I've been home recording for forty years, and worked as a repair tech for studio gear for twenty. Soaked up many great recording and mixing tips over the years, and came to respect mastering as the very top level in terms of informed sonic intention and subtlety. This vid is excellent and super-useful. Your clarity and density of ideas are especially appreciated - thank you! Subscribed (and will commend you to others also).
RE the cross-talk feature in the Tape plugin - just last week I found that by using extreme amounts of that cross-talk, I heard a sound that I haven't heard since the late '70's - it sounded *exactly* like a Panasonic cassette deck that I had years ago. Instantly reminded me of a tape that I had that had Fleetwood Mac's "Dreams" recorded on it way into the red that sounded particularly cool. I urge everyone to try it. Not something I'd put on a pop record though.
great tips! as for limiter release, I find shorter than 50s can sound punchier and cleaner depending on the material (especially if its periodic transient peaks hitting the limiter and none of the body of the sound)
WOW!! This is the sauce Sage Audio!! This is Brilliant!! Thank U for the Infos it's really helpful!! Well I have a suggestion sage Audio! Can you make a video called "Mastering With Ozone 9"?? Then you'll walk through how to properly master a song using only Ozone 9. (Especially cuz we don't have fabfilters, or softube plugins and more, but maybe some of us has Ozone only for mastering, including me, I have only Ozone)
One understands if a youtube channel is good just listening to the audio quality of the videos: perfect voice, pleasant overall Eq and adeguate levels: 10/10. That said, I ask: has the Sonnox Oxford limiter the same features as the inflator? Thanks.
Amazing channel. So many great tips again. I’m already structuring a lot of my pseudo mastering this way, but I didn’t realize some tape plugins had a genuine crosstalk feature. I thought summing certain console channel strips was the only way to get some of that in a ITB mix. But..that way you don’t ultimately have any granular control over what it’s doing. Have to have a play with some things ;)
Thanks for watching Mr Nelsonius! Glad you're enjoying the channel. Crosstalk functions are definitely helpful for getting a little stereo widening! SageAudio.com
Cool stuff, my friend! I hadn't heard of many of those techniques before, but I can already visualize their usefulness. Thank you. Here's a like and a sub!
I really appreciate this video thank you sooo much. I want to do course on mixing and mastering though. Wanna be really professional about these too things.
Thank you for another great video! I have one question. In the video you said that 50ms is the shortest release time on final limiter. 50ms is right when the lowest frequencies in your master are 20Hz, but when it's 30Hz according to your other video (and maths) the right release time should be 33ms ect ect. In your other video you were showing how to calculate release time on final limiter based on the lowest frequencies of your mix. 50ms is right for 20Hz, but for 30Hz it's 33ms. Can you clarify it more as your two videos give different information Thank you.
Thanks for watching Lucas! You got it right! You can use a shorter release time for high frequencies without distortion occurring, but since most masters will be 20Hz to 20kHz, we'll need at least 50ms to ensure that no distortion occurs. If you're working on a track without low frequencies, you can use quicker release times based on those same calculations you did! SageAudio.com
4:25 is the release time of 10ms on the booster just an overlook because you guys wanted to focus on the use of boost before limiting or you would still go the "50ms minimum" route?
Awesome content! Any good free maximizing plugins out there? When I search I find that the term maximizer seems to be confused with limiters and exciters.
@Ra_Sharpness_ hey thanks! Which of these does the upward compression? I didn’t think that TDR Nova could do that and can’t find any documentation to that effect. Thanks!
How common is it that mastering MEs mess around with relative volumes between verses & choruses etc..? Aren't those decisions better made in the mix phase?
It's not too common! Typically it's best to keep that a mixing decision, but if there's some communication happening between everyone involved, then it doesn't hurt to try. Thanks for watching! SageAudio.com
If you, for whatever reason, HAD to get 8db (or more) of gain reduction on your mastering limiter in order to reach the desired level, would you rather use 2 limiters or more? If using multiple, do you set the ceiling the same for all of them? Lastly, would it be better to hit the earlier limiters harder, or the final one? Thanks so much!!
I'd say use 2, get about 5dB of attenuation on the first, and then 3dB on the second. Let the channels be processed individually on the first limiter, and then collectively on the second. Thanks for watching! SageAudio.com
@@sageaudio Wow thanks for your responses. Just so I’m clear, when you advise having the first limiter process the tracks individually, do you mean having it in dual-mono mode or in mid side? And the following limiter in stereo mode? Thanks again!
I be doing that sometimes too. I just go by, if it sounds good and feels good, it works! But I’m for sure going to try my MV2 on masters, never thought of that
Thanks for watching! Currently we're leaving those out to provide as much info in as little time as possible. Hopefully you can replicate some of them in your sessions and determine which you do and do not want to use. SageAudio.com
If I have a track already mastered but it was mastered just a touch to low and needs to be brought up to match professional radio levels what could I do to get it up to match without changing dynamics or transients? I only have the .wav of Master.
Adding a limiter will bring it up to level, but will sacrifice some dynamics. This is where a nice transparent limiter like the Pro-L2 shows why it is the industry standard
@@HollerAtcherBoi just like using MS compression, the centre and sides moving independent of one another causes smear, much like dual mono compressions can cause spin.
@@HollerAtcherBoi firstly avoid smear. Secondly, try to avoid tricks and make a good mix in the first place. If the mix isn’t sounding great then it’s because you haven’t front loaded. Mastering can’t help that. Mixing/mastering aren’t a magical process that makes things sound great, the song has to be the magic. That’s where the focus should be. Otherwise you have an amazing sounding shit song and your girlfriend/boyfriend won’t give a crap about how good your mixing/mastering is, they’ll just hear a shit song.
