Not public on RU-vid, if that's what you're asking. I have a paid mastering course at www.dinosaurdogstudio.com/store, but my book, The Objective Mix, also has an intro to mastering. You can get the book (only $5) here: www.dinosaurdogstudio.com/omf_1
I don't usually do stems, but I do render multitracks - this is just what was given to me by Sauniks (the artist). I never mix in the production session - it hurts your ability to mix when you're constantly faced with production decisions. (Not that you were saying this necessarily, just wasn't sure).
The explanations were very helpful, but the audio examples seemed extremely subtle to my ears! Maybe in future you could push the threshold and ratio settings a bit harder so that we can hear the effect more clearly?
This is how I learned to think about it as well. However, what messes with my brain usually is generating depth with using very different Reverbs, I. E. When setting predelay on hall in the back, a room in the middle, and a plate in the front. They all need totally different predelays to be convincing. Would you go by ear for this scenario? May be I am misunderstanding and it should be the opposite way around... 😅
Why are you using different reverbs for each space? Can't items be in the same room, but different distances from you? The point of this technique that I show is to keep everything in the same general "space" but different distances. Also, you don't really "hear" this in the mix - it's more of a "sense of depth" due to the high early-reflection balance to late reflection balance in most of these verbs. Also, plate reverbs don't have early reflections - so I would never use a plate reverb to use for this technique.
@@dinosaurdogstudio I actually thought that by doing this, putting realism aside, I may be able to create a more intense differenciation even. But it may be that this can only be used either as an effect event or o on top of the rooms setup
@@philippgrunert8776 I've used different spaces before - but just be aware that you want to use SPACES - not just reverbs. Plate reverbs, for example, are just metal plates that we sent electric signals through to create reverb... not a real space. As long as you're using real spaces - you can use different ones if you want. But you will sacrifice the "realness" factor that you mentioned. I still prefer to use the same space, but then differentiate the elements with different effects - even if those effects are still a different kind of reverb (like plate verbs). View this technique as more of a utility operation than an actual "effect".
@@dinosaurdogstudio sound super logical. Thank you for the feedback. Basically, one of my main goal is going for this roomyness one may experience in say Nigel Godriches mixes on the album kid A. I always was under the impression he bakes in reverbs per track an leaves the vocals almost dry for extreme separation. That's why I only used the plate there. Then again it never quite worked so I seem to hear the wrong things. BR
You don’t need to make videos, but also study and study!!! What you do is mixing??? This is at the level of a senior secondary school student! It’s a shame that such teachers allow themselves to teach others (((((
Okay. Thanks for sharing! It's such a shame that we have a society that allows teachers to be chosen off the results they get for their students, rather than the credentials they hold.
You can just use any LUFS or RMS meter. Just try to find one with a slow response rate. The gear is not the magic here. The links below but I highly recommend that you do not buy it. I don't even use this meter anymore personally in favor of stock options for ease of use. www.maat.digital/drmeter/
One thing that would help me as a watcher, is if you could sometimes solo the vocal as well as let us hear it in the context of the mix. Thank you so much for posting these!
This is the best video I have seen on depth and reverb. Thanks so much. I observed that you did not do anything with the fourth bus (room). Was it deliberate?
Yes. This is just for elements that just need "reverb effect". In this case I didn't want to add anything to it, and wasn't the real point of this video, just habit to set it up at the same time. 🤷🏻♂️
That part of spotify wants quality tracks on its system it doesn't make sense because 10 of thousands songs of poor quality via distributors released every day as there's no A&R selection. Imagine if you want to buy butter in a supermarket and there's a section of 100.000 brands mixed in not even 1 person will buy. But then again the distributors will make millions from releases and of course from the majors. (which is the spotify) All this billions will be recycle between the 2% of the music Industry.
Spotify wants people on their platform longer to feed more ads to listeners. Better music will keep them there longer to feed more ads to. Just like social media. It's in the same business.
@@lovescandal2023 distributors don't pay Spotify to upload videos though- I agree with you - but it's quantity of consumers, not artists, on the platform that Spotify makes money from.
Thanks for the comment, lookahead and knee are inherently different things. Lookahead makes whatever settings you have more accurate - not lean into compression earlier. I'm going to make an entire video about this, because a lot of people don't understand knee or how to use it. Thanks for the idea!
Check out this video, this will help you get the proper overall balance between the top and low-end in your mix. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SwkUVflTvtY.html While this is important, it is also extremely important to have a good relationship between low-end instruments. Neither is more or less important, but rather equally essential to a studio-quality mix.
clipping would only focus on the transient - that wasn't really my goal. And no - 0ms doesn't introduce distortion unless you go too hard with the compression (but then again - it will ALWAYS introduce distortion when you go as hard as most). Also, all compression introduces some saturation/distortion/additional harmonics - it's part of the process.
Thanks for the detailed explanation - the diagram helps a lot. But if I am using a sidechain compression to duck the reverb so that the vocal has better clarity (so it's not drowned out by reverb), doesn't that mean that the pre-delay setting doesn't matter because it is occurring while the signal is ducked?
Side-Chain doesn't eliminate the reverb altogether, and pre-delay would still impact the signal and your perception of the reverb. Although I would use plate reverb as a vocal effect to avoid early-reflections entirely.
@@dinosaurdogstudio Thanks for your response Tyson. Maybe I am sidechaining too heavily? I usually sidechain so that reverb is only clearly heard between words/phrases (not during actual singing). As per your suggestion, I will compare plate reverbs vs other reverbs with pre-delay while still sidechaining. I am always experimenting to find ways to use reverb more effectively - like a lot of producers, I think I have spoiled mixes with misuse of reverb.
Depending on your kick and snare balance, along with your tonal balance of those - you're probably only triggering off the snare. It's fine if that's what your goal is.
How to make a real dtummer sound like a machine 😂 If the drums performance isn't good enough, do it again till it is. Stop making lifeless boring music. Please
Hi. I think there is a faux pas in your presentation. The closer the sound, the shorter the predelay, not the longer. Similarly, the longer the predelay, the further away the sound appears to be. The further away then the further the distance in the timeline. To use Haas panning as an example in left to right imaging, it only works up to 30 ms, as after that the ear discerns the ms gap as an echo repeat. So to take that further, if you utilise ms gaps in a front to back scenario as a tool to create the illusion of depth, it is not fseable past 30 ms, when the predelay would take on the audible character of a slap back delay. Of course volume & high end roll off are factors in 'distance' but I am commenting on ms in the remit of predelay/time over distance.
You can hear early reflections as a "slap back" in a canyon: aka echo. It depends on the size of the space. These are inherently the same thing, we just say they are different due to the common use cases. Also, the logical discrepancy in your comment is that everything is anchored to the Early Reflection as the "timeline". Everything is anchored to the Direct Sound - then early reflections indicate the location in the room (aka: distance). Direct sound would hit you in less than 1ms if someone is making noise in your ear - but the early reflections would take longer to reach you.
@@dinosaurdogstudio i stand ny ground. The human ear will interpret any perceived 'direct' sound as an echo if its predelay exceeds 30 ms. To make my original point again, the closer the direct sound the shorter the predelay & the longer the predelay, the further away it appears to be. Canyon or not, with L to R location being much harder to discern over distance. But in a recording of a band, who would want to position the drummer a mile away, Lol! So I think we can safely stay within 30 ms of predelay & paint the sound canvas with volume, microtonal adjustments & panning. When creating sound effects for movies & surround sound we can push all boundaries. But for those of us recording songs, we only need to observe a 30 ms limit. The faux pas made in the presentation is that the closer the direct sound, ths less the predelay, not the longer.
Very few producers utilise Haas but the interesting thing is that you would leave the pan pot at the 12 o'clock default & then dial in up to - 30 ms (L) or +30 ms (R). There is no volume loss using Haas as opposed to panning. Observe the stereo buss output to see this.
Usually if a kick isn't translating on small speakers, then you're likely missing the top-end definition in the kick. Try boosting here and also ensure that it is dynamically stable & punchy (I have a new video coming up very soon to show you how to compress your kick.) Even on small speakers - masking matters more than anything in your mix - so make sure you're reducing masking as much as possible (masking: items are living in the same frequency range and muddying each other up.)
You could bring your bass drum fundamental up (in Hz) until it sounds better on your small speakers and if it competes with the bass guitar side chain the bass drum or guitar to duck with compression when the other is playing. Decide which one is more important and side chain compress the other one.
