Hello! My name's Malcom Owen-Flood and I'll teach you how to get better audio, DIY style. I'll also teach you some music business tips n' tricks along the way! Subscribe to follow along!
I'm a touring musician, full time mixing and mastering engineer, and I also get to provide audio on fun TV/Film projects like The Amazing Race Canada and more. Basically, I do audio.
Check out my music podcasts (one on recording, another on music business for bands): The Self-Recording Band Podcast - link.chtbl.com/tsrb Your Band Sucks (At Business) - link.chtbl.com/yourbandsucks
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Hey great channel for pro tool users. What shortcut do u use for the import finder window and what shortcut do u use to close it? Is that finder or workspace? thanks
I believe you’re referring to the finder window where I drag tracks into the multitrack audio file tracks into Pro Tools - and i do that simply by using command + tab to show and hide the finder window. I’m essentially just toggling between Finder and Pro Tools as needed! One more tip: when you drop the file on the Pro Tools timeline, click Y to have the file move to the start of the timeline! Hope this answers your question!
After listening to a lot of music on youtube with the software calibrating, I realised that the mixes were trying to be as identical as possible with calibration and without calibration, is that what were gonna aim for when using the software?
My mixes got sooo much better when i stopped using this plugin. Everything with GP on had the same mushed together midrange, ruined my low end and i couldnt keep anything truly mono if i wanted. It really limited the scope to mix within.
TBH it just sounds like a bit of EQing has gone on especailly in the top air bands. I would argue you could get better results using the Pulsar 8200 eq and way more control. The oxford limiter with the exiter function will also acheive this.
@@malcomowenflood it does if I have a messy session pop up but I'm pretty well versed in other daws so I can make things work. As an artist, no inconvenience, as a mixer, I really wish I owned at least studio.
I downloaded AudioHack and it's made integrating Sonorworks a breeze! The only problem I'm facing at the moment is some latency when I run AudioHack. Totally fine for mixing but tracking is a pain, to me it adds around 15ms or so which is enough to really effect playing. Has anyone got a solution to this? I've tried reducing buffer sizes etc in Ableton. The only option I can think of is run the Sonorwork plugin on the master when tracking, then turn off and use audiohack for mixing, but it kind of defeats the whole purpose of using Audiohack :(
I think you're in the honeymoon period. God Particle is a great plugin but it does "choke" the sound a bit. I've used it a lot, in mastering contexts too. It's easy to overcompress with it. I'm not as convinced that the GP version sounded better than your original mix. It def sounded cleaner and more "produced", more polished. But the original had more of a raw punk feel, which maybe matched the song better, depending on your preferences. If the GP mix sounds better, it's close. It's not a landslide win. It's not better it's just different.
I could never get any reading on the high end meter. I can’t understand what those meters are for or if I should be trying to hit them a bit. All explanations I’ve heard on them make no sense. Kinda stopped using this plugin because of it tbh.
I agree that the top end meter is pretty ridiculous - I can boost WAY too much into it and still not have any action there - so I just ignore it now (and use my Izotope Tonal Curve for that job instead).
When a friend sends me his stuff and asks for input, I almost always use the Stereoizer in Ozone. The middle can be a mush of sound, and spreading out a little lets you hear the individual instruments more clearly which gives it more presence, and makes it seem more dynamic. That sounds a lot like what the God is doing.
very convincing argument! makes you wonder why tf stereo widener plugins have no autogain yet. doesn't sound like a very hard thing to implement for something that is essentially just gaining 2 channels. however content creation-wise i would appreciate if a/b compares were a bit more direct. i mean i get that you wanna explain what it feels to you, but by not having dry and wet immediatly side-by-side to listen to i lose focus on what the difference is between the two
Yeah, I get it. And then you get crappy mixes done from badly recorded tracks, most centered, that you need to master. Ounce you did all you can do to fix things up using Mid/Side EQ, Stereo imagers are the only thing left. Now.... What you don't say is that you can fix to frequency buildup afterward. And using an imager on selected frequencies to a certain degree will cause no harm. This is not all in ou all out.
Mixing into my mix bus chain is my usual/preferred mixing method, and Jaycen Joshua also recommended this method when talking about The God Particle Plugin - so I figured I’d give it a shot! We had him on our podcast, The Self-Recording Band, but I also attended one of his masterclasses at Studioszene in Hamburg last year and he talked about why he mixes into the plugin as it informs his transient decisions along the way. I found that to be accurate when I did the same!
Your original mix was very good. I dont know many people that could mix that well. But the mix sounded a little flat. And the pluggin was wider and a tad brighter. But I think you would have to have a solid mix like you started with. Cheers
Would love to hear what you mean by "mixed into" the plugin. You just slap it on the master channel on 100% wet and pretend it's not there while you're mixing? Or are you using its meters for reference (with limiter off)? This seems like a good idea but I am not sure where to start (other than of course just slapping it on the master and pretending it's not there :))
Great question! Mixing into it means that it's placed on the mix bus early on in the process, which influences the decisions you're making while mixing, as you're reacting to what you're hearing (which is all hitting the plugins/hardware you've placed in the chain). This is very different than doing a mix and then slapping something on at the end, and will definitely yield different results. As for how the plugin or hardware on your mix bus is set, is up to taste. I usually do a rough balance of the mix very quickly (volume faders, light eq or compression if something obviously needs it to sound listenable) and then put a mix bus compressor on and set it based on what sounds good at that point. It might change down the road, but usually that starting point ends up somewhat accurate. But in the case of The God Particle, I went with just its default settings and mixed into it as it was. I like to mix into a chain (be that The God Particle or other plugins/hardware) but I also tend to put some extra plugins on the mix bus near the end of a mix to take it across the finish line - so both methods have merit if you ask me!
*sigh* can you compare this and infected mushroom pusher (IMP) to see which one is better ive been gate keeping this plugin for years but now im looking for an AI plugin.
WOW Has anyone ever told you that you could be Brett Okamoto from ESPN's doppelganger? HOLY CRAP its wild!! Brett covers MMA and this is wild I just watched Okamoto do an interview and then your video and its uncanny! WOW.
The pitch (which we aren’t using) is monophonic - but the plugin itself can run multi mono so it’s no worries! Certainly no downside to running it first in the chain though either!
There are to many choises and this whone is a clear pass dont think you need this at all.Get a UAD card and some wavs and you are pretty covered for the masterbus I recommend check out slate digital or a hardware old Neve.
The first examples were printed mixes - one with the plug-in on it, and the other without (I explain how they were both mixed off the top of the video if you’re interested. It’s relevant id say! Short version is that I mixed the song through The God Particle for example one, whereas we experiment with just placing The God Particle plugin right on a finished mix for the second example. So the bypassed plugin you are looking at is for the 2nd example song and isn’t relevant to the first example - hope that makes sense!
I´ve used this plugin on a few mixes, and it´s pretty good. But, on some songs it was causing a LOT of noise, so I couldn´t use it. Took it off, and everything was fine. I don´t know if others have had this problem, but I haven´t used it in a while. I suppose I should contact support, and ask them what the problem could be.
That’s interesting! Haven’t encountered that (yet). I’m assuming you’ve ruled out that it’s just boosting noise from earlier in the chain somewhere? Good to watch for either way, thanks!
i dunno bro. I think if your learning this kind of crutch is a future killer. If you can't get that sound WITHOUT a magic knob, then U just bought yourself a dependency. biggest stuff I heard that separated the A to B , was simply in turning down the box + saturation/distortion on the freq that needed more boost + overall widening. the box is a slang term for that lower 1k region. typical recording techniques leave a session sounding dull & need a ton of transient carving + saturation boosting on other freq to give that hq shine. Good luck on your projects :) (just passing thru)
The plugin game is getting desperate. The name alone targets itself to the intention of the end user as someone who is looking for a miracle. People who have respect for God will not use it. (That’s a lot of people.) But hey. We live in a free enterprise nation. Pedal on.
When I opened this video I thought it was gonna be BS , exoecting the usual snake oil sh#t , but this is actually good... I thought your first mix was fine ...until you played the other one and it really came to life ..made the first mix sound dull
definitely agree. it could also be his ears. it takes a good amount of 'real' practice to earn good ears. Could be fatigue as well... I think a lot of mixers get fatigued literally while hyper-focussing on particular spots. Then when coming out of the hyper-focussed section the overall 'sound goal' is lost. I could also say 'fatigued out' instead of lost.
