Shreyas Srinivas Uses NUGEN Audio's SEQ-S And Stereoizer Plug-Ins

Sound Designer and Music Producer Shreyas Srinivas recently used NUGEN Audio's SEQ-S and Stereoizer plug-ins on a short film about PTSD titled, Discharge.

The plug-ins helped him achieve the perfect balance between the score and emotional dialogue.

"I read an article about Sound Designer and Re-Recording Mixer Sreejesh Nair using NUGEN Audio, so I checked them out and was immediately hooked," said Srinivas."SEQ-S and Stereoizer are extremely simple, have an easy-to-use interface and feature powerful underlying algorithms. Other similar plug-ins do not come close to NUGEN's solutions. I like to try new ideas, push the boundaries and make the best use of the tools I have to get the best possible results. When you mix on high-end monitors, you lose perspective of how some frequencies can be exaggerated on bad reproduction systems. With projects having deadlines and time constraints, you need your go-to plug-ins to get the job done fast and efficiently, which is where NUGEN comes in."

When mixing, Srinivas likes to give every object its own space and tries to stretch the boundaries of width by placing things in areas that are very different and unique. He has set templates that reduce prep time and stress in the later stages, so he can focus on the meaning of the scene and being creative. "SEQ-S and Stereoizer are extremely powerful for the simple GUI they have," said Srinivas. "SEQ-S has blown my mind in how intuitive it can be, like the invert button that, with a click, can completely negate any clashing frequencies and has a smooth response to the audio it's being used over."

On Discharge, the story has a substantial use of openness and quiet to portray unsaid thoughts and emotions. The score is heavy, wide, loud and deep with subtle dialogue going on over it to compliment the acting in each scene. "I had to be able to carve out just enough room to not bury any words of significance and importance to the story and SEQ-S was the best tool I could use for that," says Srinivas. "The mid/ side feature is a godsend. With some high pads going on below a fat layer of drums and bass, I could tweak the mid to have the dialogue fit in with the center information and let the sides breathe and develop over the scene."