Slate Digital MASTERING Tutorial | Mastering a Song 

i couldn't agree more, im so grateful

Amazing

I say this all the time. The fact that IM doing music at THIS time where I can record MYSELF. Its destiny and im thankful and grateful to the most high.

Exactly. I often say this to my musician Buddies and even to myself at times.. I'm old school I go back to the 4 track recorder when it was affordable for consumers. And I've been using DAW's and various plugins for quite a few years now and and it still blows my mind how much power that plugin's and a laptop computer have. And you can take it with you, become mobile, a walking recording studio..🤓🤯

@@vaughnmiller4371 Its nothing but God and timing !

Yeah seems like every guy in audio has another stupid allegory for explaining mixing and mastering....

Yeah but when u are learning to mix, u end up with a lot of plugins on the master section to compensate the less perfect mixing.

@@jefdamen2977 when u learn buss, thats easy.. less mess to worry about

lolol

yeah, the plugins are golden already, but these go to eleven

Tarskybull Beme I mean it describes what it does doesn’t it ?

kled10 half the price of my gym membership. Best deal ever.

facts

Rudi Greyvenstein You can’t polish a turd.

Why bother mastering a bad mix? It's pointless. Better to make a good mix, and then master that good mix

Well I suppose you could turn down the work if you're more established. I guess I'm not in a position to say sorry, dudes this is shit keep your money.

@@Rodders5000 "you could turn down the work if you're more established"? Lol that is a pretty mediocre way of thinking, so whats your proposition instead of buying these plugins? Using waves? Uad? You will have to spend money no matter what, i would not be surprised if you are the type of dude who crack vst's to save some money, pretty mediocre thinking tbh

The song is called 'The Bottle' from The Plutonium Project. The band is a collaboration between Sean Halley and a couple of different drummers. Glad you like it!

jjajaja good one

must be some kinda insider joke for people that understand mixing and mastering... can you fill me in xD

The "Constant Gain Monitoring" compensates for the gain increase. So if he increases the overall loudness by 7.8db, the "Constant Gain Monitoring" will decrease the volume by 7.8db. Therefore there is no actual difference in overall loudness. Mastering is all about increasing perceived loudness, so before he sends the master to the client, he would have to turn off that setting to get the overall loudness to the volume he was looking for to begin with.

JJ Boogie hahahaha! I also assume that

Hahahahaha. Funny story. I left it on last night after doing a remaster then bounced the track..... sounded great in my car.... cause i couldn’t hear it.

Once you hear it, you cannot unhear this. 😂

Hi Jesse, check out 18:09 where I do the last A/B that includes the parallel compression.. guitars and hi hat sound remarkably similar from mix to master. I'd make sure not to crank the Transient Detail or Dynamic Perception more than 9 o'clock, or else as you said, this could affect the cymbals. Thanks for the comments! - Steven

SlateTV sounds very similar but hi-hat poking through just a bit more in the highs in the version that has FG-Red and FG-X enabled as compared to version with only FG-Red. Guitar upper-midrange also slightly more forward in this same scenario. However, I agree that when comparing the original mix with your eq, to the version with both FG-Red and FG-X enabled the overall balances are very, very close. The overall sound is a little more saturated and just slightly crunchy compared to the original but it has much more life to it than the dull sound of a straight limiter.

ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ecW5TMEnJ3c.html

Isn't that a contradiction?

mitchiemasha Of course it is! :)

The original that the Slate FG Red was modeled on - the Focusrite Red 3 (Opto) was (is) indeed a beautiful metallic red...close to a candy apple color. I used to have one... sigh... I loved it for backing vocals and electric guitars, it was my go-to for bus compression, even as master bus gain reduction. Many times I'd even choose it over the LA2A's that I also used to have... (sigh again)... Oh, and besides having a gorgeous sound, it also looked AWESOME in an OB rack. They ain't cheap though.. I've seen USED models going for up to 3 grand. ;)

Hey I was just poking through and noticed this, even though it's a year old in case you didn't get the info just wanted to let you know that Pro Tools plugin slots are all pre fader.

If snares peaking at 10 or 2db sound identical to you, you might want to check your ears. As to the questions about loudness and chopping peaks, google loudness war.

Just in case you are not trolling and to hopefully clarify my concern. Download this video and look at its waveform in Audacity. You will immediately SEE what I mean about the snare. The loudness war is exactly my point: between two versions of a song that sound equally good, why choose the louder one with less dynamics? Can you tell me ONE advantage? I can give one disadvantage: it's more fatiguing to listen to in the long run. Watch this video: "Why I Don't Buy "Remastered" CDs."

Your question could have been answered by simply reading about loudness wars. So, why choose the louder one with less dynamics? because it sounds loud. When played side by side with any other song on the radio, it won't sound quieter. The broadcasters aren't going to adjust the level of the tracks. The audience perceives louder as better, and when it's played alongside other track, a quieter track will gain less attention from listeners. Also, we are so accustomed to tracks with small dynamic range that we actually feel more dynamic tracks lack a certain cohesiveness. This compression is just part of the sound of pop music now. Chopping off the peaks is just part of that sound, otherwise they'll get clipped. "Why record live drums if we'll take part of the human aspect away?" because the listener isn't necessarily attracted to the human aspect. Part of the sound of modern Metal and electronic music is the machine-like consistency. It's an artistic choice.

Except leveling is exactly what happens when songs are played on the radio. There are things called broadcast standards. Tracks that are too loud get actually turned down... This standard (ebu r 128) is in use in Europe and I believe there are similar things in the US. tech.ebu.ch/docs/r/r128.pdf By the way your point that "compression is just part of the sound" doesn't hold true. At least "loudness war style" compression and limiting is not. Daft Punk's latest record for example was relatively dynamic and a huge success...

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Thanks, guys!!

We usually use Screenflow - hope that helps!

The song is called 'The Bottle' from The Plutonium Project. The band is a collaboration between Sean Halley and a couple of different drummers. Glad you like it!

Thank you.

where to find this song?

This song is literally impossible to find! Great music but where is it?!?

ALL THINGS AUDIO I got off the website ....

Kyle Anderson yes when printing the final master you disengage constant gain monitoring to get the full loudness

Yup, here ya go: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE--aglIy71S5Y.html

Think about it like this. Would you rather cook your food with hair in it and then try and take it out, or take the hair out before you start cooking?

@@justrichardcarter Speak for yourself, I like eating hair! Jokes aside, mostly, EQ before comps. There are rare instances where I would comp before EQ when mixing.

i'm learning it is about using saturation