This guy seems chill but this is kinda a wild suggestion. The music is actually worth a huge amount of money and the record label didn’t create it. I don’t want to be a content creator if I wanted to be a content creator I wouldn’t be an artist. Labels spend nothing they go on TikTok. They are about to realise how unnecessary they are, they can just hold onto queens catalogue
If the music wasn’t worth anything they wouldn’t be paying hundred of millions for it, the answer is in fact not that hard. They need to stop trapping ppl in dhitty contracts
I learned all this the "hard" way - by testing knowledge and assumptions over 20 years of mixing and mastering. I was most blown away to find that at the end of the journey, spectral balance is the key - the Fletcher-Munson curve. It is vital to build that spectral balance into the mix, but you can correct that balance, then compress if needed, and the effect of that compression and the smoothness (the lack of artifacts) will be obvious every single time. I can now mix or master and know that it will sound good in any playback system, but it took a long time to achieve that. If I can do it, anyone can. Just don't give up!
What do you mean when you say "nail that frequency range (3k) in the process of production and mixing"? What does nailing that area mean in that context?
Exactly. At this point, many people have gotten so accustomed to the overcompressed sound that it’s what they like and expect now, especially the younger generation. It’s sad that the damage has been done and we’ll likely never go back to having dynamic and dimensional sounding music as the norm again.
Recently, I watched a review of the new remixed releases of The Red and Blue album of the Beatles. Unfortunately on CD some tracks have been brickwalled and those tracks sound better on vinyl.
When I find that a release in 2020 is less dynamic and is indeed still louder than the same exact tracks released in 1988... no, the loudness war isn't over.
Highs and lows is hip hop not much mid range that masked this loudness crap. However I suffered through early analog master to CD and it was horrible. This Guy looks old but he is a millennial. Don’t let him fool you. He doesn’t know the original version. He wasn’t aware he was in a diaper fuck off. He is telling us how music sounded in 1991 lol.
Ok so my question is, should i avoid limiting and comp and eq when im producing? Should i first make a track with controlling the volumes via gain staging and then export it at 16 bit dithered? and then import the track and master it with comp/eq/limiting after? or i do need to do comp/eq/limiting during production and then export it. Import it and finish the master with more comp/limiting/eq?
No to all of your questions. The absolute most important thing would be to improve your monitoring. No formulaic process will help you when you can't accurately hear what eq, compression and limiting is doing to your tracks. Once you have a good monitoring setup then you can let your ear guide you.
i have 2 songs on my page that i mastered and produced. Walk Alone was fully produced by me, no friends is mastered by me. I will be dropping another one soon. Do give it a listen and lmk what you think? My process during production rn is chosing sounds that mesh well, then i eq/comp/limit efx on busses etc, then i gain stage, adjust whats needed, then master it. @@davidallanmusic
Hello, I'm here to post this a year after this video was releaed and I just opened up my all-new Rolling Stones Hackney Diamonds album, and I have to say, it sounds like garbage and is worthless because of how loud it is. Many are saying how this is the best album the Stones have put out in YEARS! But it sounds like pure garbage and I can't enjoy it enough to tell you how great the music is. It's distorted at the utmost level and as the songs get louder, the more distorted it gets -- in 2023. It's WORSE than a Bigger Bang in 2005.
This is an excellent video! This walkthrough helped solidify my understanding of how a compressor works and what approach to take when compressing a master. Thank you Caleb! Looking foward to more videos!
If you were to bounce your mix to tape before final limiting, would you use any plugins on the master bus or hold off until you have the post-taped file (and then apply further processing)? I may have to experiment with mix:analog but that means having to rely on headphones in another setting with good wifi. Any thoughts?
02:37 BIG FACTS‼️ I figured out the 2k 3k secret YEARS ago when I solo an EQ node and scanned the frequency spectrum on a song I liked, that’s when I realized....the MID RANGE around 2/3 is what your ears love 2/3k ❤️
I really appreciate caleb @ 8:00 "decoding" what devvon was saying a lil bit and explaining the non-destructive nature of the mb comp vs the destructive nature of the eq. In other words, how the mb comp only clamps down on the *build ups* of the frequency on a moment to moment basis where as eq permanently decreases the level of the frequency. So the mb comp allows for more nuance. Super helpful clarification
What if i record Ambient sounds and there ar many quiet parts for longer duration but also very loud parts. If i bring the Loudness to -16Lufs the loud Parts need to be ultra compressed or hard limited and loosing all it´s dynamic Range. So it would be better to lower the overall Loudness to keep the dynamic Range. But what will RU-vid do with that? Does RU-vid normalize to quiet Parts to -16Lufs anyway or does RU-vid only lower too Loud Parts and leaf the Quiet Parts as they are?
"AM" Pop and rock music in the 60s was often almost as distorted as it is today. The bass was really growling. The music also often lacked nuance with vocalists coming on at full blast immediately. Guitars and vocals were often bandpassed for different reasons, but with a similar outcome. People give old music a free pass because the processing was analog. American pop music seems to have suffered more than European or Soviet. Only later in the late 70s up to the early 90s, we had high fidelity long form music for "FM" stations. LUFS is a simple as it gets, an RMS meter with a highpass and a high shelf. Modern pop producers only know the loud sound and can't make it any other way. The loudness won in the war.
Perceived loudness means nothing when you don’t take LUFS into consideration. In your A and B demonstration, the LUFS reading would be about 3-4db louder, which means streaming services will reduce the track’s volume. LUFS is king to making loud and punchy music. A poorly mixed track at -14 LUFS will sound quiet, dull, boring, harsh while a well mixed track at -14 LUFS will sound loud, clear and pleasant. Also you leave out the other aspect of the frequency realm - distortion. Punchy sounding drums with minimal peaks and loud sounding bass is easy with a bit of distortion.
@@MG-jy5qx Only tone-deaf sheep who confuse music with sex and dance choreography (majority of population) listen to top charts. If your ears are worth anything, you’ll be able to hear how overly-compressed and lame-sounding any track is above about -11lufs. There’s a reason why 60s to 90s dynamic music remains so popular while today’s smashed trash only lasts a few months at best. Lastly, -14 matters because that’s RU-vid’s standard. A punchy -14 mix sounds way better than a smashed -8 mix limited to -14 by youtube. RU-vid is the most listened to platform, by far.
@@EricPeelMusic -12.9 but you’re close. Somebody to love is -11, Killer Queen -10.9, Fat Bottomed Girls -10.2, We Will Rock You -9.8, Another One Bites the Dust -11.6, Under Pressure -11.2, We Are the Champions -9.6. You may be seated now.
Question please...l can see you put plugins at the output channel strip....should we put plugins at the track channel strip as well? ....or should we create a bus to achieving better results in terms of control?
