You’ve basically given us the most perfect and concise tutorial on mixing a song from the beginning and done using instinct that I have ever seen. (And I’ve watched a lot of mixing videos, lol) This is incredible man, thank you.
I was struggling with a mix and this saved me. BIG TIME so thank so extremely much! Love all your videos! Really fantastic and simple guidance! :D Thank you!
This is incredibly good content. Instant subscribe. The title is rather unfortunate but theres very solid and entertaining information here, thanks so much
Very useful tutorial, thank you! I think the title might be better called max "perceived" loudness as one can increase loudness by just placing a limiter on master bus and also digital platforms have their own max LUFSI limits to prevent loudness wars.
When you make the HPF change on drum bus and sing the mouse, you can show how you can type in the number that is more granular to using the mouse and the frequency jumps it gives you. You can type in 40.0 for example. In Cubase I do a bunch of typed in values versus going only mouse.
I'd also like to see you go over the side-chain "ducking" of mids process to cut things like orchestra by dynamically ducking the orchestra when the vocals come in. (using Frequency - side chain into a dynamic EQ of say 400-1200 a few dB). Also would you clip the low-end of kick/floor-toms and maybe snare earlier on (channel or drum bus) rather than wait for mastering?
Somehow I already manage to make my mixes respond decently up to -6 lufs by correcting resonances and issues that come up one after the other when I push compression and limiting on the master bus... but I think that using this approach step by step could help me a lot to make them sound better and deliver faster
@@RaytownProductions I had the chance to try this systematic approach yesterday for the upcoming singles of my band and the improvement was impressive 😃
Great video, my brother. I have a question. I noticed in some buses that you use the saturated and also the C6 on the post-fader, while the limiter on the vocal bus is on the pre-fader? Can you explain to me the reason, thank you🖤🤍
I think it's probably just circumstantial. I do lots of volume automation so having something post fader could change tone if you automate the volume a lot. Prefader keeps things safe from automation. The only other time I would choose pre versus post fader would be if it just sounded better in one position versus the other. Those are really the two main reasons why I would pick one spot over the other.
Pro mastering engineers still master from like -5 to -9 LUFS, and disregard Spotify's -14lufs rule. If your mix sounds crushed and messed up at -7lufs or whatever, then don't make it that loud. If your mix can goto -7 and not fall apart and still sound great then go for it.
In my experience most pro mastering engineers that master our favorite music will make it as loud as possible without it taking away from the song. So in the case for this track, we can push it harder because it's a very dense symphonic metal track. Something with more space should breathe a bit more...
