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Seriously 15?? Lol I thought he produced for longer than that. I think the moment you play in that DAW is the moment you start. Not the moment you get signed.
Not really. There are producers of just 5-8 years who can produce of this caliber. Years of expertise isn't always a factor of having better experience than someone new but how well you have grasped information and learned doing it. It's not hard if you know what you're doing and can execute it well
Experience is an important factor but since it’s all in the box, new producers can accelerate timeline immensely due to less hurdles. Also, for EDM among others, there is a HUGE luck factor and a plethora of other factors that have nothing to do with making music. Do you and Party on 🎉🎉🎉
For obtaining as insanely loud at -5 LUFS, without huge compromises - one must design the song for being loud. It begins in the sound design/selection.
I’ve switched to using fab pro L2/ SIR standard clip for all actual dynamics control, and compression is more for effect/distortion/vibe. Every track has the pro L2 shaving off 3-5 db (sometimes more if it doesn’t need to be dynamic). Really tightened up my mixes and made mastering way easier.
This was such a well made easy to understand breakdown! For people interested in learning more about the last concept I want to reference AHEE and Baphometrix. They go super in depth on Skrillex’s bus mastering technique. Thank u for the tutorial!
Most mastering engineers use two limiters to get to a commercial volume as slamming it through one chokes the sound. Also things to consider are expansion which makes songs sound bigger, loud and jump out of speakers. Saturation, multiband compression, mid/side eq and compression etc. Being super loud is irrelevant nowadays but creating a punchy and bold mix is always good. Good job Big Z
Great video. Most of these tips / techniques are valuable even if you're not interested in super loud masters. BTW, standard clip allows up to 256 times oversampling. That's too much for live producing, but it's entirely ok when you print your mix/master. And, standard clip allows you to set one oversampling rate for live and a higher one for printing. And, it allows you to choose the type of brick-wall, anti-aliasing filter you want. It's a pretty great, very configurable clipper for buses and even your 2bus.
This video paired with the on that Ahee did about Skrillex's routing chains in ableton are way useful. If you're looking for more info on exactly why/how you can hit -4 LUFS, check that breakdown. Love your videos BZ!
Wow, your knowledge and communication approach are second to none. I have been producing for ages and I learn something new today. Subbed and keep up the awesome work.
Hey bro, I make DnB and other electronic music. Thanks for all your tips and tricks, some of them have been very helpful to my workflow! thanks again bro!
The bus comp you added back on after the group limiters will be adding back the extra dB's you gained - granted with a more even response.. You could add another agro limiter or Kclip/Standard Clip?Fire the Clip on after the comp to get those 1 or 2 dB the comp is reintroducing. Sounds really good man
I've tried putting an L2 on my Drum/Bass/Synth busses but I get weird timings (latency?) all over the place in LPX. What am I doing wrong? Is it a Logic setting? Help..
The master chain is also missing things like a mono maker, stereo widener, passive eq and many other things that add to the master but don’t have a place in the mix so much ✨✨
If you guys think rumble sounds like skrillex’s best master, it’s because he didn’t master it. Luca pretolesi did. He does all of diplos masters and he did the Jack u album too. I was impressed when I found out skrillex mastered about 70% of his own album. But you can clearly tell Luca is the dude.
Granted you're oversampling a lot, could you not do without the True Peak limiting on the busses? For playing the track out in a club, you don't need True Peak on the master buss either, only there to keep the streaming platforms happy.
