@mthines/reaper-mcp 0.1.0

package/knowledge/genres/_template.md

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+---
+name: Genre Name
+id: genre-id
+parent: rock # optional: inherits settings from parent genre; override individual fields below
+lufs_target: [-13, -10] # [min, max] integrated LUFS range for delivery
+true_peak: -1.0 # dBTP ceiling
+---
+
+# Genre Name
+
+Brief description of the genre's sonic identity, typical production era/context, and what the mix should feel like to the listener.
+
+## Characteristics
+
+- **Energy level**: High / Mid / Low — how dynamic and aggressive the mix is
+- **Frequency balance**: Describe where the weight sits (bass-heavy, mid-forward, bright/airy)
+- **Transients**: How punchy vs smooth the drum/instrument attacks are
+- **Reverb/space**: Dry and close vs washy and ambient
+- **Stereo width**: Mono-compatible or wide stereo image
+- **Reference artists**: [Artist 1], [Artist 2], [Artist 3]
+
+## EQ Approach
+
+### Global HPF settings (per instrument type)
+
+| Instrument | HPF Frequency | Notes |
+|------------|--------------|-------|
+| Kick drum | 30–40 Hz | |
+| Bass guitar | 40–60 Hz | |
+| Snare | 80–100 Hz | |
+| Electric guitar | 80–120 Hz | |
+| Acoustic guitar | 80–120 Hz | |
+| Vocals | 80–100 Hz | |
+| Pads/synths | 60–100 Hz | |
+| Cymbals | 200–400 Hz | |
+
+### Frequency shaping targets
+
+| Frequency Zone | Treatment | Why |
+|----------------|-----------|-----|
+| Sub 20–60 Hz | Describe what to do | |
+| Bass 60–250 Hz | | |
+| Low-mids 250–500 Hz | | |
+| Mids 500 Hz–2 kHz | | |
+| Upper-mids 2–5 kHz | | |
+| Presence 5–8 kHz | | |
+| Air 8–20 kHz | | |
+
+## Compression
+
+### Per instrument compression guidelines
+
+| Instrument | Style | Ratio | Attack | Release | GR Target | Notes |
+|------------|-------|-------|--------|---------|-----------|-------|
+| Kick | VCA/FET | | | | | |
+| Snare | FET | | | | | |
+| Overheads | Opto | | | | | |
+| Drum bus | VCA | | | | | |
+| Bass | VCA | | | | | |
+| Lead vocals | FET then Opto | | | | | |
+| Guitars | VCA | | | | | |
+| Mix bus | VCA | | | | | |
+
+## Stereo Width
+
+- **Bass (below 100 Hz)**: Always mono
+- **Kick/Snare**: Center or very slight width
+- **Guitars**: [Describe panning approach]
+- **Vocals**: [Center / slight width / doubled-tracks panning]
+- **Synths/pads**: [Describe]
+- **Effects returns**: [Width approach]
+
+## Common FX Chains
+
+### Lead vocals
+
+1. [EQ type] — HPF + presence sculpting
+2. [Compressor type] — style, ratio, attack, release
+3. [Optional second compressor] — for gain riding
+4. [De-esser] — frequency, threshold
+5. [Reverb type] — send/return configuration, size, pre-delay
+6. [Delay type] — timing, feedback
+
+### Drums
+
+1. [Describe per-mic processing]
+2. Drum bus: [compressor], settings
+3. Parallel compression: [description]
+
+### [Other instrument roles specific to this genre]
+
+## What to Avoid
+
+- List specific processing choices that are wrong for this genre
+- Include specific numbers where possible (e.g., "avoid reverb tails longer than 1.2s")
+- Include common amateur mistakes specific to this genre
+
+---
+
+<!-- CONTRIBUTING GUIDE
+
+To add a new genre file:
+1. Copy this template to knowledge/genres/{genre-id}.md
+2. Set parent: to inherit from a parent genre (e.g., metal inherits from rock)
+3. Fill all compression tables with specific values, not ranges where possible
+4. Reference 3-5 specific album mixes as reference points
+5. Be opinionated — vague guidelines are not useful for the agent
+
+-->

package/knowledge/genres/electronic.md

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+---
+name: Electronic / EDM
+id: electronic
+lufs_target: [-10, -6]
+true_peak: -0.3
+---
+
+# Electronic / EDM
+
+Electronic music mixes prioritize translation across club sound systems — enormous subwoofers, powerful midrange arrays, and loud playback levels. The kick drum and bass line are the foundation of everything. The mix must be simultaneously loud, wide, and dynamically impactful when the drop hits versus the breakdown. Sub frequencies must be precise and mono. The mixdown is often more "mastering-like" since many electronic producers deliver a near-final mix directly.
+
+Subgenres vary widely: house, techno, drum and bass, ambient, synthwave each have their own character. This file covers general EDM/club production principles with subgenre notes where they diverge.
+
+## Characteristics
+
+- **Energy level**: Extremely high at drop; dynamic contrast between breakdown and drop
+- **Frequency balance**: Sub-dominant; extended highs; scooped or wide mids depending on subgenre
+- **Transients**: Precise kick transients; controlled but impactful
+- **Reverb/space**: Creative use of space — large halls in pads, dry on percussion
+- **Stereo width**: Extremely wide (synths, pads, FX); mono bass and kick
+- **Reference artists**: Martin Garrix, Deadmau5, Skrillex, Eric Prydz, Aphex Twin, Carl Cox
+
+## EQ Approach
+
+### Global HPF settings
+
+| Instrument | HPF Frequency | Notes |
+|------------|--------------|-------|
+| Kick | 30–40 Hz | Let sub through; cut rumble |
+| Bass / sub | 20–30 Hz | Sub is the genre — minimal HPF |
+| Synth bass | 40–80 Hz | Depends on register |
+| Leads / plucks | 80–200 Hz | Depends on register |
+| Hi-hats | 500–1000 Hz | Tight and crisp; no low-end |
+| Pads | 80–200 Hz | Clear the sub zone |
+| Samples/breaks | 80–150 Hz | |
+| Vocals (if present) | 80–120 Hz | |
+
+### Frequency shaping targets
+
+| Frequency Zone | Treatment | Why |
+|----------------|-----------|-----|
+| Sub 20–60 Hz | Precision management — this is the genre foundation | Club subs reproduce this; must be clean and mono |
+| Bass 60–250 Hz | Kick punch + bass body; careful spectral balance | Two elements often compete here |
+| Low-mids 250–500 Hz | Heavy reduction on pads/synths to make room | Mud-zone management is critical |
+| Mids 500 Hz–2 kHz | Synth leads and melodic content; often scooped in techno | Genre-dependent |
+| Upper-mids 2–5 kHz | Lead synth presence and attack transients | Pluck and click live here |
+| Presence 5–8 kHz | Hi-hat sizzle; synth character | Brightness |
+| Air 8–20 kHz | Open high end; cymbals; synth shimmer | Openness and energy |
+
+Sub-bass management: Decide whether kick or bass sub owns 30–60 Hz and carve accordingly. Common approach: kick owns 40–80 Hz peak, sub bass fills 25–50 Hz. Use sidechain compression (kick triggers bass/sub) for the pumping characteristic of house music.
+
+## Compression
+
+| Instrument | Style | Ratio | Attack | Release | GR Target | Notes |
+|------------|-------|-------|--------|---------|-----------|-------|
+| Kick | FET/Transient shaper | 4:1–8:1 | 0.5–3 ms | 30–80 ms | 4–6 dB | Tight and defined |
+| Sub bass | VCA | 4:1 | 5–10 ms | 80–150 ms | 2–4 dB | Even, controlled |
+| Sidechain (classic house) | — | 10:1+ | 1 ms | 100–300 ms | 10–20 dB | Kick triggers bass/pad compression for pumping |
+| Synth leads | VCA | 3:1 | 5–10 ms | 50–100 ms | 2–4 dB | Consistent output |
+| Drums/breaks | Parallel | 20:1 | 0.1–1 ms | 50–150 ms | 15+ dB | Crushed and blended |
+| Mix bus | Multiband or VCA | — | — | — | 2–3 dB | Loudness preparation |
+| Limiter | Brickwall | — | — | — | -0.3 dBTP | Club delivery |
+
+House/techno pump: The iconic 4-to-the-floor pump is created by kick-triggered sidechain compression on the main bass synth or pad. Set a VCA comp on the bass/pad with the kick as sidechain input. Fast attack (1 ms), release tuned to the groove (usually 100–200 ms — must breathe back up before next kick). 10:1+, 10–15 dB GR. This is not an effect — it is a defining characteristic of house music.
+
+## Stereo Width
+
+- **Sub bass (below 80–100 Hz)**: MONO — absolutely mandatory for club system compatibility
+- **Kick**: Mono (center)
+- **Claps/snares**: Center, sometimes slight width on room/reverb tail
+- **Hi-hats**: Wide (±40–80%); auto-pan or subtle width creates movement
+- **Synth leads**: Often mono for punch, stereo for pads
+- **Pads**: Extremely wide — this is where the EDM "wall of sound" comes from
+- **FX sweeps and risers**: Wide; often with panning automation
+- **Reverb/delay returns**: Very wide
+- **Vocals**: Center; heavily reverbed/delayed vocals may have wide processing
+
+## Common FX Chains
+
+### 4-to-the-floor kick drum
+
+1. Transient shaper — increase attack for click; reduce sustain for tightness
+2. EQ — HPF 30–40 Hz, boost punch 60–80 Hz (+3 dB), cut 200–300 Hz (-3 dB), boost click 3–5 kHz (+2 dB)
+3. FET compressor — 6:1, fast attack 1–3 ms, 50–80 ms release, 4–6 dB GR
+4. Limiter — prevent kick clipping, -3 dBFS ceiling
+5. Stereo: Center / mono
+
+### Sub bass (analog-style)
+
+1. Synth output — sine or triangle wave fundamental
+2. EQ — boost at fundamental frequency (+2–3 dB), cut anything above 200 Hz on the pure sub layer
+3. Saturation — light distortion adds harmonics; essential for translation on small speakers
+4. VCA compressor — 4:1, 5 ms attack, 100 ms release, 2–4 dB GR
+5. Sidechain input from kick — pumping characteristic
+6. Mono sum below 100 Hz
+
+### House music pad (sidechain pump)
+
+1. EQ — HPF 80–150 Hz, high shelf boost +2 dB at 10 kHz for air
+2. Chorus or wide stereo — maximize width
+3. VCA compressor with kick sidechain — 10:1, 1 ms attack, 150–200 ms release, 12–15 dB GR
+4. Reverb — large hall or plate, 2–4s, high wet mix on the bus
+
+## What to Avoid
+
+- Mono sub frequencies that aren't checked on a mono speaker (club systems sum sub to mono)
+- Too much low-mid buildup on pads (250–500 Hz) — creates a muddy, undefined drop
+- Under-loudness for the subgenre — EDM can go -8 to -6 LUFS for club delivery
+- Missing the sidechain pump characteristic in house/techno — it is expected
+- Kick without enough attack click (disappears in a club's sub pressure)
+- Over-reverbed high-frequency elements (hats and leads should be present and direct, not washy)
+- Not checking on club-style speakers before delivery — small monitors don't show sub behavior

package/knowledge/genres/hip-hop.md

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+---
+name: Hip-Hop
+id: hip-hop
+lufs_target: [-10, -7]
+true_peak: -0.3
+---
+
+# Hip-Hop
+
+Hip-hop mixes are bass-dominated, loud, and production-forward. The low end is the defining characteristic — 808 bass, deep kicks, and sub-heavy production must translate on club systems, car audio, and earbuds simultaneously. Vocals are punchy and present but sit within the production rather than floating above it as in pop. The mix is often very loud (LUFS -10 to -7) with heavy saturation keeping everything "glued" even at high loudness levels.
+
+## Characteristics
+
+- **Energy level**: Very high in the low end; controlled in mids
+- **Frequency balance**: Bass-heavy; sub-dominant; vocals present but embedded in beat
+- **Transients**: Heavy limiting, but 808 and kick transients preserved for punch
+- **Reverb/space**: Dry on vocals (modern trap); spacious on lo-fi and boom-bap; minimal on mix
+- **Stereo width**: Wide stereo pads and samples; mono sub bass is critical
+- **Reference artists**: Drake, Kendrick Lamar, Travis Scott, J. Cole, Tyler the Creator
+
+## EQ Approach
+
+### Global HPF settings
+
+| Instrument | HPF Frequency | Notes |
+|------------|--------------|-------|
+| Kick | 30–40 Hz | Preserve sub impact |
+| 808 bass | 25–35 Hz | The sub IS the foundation — be careful |
+| Snare/clap | 100–150 Hz | |
+| Hi-hats | 400–800 Hz | Tight and crisp |
+| Vocals (lead) | 80–100 Hz | |
+| Samples/loops | 60–150 Hz | Depends on sample content |
+| Synth pads | 80–150 Hz | |
+
+### Frequency shaping targets
+
+| Frequency Zone | Treatment | Why |
+|----------------|-----------|-----|
+| Sub 20–60 Hz | THIS IS THE GENRE — careful management, not removal | 808 and kick live here |
+| Bass 60–250 Hz | 808 punch and warmth; kick thump; define the relationship | Critical — this is where hip-hop is felt |
+| Low-mids 250–500 Hz | Aggressive cuts (-4 to -6 dB) on samples, pads | Create clarity for vocals and 808 |
+| Mids 500 Hz–2 kHz | Vocal presence; sample midrange character | Balance vocal vs beat |
+| Upper-mids 2–5 kHz | Vocal definition; hi-hat crispness | Clarity and articulation |
+| Presence 5–8 kHz | Vocal air; hi-hat sizzle | Presence and definition |
+| Air 8–20 kHz | Moderate — too much can sound thin | Controlled brightness |
+
+808-specific: The 808's fundamental is typically 40–80 Hz; its harmonic content (160–300 Hz) carries the "note" on small speakers. Boost the harmonic zone (+2 to +3 dB) to ensure translation on phone speakers. Saturate lightly to add overtones. Keep mono below 80 Hz — check all bass elements mono.
+
+Kick vs 808 relationship: Carve space for the kick in the 808 (cut 808 at 60–80 Hz slightly where kick lives) or vice versa. Use sidechain compression (kick triggers 808 compression) for the pumping effect characteristic of trap production.
+
+## Compression
+
+| Instrument | Style | Ratio | Attack | Release | GR Target | Notes |
+|------------|-------|-------|--------|---------|-----------|-------|
+| Kick | VCA/FET | 4:1–8:1 | 1–5 ms | 30–80 ms | 4–6 dB | Fast and punchy |
+| 808 bass | VCA | 4:1–6:1 | 5–15 ms | 80–200 ms | 2–4 dB | Even output; preserve sub punch |
+| 808 sidechain | — | — | — | — | — | Kick triggers 808 compression (3–8 dB GR, fast release) |
+| Snare/clap | FET | 6:1–10:1 | 1–3 ms | 30–60 ms | 4–8 dB | Crisp and present |
+| Hi-hats | Light VCA | 2:1–3:1 | 5–10 ms | 30–60 ms | 1–3 dB | Control velocity variation |
+| Lead vocals | VCA then limiter | 4:1 | 8–12 ms | 50–80 ms | 5–8 dB | Heavy vocal comp for in-your-face sound |
+| Mix bus | VCA + Limiter | 4:1 + brickwall | 10–20 ms | auto | 2–4 dB + ceiling | Loud mastering chain |
+
+## Stereo Width
+
+- **Sub/Bass below 80 Hz**: MONO — non-negotiable; phase issues on club systems are fatal
+- **808 bass**: Mono fundamental, slight stereo on harmonic content only
+- **Kick**: Center
+- **Snare/Clap**: Center or narrow reverb tail
+- **Hi-hats**: Wide (±60–80%); alternating hats create stereo movement
+- **Samples/loops**: Often wide by nature; check mono compatibility
+- **Lead vocals**: Center; heavily layered hip-hop has wide ad-libs (±60–80%)
+- **Synth pads/melodics**: Wide — fills the stereo field behind the rap vocal
+- **Reverb returns**: Wide, but controlled — modern trap is dry
+
+## Common FX Chains
+
+### Lead rap vocal (modern trap)
+
+1. EQ — HPF 80 Hz, cut 200–350 Hz (-2 to -3 dB), boost 2–4 kHz (+1 dB), gentle top-end
+2. De-esser — 7–9 kHz
+3. VCA compressor — 4:1, 8 ms attack, 50 ms release, 6–8 dB GR
+4. Limiter — hard limit at -3 to -6 dB below nominal — keeps vocal punchy
+5. Saturation — subtle; adds grit and presence
+6. Reverb send — small room or plate, short (0.8–1.5s), very dry in mix
+7. Delay send — 1/8 note, filtered, very subtle
+
+Dry vocal approach: Modern trap rap vocals are often very dry. Reverb may be minimal or only on ad-libs. Check reference tracks.
+
+### 808 bass chain
+
+1. EQ — HPF 30 Hz, boost 50–70 Hz (+2 dB), boost 160–250 Hz (+2–3 dB for small speaker translation)
+2. Saturation — light tube sat to add harmonics; crucial for mono translation
+3. VCA compressor — 4:1, 8 ms attack, 100 ms release, 2–4 dB GR
+4. Mono sum below 80 Hz (use JS: M-S decode or Mid channel only below 80 Hz)
+5. Sidechain input from kick for pumping effect
+
+### Sample-based beat
+
+- Sample: HPF 80–150 Hz, cut low-mids aggressively; high shelf boost if dull
+- Trim high-end noise from sample — chops often contain vinyl hiss; HPF plus noise reduction
+- Layer with original drums for punch; samples provide musical content
+
+## What to Avoid
+
+- Stereo bass below 80 Hz — this kills playback on club systems (mono summing collapses bass)
+- 808 without saturation — it disappears on phone speakers and earbuds
+- Too much reverb on lead vocals in modern trap — check reference tracks
+- Under-loudness — hip-hop listeners expect loud competitive masters (-9 to -7 LUFS)
+- Kick and 808 occupying the same exact frequency without sidechain relationship
+- Harsh, uncontrolled hi-hats (2–5 kHz buildup from aggressive hat processing)
+- Not checking on a car stereo — hip-hop is car audio music

package/knowledge/genres/metal.md

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+---
+name: Metal
+id: metal
+parent: rock
+lufs_target: [-11, -8]
+true_peak: -1.0
+---
+
+# Metal
+
+Metal mixes are aggressive, powerful, and guitar-dominant. Where rock is mid-forward, metal is defined by tight low-end (kick and palm-muted guitars), scooped or presence-heavy guitar midrange, precise and fast drum transients, and a wall-of-sound density achieved through double-tracked guitars. Vocals range from clean (power metal) to screamed/growled (death metal, black metal) and require very different treatment. The mix must be crushingly heavy while remaining clear and articulate — the defining engineering challenge of metal production.
+
+## Characteristics
+
+- **Energy level**: Extremely high; relentless energy
+- **Frequency balance**: V-shaped — strong sub/bass, scooped mids (especially on guitars), bright highs
+- **Transients**: Very precise; double kick clarity is a defining technical challenge
+- **Reverb/space**: Dry and tight; short room verbs; snare may get plate; minimal tails
+- **Stereo width**: Guitars hard panned; center reserved for kick, bass, snare, vocals
+- **Reference artists**: Metallica, Meshuggah, Periphery, Pantera, Opeth, Lamb of God
+
+## Characteristics vs Rock (parent genre)
+
+Metal extends and intensifies rock conventions:
+
+- Guitar gain is much higher — amp settings differ completely
+- Double kick requires dedicated clarity processing absent in rock
+- Bass is often tuned lower (drop tunings, 5- or 6-string) — HPF settings change
+- Snare and toms are tighter with less sustain/room
+- Mix headroom is tighter due to density
+- Wall-of-sound from 4+ guitar layers (2 rhythm per side minimum)
+
+## EQ Approach
+
+### Global HPF settings
+
+| Instrument | HPF Frequency | Notes |
+|------------|--------------|-------|
+| Kick | 40–50 Hz | Tight sub; clear attack |
+| Bass guitar | 40–60 Hz | Low tunings common; preserve fundamental |
+| Snare | 100–150 Hz | Tight crack, no low-end |
+| Toms | 60–120 Hz | Depends on tuning and size |
+| Cymbals/overheads | 300–500 Hz | Tight — no low-end on overheads |
+| Rhythm guitars | 100–150 Hz | The key difference from rock: tighter HPF |
+| Lead guitars | 80–120 Hz | |
+| Clean vocals | 80–100 Hz | |
+| Screamed vocals | 100–150 Hz | More aggressive HPF; growl has mid focus |
+
+### Frequency shaping targets
+
+| Frequency Zone | Treatment | Why |
+|----------------|-----------|-----|
+| Sub 20–60 Hz | Kick and bass only; aggressive HPF on guitars | Tightness; guitars in sub zone causes mud |
+| Bass 60–250 Hz | Kick punch at 60–80 Hz; bass warmth 80–150 Hz; guitars tight at 100–150 Hz | Clarity between elements |
+| Low-mids 250–500 Hz | Heavy reduction on guitars (-4 to -8 dB at 300–500 Hz) | The V-scoop — this is how metal guitars get their character |
+| Mids 500 Hz–2 kHz | Presence or scoop depending on subgenre; bass guitar fills mids behind guitars | Modern metal: scooped; classic heavy metal: more mid-forward |
+| Upper-mids 2–5 kHz | Guitar attack and pick click; kick beater; careful not to be harsh | Definition and articulation |
+| Presence 5–8 kHz | Guitar brightness; snare crack | Cut through the density |
+| Air 8–20 kHz | Cymbals and vocal air; controlled | Openness without brittleness |
+
+High-gain guitar EQ: The characteristic metal guitar tone is achieved with a significant mid-scoop. Typical approach: HPF at 100–150 Hz, cut 250–500 Hz (-4 to -8 dB), boost or leave 2–5 kHz (+0 to +3 dB), gentle roll-off above 8 kHz. The mid-scoop should be tasteful — too much creates a "baked potato" tone (all sizzle, no body).
+
+Kick/guitar relationship: Tight rhythm guitars and kick must coexist without muddying. Keep kick below 100 Hz defined; HPF guitars aggressively at 100–150 Hz. They should lock together in the rhythm, not compete in the same frequency space.
+
+## Compression
+
+| Instrument | Style | Ratio | Attack | Release | GR Target | Notes |
+|------------|-------|-------|--------|---------|-----------|-------|
+| Kick | FET/Transient | 4:1–8:1 | 1–3 ms | 30–80 ms | 4–8 dB | Fast; double kick needs clarity |
+| Snare | FET | 6:1–10:1 | 2–5 ms | 30–60 ms | 4–8 dB | Snap and crack |
+| Overheads | Opto | 2:1–3:1 | 20–40 ms | 100–200 ms | 2–4 dB | |
+| Drum bus | VCA | 4:1–6:1 | 5–15 ms | 50–100 ms | 4–8 dB | Heavier than rock |
+| Bass guitar | VCA | 4:1–6:1 | 5–10 ms | 50–100 ms | 4–6 dB | Very consistent output |
+| Rhythm guitars | VCA | 3:1–4:1 | 10–20 ms | 50–150 ms | 2–4 dB | Even picking dynamics |
+| Lead vocals (clean) | FET then Opto | 4:1 + 4:1 | 8–12 ms | 50 ms auto | 5–8 + 2–4 dB | Like rock/pop vocal |
+| Screamed vocals | VCA | 4:1–6:1 | 3–5 ms | 30–50 ms | 4–8 dB | Aggressive compression for consistency |
+| Mix bus | VCA | 2:1–4:1 | 10–20 ms | auto | 2–4 dB | |
+
+Parallel drums: Even more heavily used than in rock. 50%+ blend of crushed parallel drum signal is common in modern metal.
+
+## Stereo Width
+
+- **Sub bass (below 80–100 Hz)**: Mono
+- **Kick**: Center
+- **Snare**: Center
+- **Overheads**: Wide (±80–100%)
+- **Rhythm guitars**: Hard panned ±90–100% — two tracks each side for wall-of-sound
+- **Lead guitar**: Slightly center or duplicate hard panned depending on production
+- **Bass**: Center
+- **Lead vocals**: Center
+- **Screamed vocals**: Center (sometimes layered with slight width)
+- **BG/harmony vocals**: Panned pairs (±30–70%)
+
+4-guitar wall technique: Record/program 4 rhythm guitar tracks:
+- Guitar L1: -100% left
+- Guitar L2: -70% left (slightly different take or small delay)
+- Guitar R1: +100% right
+- Guitar R2: +70% right
+
+This creates a massive stereo wall without anything appearing in the center (leaving space for kick, bass, snare, vocals).
+
+## Common FX Chains
+
+### High-gain rhythm guitar
+
+1. Amp sim or physical amp — high gain, tight bass response
+2. Gate (ReaGate) — Threshold -55 dB, fast attack 0.5 ms, hold 100 ms — kill hum between notes
+3. EQ — HPF 100–150 Hz, heavy cut 300–500 Hz (-6 to -8 dB), slight boost 2–4 kHz
+4. Light compression — 3:1, 15 ms attack, 100 ms release, 2–3 dB GR — even picking
+5. Hard pan L or R
+
+### Screamed/death metal vocals
+
+1. HPF 100–150 Hz — remove handling/breath below
+2. Multiband dynamics or EQ — control low-mid buildup (200–500 Hz) during intense passages
+3. VCA compressor — 5:1, 3–5 ms attack, 30–50 ms release, 5–8 dB GR
+4. EQ (presence) — +1 to +2 dB at 2–4 kHz for clarity and articulation
+5. Short room or plate reverb — minimal, 0.5–0.8s — adds dimension without washiness
+
+### Double bass kick
+
+1. Trigger or sample replacement for consistency
+2. Gate — very tight to separate rapid kick hits
+3. EQ — punch at 60 Hz, remove box at 300–400 Hz, click at 3–5 kHz
+4. FET compressor — fast attack 1–2 ms, 60 ms release, 6–8 dB GR
+5. Parallel compression blend for impact
+
+## What to Avoid
+
+- Guitar mud in the low-mids (250–500 Hz) — this is the #1 metal mixing problem
+- Kick drum without clear beater attack (disappears in a dense metal mix)
+- Over-reverbing any element — metal should be dry and present
+- Thin bass guitar (bass needs to support the guitar foundation, not disappear)
+- Under-compressed or inconsistent rhythm guitars (tight picking must be even)
+- Missing double kick clarity (each hit must be distinguishable at fast tempos — often needs trigger replacement)
+- Harsh, uncontrolled 2–4 kHz on guitars stacked 4+ layers (combinatorial harshness)

package/knowledge/genres/orchestral.md

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+---
+name: Orchestral
+id: orchestral
+lufs_target: [-23, -16]
+true_peak: -1.0
+---
+
+# Orchestral
+
+Orchestral mixes preserve the dynamic range, spatial depth, and natural acoustic character of a live ensemble performance. The goal is transparency and realism — the mix should sound as though the listener is seated in a concert hall. Heavy processing is the enemy; the instruments should breathe and move. Dynamic range is preserved (often 20+ dB between quietest and loudest passages), which conflicts with streaming normalization and requires careful LUFS management. Used in film scoring, game music, classical recordings, and cinematic trailers.
+
+## Characteristics
+
+- **Energy level**: Extremely dynamic — from ppp to fff, often 20–30 dB range
+- **Frequency balance**: Full range, natural; low strings warm, winds present, brass powerful, strings airy
+- **Transients**: Preserved and natural — no heavy limiting
+- **Reverb/space**: The most important effect — the hall reverb IS the orchestral sound
+- **Stereo width**: Wide natural ensemble placement; follow traditional seating arrangement
+- **Reference artists**: Hans Zimmer, John Williams, London Symphony Orchestra, Ennio Morricone
+
+## EQ Approach
+
+### Global HPF settings
+
+| Instrument | HPF Frequency | Notes |
+|------------|--------------|-------|
+| Bass strings | 30–40 Hz | Preserve full fundamental of double bass |
+| Cello | 60–65 Hz | C2 = 65 Hz — don't cut fundamental |
+| Viola | 130 Hz | C3 = 130 Hz |
+| Violin | 195 Hz | G3 = 196 Hz |
+| French horn | 65 Hz | B1 = 62 Hz range |
+| Tuba | 40–50 Hz | |
+| Trumpets/Trombones | 80–100 Hz | |
+| Woodwinds | 130–200 Hz | |
+| Timpani | 40–80 Hz | Low fundamental is part of the sound |
+| Harp | 40–50 Hz | |
+| Piano | 27 Hz (A0) — minimal HPF | |
+| Room mics | 40–60 Hz | |
+
+### Frequency shaping targets
+
+| Frequency Zone | Treatment | Why |
+|----------------|-----------|-----|
+| Sub 20–60 Hz | Preserve on bass instruments; gentle roll-off elsewhere | Natural bass foundation |
+| Bass 60–250 Hz | Warm and full; low strings carry the bottom | The richness of strings |
+| Low-mids 250–500 Hz | Often needs slight reduction to control muddiness in dense passages (-1 to -2 dB, subtle) | Clarity in full orchestral tutti |
+| Mids 500 Hz–2 kHz | Woodwind and brass body; careful not to thin | Presence of melody instruments |
+| Upper-mids 2–5 kHz | Violin and viola attack; can become harsh in full orchestra | Balance brightness |
+| Presence 5–8 kHz | String brightness and brass presence | Clarity and air |
+| Air 8–20 kHz | String shimmer; cymbal overtones (+1 dB shelf very gently) | Natural air and openness |
+
+Key rule: Minimal EQ. Orchestral instruments are naturally balanced when recorded well. Use EQ only to correct problems, not to shape tone aggressively.
+
+## Compression
+
+Orchestral music uses minimal compression. The dynamic range is musical and intentional.
+
+| Instrument | Style | Ratio | Attack | Release | GR Target | Notes |
+|------------|-------|-------|--------|---------|-----------|-------|
+| Individual buses | Opto | 1.5:1–2:1 | 50–100 ms | 200–500 ms | 1–2 dB | Only if truly needed |
+| Strings bus | Opto | 1.5:1–2:1 | 30–60 ms | 200–400 ms | 0.5–2 dB | Gentle — preserve bow dynamics |
+| Brass bus | Opto | 2:1–3:1 | 20–40 ms | 200–400 ms | 1–3 dB | Control the peaks without killing power |
+| Master bus | Limiter only | — | — | — | 0.5–1 dB | Just catch peaks; no compression |
+
+Avoid bus compression in orchestral mixing. If a section is too dynamic, automate the send or use clip gain. Compression on orchestral music sounds artificial and kills the life of the performance.
+
+## Stereo Width
+
+Traditional orchestral seating from listener's perspective (follow this arrangement for sample libraries too):
+
+- **Violins (1st)**: Left (±40–60%)
+- **Violins (2nd)**: Left-center (±20–40%)
+- **Violas**: Center-right (±10–30%)
+- **Cellos**: Right-center (±20–40%)
+- **Double basses**: Far right (±50–70%) or far right
+- **Flutes/Oboes**: Center-left
+- **Clarinets**: Center
+- **Bassoons**: Center-right
+- **French horns**: Right (±40–60%)
+- **Trumpets/Trombones**: Center-right (±20–50%)
+- **Tuba**: Far right (±60–80%)
+- **Timpani**: Center or slightly right
+- **Harp**: Far left (±60–80%)
+- **Piano**: Left (traditional) or variable
+- **Hall reverb**: Wide — the hall wraps the ensemble
+
+## Common FX Chains
+
+### Concert hall reverb (most important effect)
+
+Use a high-quality convolution IR of a concert hall, or a premium algorithmic reverb (Lexicon-style).
+
+- Pre-delay: 20–40 ms (larger hall = more pre-delay)
+- RT60: 1.8–2.5s (concert hall range)
+- Diffusion: High — the hall should be dense and smooth
+- Mix: Depends on perspective — closer mic position = less reverb, back of hall = more
+
+Apply hall reverb as a send/return with individual instrument buses having different send levels to create depth:
+
+| Instrument | Hall Reverb Send Level | Why |
+|------------|----------------------|-----|
+| Room mics | 0 dB (room mics carry this) | |
+| Close mics only | -6 to -12 dB | Add hall to close mics for depth |
+| Strings | -6 to -10 dB | |
+| Woodwinds | -8 to -12 dB | More recessed in the hall |
+| Brass | -10 to -16 dB | Brass projects; needs less reverb send |
+| Timpani | -12 to -18 dB | Tight, doesn't wash |
+
+### Strings bus
+
+1. EQ (very gentle) — HPF at instrument fundamental, gentle -1 dB at 400 Hz if muddy
+2. Opto compressor — 1.5:1, 40 ms attack, 300 ms release, 0.5–1.5 dB GR only
+3. Hall reverb send — moderate level
+4. Optional: subtle stereo widener (keep natural)
+
+### Brass bus
+
+1. EQ — HPF 80–100 Hz, gentle -1 to -2 dB cut at 2–4 kHz if harsh in fortissimo
+2. Opto compressor — 2:1, 20 ms attack, 200 ms release, 1–3 dB GR
+3. Hall reverb send — less than strings; brass projects naturally
+4. Saturation — extremely subtle; helps brass harmonics on digital recordings
+
+## What to Avoid
+
+- Heavy compression (crest factor should be 15+ dB on orchestral music)
+- Loud LUFS targeting (-23 to -16 LUFS is correct; streaming platforms normalize up, not down)
+- Tight, modern reverb on instruments that need hall space
+- Hard panning that doesn't match traditional seating arrangement
+- Removing the low-frequency weight of bass strings (cellos and basses provide warmth)
+- Bright, harsh high-frequency EQ (orchestral highs should be airy and extended, not crisp and modern)
+- Mono checking as primary reference — orchestral is inherently spatial and stereo
+- Treating orchestral like rock or pop (it has completely different dynamics expectations)