Always a pleasure to see you mixing or mastering in this case with hardware. Great edited version of mastering with explanation while giving us a tour. Thanks🙏🏿
I love the fact that you explain things that aren’t common for intermediate learners. Like the how you pointed out the function of the cross compressor. I would’ve never thought of that by myself, but now that I know it exist, just simply having that nugget of understanding, I know will translate to substantial progress in my own journey. Thank you for not gatekeeping all this information. I hope you find tremendous success on this platform.
Thank you, you may find my review on the Goly CrossCOMPressionEQ useful. I talk about this particular function in a lot more detail here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-GLd87vuvnT8.html
That's how I like to do my videos, like I'm talking to someone who is there with me in the room. Having a conversation. I'm glad that came across. I will be doing a lot more videos like this one.
@@AudioAnimalsStudio You're welcome! Oh I bet! catching sweet spots between all processors must be a joy! I am currently working on a project, and will check out your website to book a session to master, I would love to hear how my mixes translate in your chain,I'm sure nothing but ear candy!
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Hello, as a general rule of your master chain shown in the video, how much of dbfs (in average) do you set your input signal to, before going to analog chain? Do you find the sweetspot for those outboards to work?
@@AudioAnimalsStudio was wondering the same. Of course it depends but it shouldn’t be sometimes -5dbfs or -25dbfs right? Don’t you have general “range”?
I noticed you don't (audibly) gain-match every unit. I thought it's essential when mastering because you can't know if you processed it actually better or just gain-boost tricked you to sound better. but you don't have to do that? Please teach me. Thanks.
Very interesting point you made in the end of the video. Would be curious to hear more about your thoughts on this? In my experience binaural mixes can be jawdropping, but they come with a heavy price of weak to almost none existent mono elements, which can be fatal to any track that uses groove and rhythm as fundamental building block. Yes, stereo is wider and richer, but also weaker and less direct - and depth is usually achieved by contrasting the two. I've personally only had success with ambient experimental electronic music, orchestra or textural jazz in binaural. A track like your example, funky/disco, would (to me) be really dangerous to process binaurally. Additionally, doesn't the "heavy" analog processing fundamentally change the EQ filtering that Atmos uses to sum to binaural stereo, only leaving the L/R panning intact(and therefore removing the spatial attribute)? Would be curious to hear more about your thoughts on this, always love to learn.
The key is to utilise your binaural settings. The mistake a lot of engineers make is they have every object or bed set to near mid or far. Never off. What goes down the centre set to off. Now there are no binaural settings applied to this object. Zero difference from if you were to be working in stereo. Choosing the right sounds to active binaural information active on is how you achieve a jawdropping mix with every track.
very well made video, thank you! sure you've tested prior - any reason to why the mbp is 1st in the chain? i mostly use it last on the mix buss. just curious to your findings. does it help the stereo image better being 1st?
It depends on you want to use it. I will use it as a stereo field editor and to add saturation with silk red and blue. This means what I want to achieve is to set the stereo image to then process that single after the chain. Instead of processing the signal and widening that processed signal.
Thanks for talking the time to walk through the units. So does the Goly Comp EQ do everything that the Goly Dynamic EQ does, but additionally gives you the cross compression function?
I am watching several of your videos. This chain has the Thermos EQ, sounds lovely paired with the SPL Iron. About the Roger Mayer 456s, do you have them in 500 form? Been looking at these for a while. Thanks.
The Thermos is a great EQ for the price. There is a video on the channel of it up against the Maselec, Buzz and SPL PQ. 3k vs 6k plus. I've since replaced it with a buzz REQ 2.2. Regarding the Roger Mayer yes I have them in 500 series. I posted a review on them today. They are very good.
Great video, thank you. I am interested that you put the portico (with the primary aim of increasing the stereo field) first in your chain. I would have thought stereo processing should occur towards the end of the chain due to the potential for gear that follows the stereo processing to narrow the stereo field again. Or is this just my experience where using plugins does this... your your gear is so awesome there is no concern there? :)
The Portico 2 works in a very different way to a standard stereo widener. It works far better at the start of the chain as more of an enhancement tool rather than just a stereo widener.
@@AudioAnimalsStudio Thank you Paul. Exactly why it processes the stereo field differently than the norm might be a topic for a future video. It would be interesting to get your perspective on this. Just saying :)
I just got the SSL Fusion to work as a 'home mastering' tool and I am absolutely loving it. But I'd love to get some kind of maximizer or comp/limiter behind it to bring everything close to 0db, any recommendations for that?
@@AudioAnimalsStudio thanks so much for these! I'd love to get Bettermaker, but 4k€ is pretty steep for home studio. I'm hoping to get around this for about half of that hopefully 😁
Hi there. I have mastering chain like this: 1. TK-lizer 2 2. SSL Bus+ 3. SSL Fusion 4. Maag Audio EQ4M (M/S from Fusion) 5. Bettermaker Mastering Limiter Is this setup optimal enough or do i need to switch any position between these gears? Please help :D
Im watching video which i watched alot of times, I noticem I never heard you say anything about voulme . For example after watching this video, hwod o you know you was at the correct voulme @@AudioAnimalsStudio
Mastering for atmos is very different to stereo. Each object is stereo. These channels can be processed. There is technically no physical master bus in atmos like there is in stereo.
@@AudioAnimalsStudio correct me if i'm wrong. Does this mean when mixing & mastering in Surround. We take the processed stereo stems of that song and work from there?
@TMH Studio there's a few unique ways. My approach I don't like to talk about as it's highly unique and achieves me a sound nobody else doing atmos can achieve.
Too much of the outboard is being used for utility instead of tone & mojo. A lot of the functionality in your chain can be done with plugins. It's expensive to use that kind of stuff for utility. I guess if you are in a rush not working on your own music and just doing mastering for clients and you don't ever need to recall it again and it's a one time thing, you paid the extra to have knobs for all utility stuff in the same rack. But remember you could have setup a hybrid digital chain by adding a mounted knob controller (with printed labels) that controls the best-of-the-best of plugins. That's like having an advanced digital mastering unit if you think of it like that.
@@AudioAnimalsStudio thanks for answering. Would you say this in any way near the maselec mpl2 hf limiter? I am still looking forma nice smooth replacement for the mpl2. Had it in the past but can’t afford it anymore and I use the Farbfilter in dynamic mode for that kinda stuff but would love to have an analogue solution such as the deesser in 500 format.
@@AudioAnimalsStudio first of all I want to thank you for taking your time and answering my question. That is really nice. Thanks. Last question. How would describe the sound of the deeser? Is it doing a good job? And since you are using it on an insert point in one of your gears would say it is plenty good for mastering application to tame those high frequencies before hitting my last piece of analogue gear the elysia xpressor?
All the Maslec's are in my other mastering studio. You'll find a Maselec MLA-3, MEA-2 and MPL-2 in there. This is the full chain... Elysia Alpha Compressor UnFairchild 670M II Elysia Nvelope Vertigo VSM-2 Bettermaker Darthlimiter Maselec MLA-3 Maselec MPL-2 Maselec MEA-2 Goly Dynamic Shelving EQ Goly Dynamic Asymmetrical EQ Goly CrossCOMPressionEQ SPL PQ Maag EQ4m Kush Clariphonic M/S Dangerous Music BAX Whitestone Audio P331 Solid State Logic Fusion Rupert Neve Portico 2 Lynx Aurora (n) 16 USB SPL Hermes SPL Phonitor 2 + Expansion Ex Machina Pulsar Trinnov ST2 Presonus Faderport Universal Audio Octo PCIe
