok. In a landscape where the “For You Page” (FYP) is increasingly saturated with high-production content, the differentiator for singers is no longer just the vocal performance, but the sonic clarity and “commercial” polish of the audio.
To achieve a professional sound that survives TikTok’s aggressive compression algorithms, you must approach the recording process as a multi-stage signal chain: from the physical environment to the digital workstation, and finally to the platform’s specific encoding requirements.
High-quality audio begins before a single button is pressed. The most expensive microphone cannot “undo” the sound of a bad room. For singing, the goal is a “controlled” environment—not necessarily a dead one, but one free of flutter echoes and boxy resonance.
Singing generates significant sound pressure. In a standard room with hard walls, these sound waves bounce back into the microphone, creating “comb filtering” (a thin, hollow sound).
TikTok’s internal normalization will boost quiet parts of your audio, which also boosts background hiss.
To rank among high-tier creators, the transition from “phone mic” to “XLR chain” is mandatory.
Your interface’s primary job is high-quality Analog-to-Digital (A/D) conversion.
For the highest quality, you should record into a Digital Audio Workstation (DAW) rather than directly into the TikTok app.
Once the raw vocal is recorded, it requires a specific “pop” processing chain to sound “TikTok ready.”
Start by removing what you don’t need. Use a High Pass Filter (HPF) to cut everything below 80Hz–100Hz to remove “rumble.” Next, use a narrow “bell” curve to find and slightly reduce (2-3dB) any harsh frequencies in the 2kHz–4kHz range. Finally, apply a De-Esser to tame “S” and “T” sounds, which become piercing once TikTok’s compression is applied.
Single-stage compression often sounds “pumping” and unnatural.
Even for “natural” singers, a touch of pitch correction (at a slow “retune” speed) helps the vocal sit perfectly in the mix. For Tonal EQ, a “Air” boost (a high shelf at 10kHz+) gives the vocal that expensive, professional sheen.
Do not apply reverb directly to the vocal track. Use a “Bus” or “Send.”
TikTok’s audio engine is notorious for squashing high-fidelity files. To combat this, you must “pre-master” your audio to their specifications.
TikTok normalizes audio, but it doesn’t have a published, rigid standard like Spotify (-14 LUFS). However, aim for a dynamic master around -9 to -11 integrated LUFS. This is loud enough to be competitive but leaves enough “crest factor” (distance between average and peak) so the transients don’t get turned into “mush” by the platform’s limiter.
Set your final limiter’s “True Peak Ceiling” to -1.0 dB. If you set it to 0.0 dB, the conversion to TikTok’s AAC format will likely cause “inter-sample peaks,” resulting in digital distortion that sounds like a “crackle” on mobile speakers.
Export as a WAV (24-bit, 48kHz). Avoid exporting as an MP3. You want to give TikTok the highest quality “container” possible so that when it performs its own lossy compression, it has more data to work with.
The final bridge is getting the audio from your computer to the phone without quality loss.
The most effective way to maintain quality is to sync your high-quality audio with your video in a third-party editor (like CapCut or Adobe Premiere) and upload it as a finished file.
Before finalizing your edit, listen to your mix on actual smartphone speakers and cheap earbuds. Professional studio monitors have a flat response, but TikTok users listen on devices with significant “mid-range” boosts and no “sub-bass.” If your vocal gets lost on a phone speaker, you likely have too much low-mid “mud” (around 200Hz-400Hz) or your compression isn’t aggressive enough to keep the vocal “on top” of the music.
By following this architecture, your singing videos will transition from “hobbyist” to “professional,” providing the high-fidelity experience that modern audiences (and the algorithm) reward.