I remove resonances & find that doing so removes a lot of the brashness from sounds. It can actually help to reveal the instrument's true character. But removing too much can make an instrument sound dull. You have to second guess yourself & practice moderation.

I got lost.. but some of the stuff at the beyinning made a whole heap of sense..thanks mate

👏🏼 been waiting a long time for someone to finally make this video… at first, the idea seems to make sense, but the first time you try it, it’s easy to see that most every frequency sounds awful when boosting a ton with a razor thin q-as you suggest, you’re creating a resonance so you can “fix” it. weird, indeed!

But if I put a folder stack inside a summing stack why deflop does it not route the folder stack also to the summing stacks bus ???? wow

Butchery 100% Sadly people are more interested in feeling Producery in making something special. To cover their fear of special, and letting themselves make it, they get all producer and obsess over increasingly absurd things. While some things do resonate in a bad way like snare rattle during the bass solo, these are a recording issue and if the drummer can't put their hand or knee on the the Sn then live with it as it is the performance as the band wanted/made it. Otherwise, all instruments resonate or they would be silent! The interesting resonances are what sets one thing apart from another. Every time I hear one of those "we made it better with AI BS" things, the character has been stripped and the sound/track feels weird and uninteresting. Boost the kooky things in a sound so it is distinctive. :-)

I have been doing this before any plugins and before they made a big deal about it on the internet. It should be common knowledge to a person who has been doing this for years. I would use EQ plugin to cut resonance out of vocals that were recorded on cheap microphones and less than ideal environment. That being said, the Resonance plugin are a great addition to anyones Tool set. I use these tools to get another POV but at the same time knowing what sounds off to begin with. I hear a lot of music now days that sound as if the life was sucked out of it, just a shell. I guess we living in a time where AI is doing all the work so I guess that makes perfect sense to me.

Man I was starting a production the other day and wondering why my output was clipping. Metronome was on. Took forever to realize LOL.

yeah but if you listen to the same songs a bunch, subconsciously the one that's clearly better in an A to B comparison like you demonstrated, will likely be subconsciously remembered more fondly than another track without the same perfectionist EQing... right? So why not aim for perfect anyway? Like, if you have the time... EQ ON clearly sounded a billion times better to me.

I find I have to pull out a lot of resonances because I record at home and it's a very not ideal recording space. But this is a really good take on it, I will try not to go so ham on the EQ's in general.

ReaEQ has unlimited bands (in theory at least)

A refeshingly bulls**t free video (speaking as an audio engineer for 49 years). Good job Sam, keep them coming. Most "essential magic tricks that pros use" videos are misguiding and encourage people to buy equipment or plugins they don't need and employ techniques that they may not understand. One comment you make at around 3.55 is a bit twisty though. You say that you can see a use case for removing a resonance when a vocalist for example, sings a note that resonates in a poor space. This is the case if the resonance is in the vocal recording environment, such as a booth. Note though that if the resonance is in the studio monitoring environment, removing a frequency may sound better there, but it will then be wrong in all balanced acoustic spaces.

0:16 An original ploy to double the amount of comments. I salute your savvy. Soothe 2 is very expensive and its virtues are shared far and wide by many creators. The new Waves version is hailed as the product for the less wealthy. Resonances are vital and they help to shape the character of all sounds. The 303 focused our attention on resonance* since acid house started to grow into the behemoths that its descendent genres became. I got sucked into the Scaler EQ thing but haven't used it yet because I have more money than sense and comment on vids instead of making music. I'll now watch from 0:16. *and made it an extremely desirable aspect of a saw wave and a square wave

Amazing tip! Searched forever for this!!

I'm not a religious man, so I'm definitely going to boost 4k and see what happens! 😂

this myth of resonance destruction has been perpetuated by certain death metal RU-vid mixers.

Initial: not all resonances are bad. That said, if something is *really* getting in the way of the mix or something gets too distracting, you can and should be able to address it, whether it's through EQ or some other tool. Afterward: yup, still holds. And yeah, I do find it ridiculous when you have a string of band cuts to where the sound ends up sounding like Swiss cheese. And I think it comes up whenever you are "mixing in solo" where you are shaping that particular instrument in a certain way ... and then it backfires when you listen to the entire mix.

Great video. Tonal shaping through EQ (and compression) should be fundamental to mixing almost any type of music. Anyone who doubts how powerful resonance reduction can be should search for this old tutorial; "EQing a Roland TR-909 Ride cymbal with Conor Dalton." You'll never hear that famous sound in the same way ever again. 😀

The thing you’re saying at 1:30 seconds is a straw man. No one really says this. I’ve watched 1000s of mixing videos over the years. This is a huge exaggeration. I’m sure most people doing mixing know that if you boost any narrow band by 10-20db everything it touches will sound like crap. Most engineers online suggest listening to hear if there are build ups and then looking for the build up, not sweeping in hopes of finding one. The trick is knowing the difference between a real build up and just an EQ boost. Which is easy to tell with a quick A/B. Anyways, just want to be fair. I don’t like these kinds of straw man arguments where video creators invent a problem to go after. Same thing happens with the “gain staging” topic.

Seems CHOW is the way to go !

life saver

Thanks for including the Rabbit Tape on this great video! Loving it!

It was a confusion at first what levels to set tracks while mixing, aiming for -12db to -6db levels leaves lots of headroom, I use a loudness plugin that shows lufs and levels for different platforms as well

Finally. thank you. thank you. thank you. In all honesty, i've had mix engineers send approved mixes to me for mastering that were not only commercially loud, but excellent quality. The inclination to go in and "do stuff" is so interesting, almost instinctual. When something basically perfect arrives, it's still difficult not to want to start processing it despite the music needing nothing. A mastering engineer I respect a lot told me that one of the most important things is to recognize when to do nothing. These cases may be rare, but it's so true for me. Thanks for an awesome channel, just subscribed :)

Thanks for your advices :)

Thanks. That was a really good explanation for noobs like me on how to use buses. Just what I was looking for!

So it basically is parallel clipping?

Here's the thing I would pay for a sample of that singers voice to put into Vocoflex. But does that risk her career in music.

Nice thank you!!!!! ❤

I notice in your description you use the Behringer Powerplay personal monitoring system. Do you have any videos explaining how you route instruments in logic pro to the P16? I can’t figure it out for the life of me.

What about Chromaglow’s magnetic setting? Or even adding a second Chroma with a little tube? I think it works really well.

Good to questioning these kind of truths. I would imagine this -6dB headroom rule comes from the old analog world where you could not just check in the DAW across the whole track for it's highest peak. Using VU meters with maybe a blinking LED for transients - then having 6dB headroom is probably a good safety thumb rule.

Thanks.Have you any advice on collaborating with friends that use Cubase Artist.Especially how to share a project from Logic 11 to Cubase Artist..How the Tempo Track is transferred , oh , and the Markers that I use to show Verses,Chorus etc ? Any help would be much appreciated.You are my go to 👍

ya Spot on!! Just don't Clip it... Thats all i care about same as you... Good one (EDIT.. I think i recall disk makers even having -6 in posted in a book or website back years ago. Back in the day i did over shoot one time hitting a dat and had to resend it. I wonder if this might have played in to it. I think i was ADATS for tracking then to a dat for pressing. hell i dont recall 100% just wanted to add this thought.

The reason mastering engineers want you to leave 6db of headroom is so that they can get your mix much louder and then send it back to you. You hear a louder mix and instantly think it sounds better 😂

Just don’t clip. Plain and simple

I stick to -5 to -3. I judge it on how the track is sounding

I once read you need all that headroom so the mastering can "work it's magic." Sounds suspiciously like expecting the mastering engineer to fix a bad mix. I think you should set your mix bus as loud as possible, without affecting audio quality of course, so as little compression as possible is needed to reach your loudness goals. This means you will also preserve as much of the track's dynamic range as possible. If so called experts start telling you that dynamic range isn't that important any more, ask them what Hans Zimmer would think of that. A lot of music these days still makes use of dynamic range. Cinematic, pop, rock & even EDM. Mastered levels are also in dispute lately. I think anything between -3 to -0.3 dB is fine in most cases. There are even cases of clipping to 0. It all depends what you are aiming for dynamics wise. Ambient music can be limited to -3 dB TP but the LUFS should be kept as low as -19. EDM is fine at 9 to 14 LUFS with -1dB TP. Most streaming services are restricting everything to 14 LUFS anyway. That's great news. The loudness wars were just a shouting contest & ruining music.

that -14 db for spotify is absolute bs. I get my songs sitting at -8

Also when you’re dialing in things around that -18 sweet spot you usually end up with -6 for headroom

Right but if your drums for example are peaking around -6 it’s easier to get a good mix than it is with drums that are close to clipping

the Slate Distressor clone.

99.9 % of people need to learn to use your stock plugins.

there is two types of db. dbu and dbv, when the latter is never mentioned beware!..

2

Even the pros have told me -6db. One very prominent place in London, and one that is very popular on YT in Texas. Since I only paid around $80 each, I’m kinda thinking they might have just had an intern run the masters in the box. How would I know?

Thank you you beautiful bastard I just ran into this problem and was about to choke slam my laptop but you really helped 😂😂😂thanks again bro

If u gave to the mastering engineer shit , then u will have a masterized shit, thats all i know

Before: I just try to leave -6db on every track to prevent things from getting too loud because then I’ll reach for a compressor or limiter / other plugin when I’m writing. I mix as I go to see if the elements play well together or if they’re masking each other. I’ll edit for after AFTER: this is interesting and I want to give this a try!

Overprocessed harsh AF vocals

In my experience, having learned a lot about mastering first before learning enough about mixing, even tho I can do mastering, I have come to realize I can’t trust my perception of the music as good as a dedicated mastering engineer. Yet still so many of them request a -6db premaster. And whenever I ask why, there really isn’t an answer, which is funny yet concerning.