So you may have noticed, I've got a new room. Yes. I'm in a new studio. Which got me thinking at some point I'm going have to retire. Well, it's not that I'm desperate to retire, obviously. But recently I had a birthday which is starting to creep me up to an age where I'm feeling pretty old and feeling like all the old guys that I used to work with when I first started. And get a new studio, makes me think, Oh my God, not another studio. How many studios can I work in? Essentially what I'm saying...

Hi, I'm Streaky. And today I'm reviewing the Kii audio BXT basic extension. So, as you've probably seen, if you watch my videos regularly, I've had the Kii 3 audio 3, wherever they're called. The top unit for quite a while now. Been loving them. Sound great. Sound amazing in most spaces. The reason why I liked them the most is for the cardioid effect, where it throws the sound out the front. I've got bass flying around the room makes super tight bass sounds really nice. Top ends, mega clear and open. Loving them. Sound amazing. But there is...

 So today I'm going to give you a little quick tip on how to high pass in the low end, the way that I do as a mastering engineer. Now, when you high pass in the low end, if you listen to a lot of stuff that used to be on vinyl, 70’s stuffs. Even a lot of, sort of guitar based music, independent music, it's very bright. It's not a lot of low end going on. The reason for that was you couldn't get loads and loads of bottom end on vinyl because the group goes really wide because...

    So, you've got this bass going on in the track. When you're presenting a track to a mastering engineer, you want to put loads of low-end on, and you want to try and get it tight and do your thing on it. But if there's a low cut going on, it's best to leave that to a mastering engineer who can hear what's going on in the low-end. You want more bass and fewer tops when you're a mastering engineer because you want to be able to craft and shape it.     Think of it like clay: if you...