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@Durkhead totally agreed. In my field of music tracks are usually heavy loaded low end and as more and more producers use samples from heavily processes packs, these tend to ba all very very compressed/limited/clipped. So the resul is less very sharp and high end transients. Part of the reasons I barely use clippers (and when i do they barely shave off thins) in mastering as they usually don't du justice to these tracks and quickly distort on the long low end content.

Avec plaisir! Maintenant reste plus qu'a faire pareil avec Ogg Vorbis (pour spotify)

Any time!

Well your question was spot on! from what i read both switch and ableton use LAME mp3 encoder. I didn't compare switch exports vs ableton's. That's what i was willing to do next (as it's more handy to bounce directly both .wav and .mp3 from ableton).

@incidence.studio thanks! A simple null test would definitely verify it. I can try it myself, hopefully they null perfectly :)

I use To Audio Converter by Amvidia on mac. Find it very convenient as you can customize it and batch convert etc etc However never compared it to anything cause mp3 is not that important to me. That said i have never had artifacts or issues since i use it

Yeah split eq can give some very nice results on kick drum (might be best to switch it to kick mode when used on individual channel)

👌 wow

@all1nclusiv3 thank you! Doing my best to go exactly in this direction with the channel so your comment made me very happy!

@@asmundma thank you very much for telling me! :)

@MarcoRaaphorst it is but different tools use different ways to achieve this, this is what I'm highlighting in this example. Some (like pro q) seem to be using white noise target but ozone (clarity module) for example allows you to shift the weighting from white to brown noise (meaning less processing in the low end) while soothe2 seems to use more a "transient" approach by band (which makes sense to target resonances and not tonal balance). I realize this wasn't explained clearly as i already had a comment just earlier about the same part of the video...

@niklassilen4313 maybe I didn't express myself correctly, of course you can setup different points but the way it analyzes what's in a selected point/band is pretty different from soothe that's what I wanted to highlight while making one big band of action. As I said also when I use soothe I usually use different instances for different regions (so more plugins to load) while here you can do all this within one instance of pro q 4(with different selectivity/density and time constants). The analysis process although seems different and less useful to me and you don't have "selectivity" as in soothe. Also you can setup very tight ranges with soothe. As I said in my conclusion, pro q3 was already an amazing tool and this is a great upgrade but having split eq, ozone eq, kirchhoff and soothe2 i don't see pro q4 replacing any of those in these specific tasks. If you don't have any of those then it's a no brainer and pro q4 is deffo a tool to get.

@incidence.studio Ah yes, now I understand what you were trying to say. And I agree. It would be cool if there was one more slider beneath the density slider that was a "weighting" tilt kind of thing. That would indeed be useful!

thanks! glad you enjoyed! :) it's pretty unusual so i wasn't sure the content would interest people but i enjoyed so much the problem solving that i wanted to share it :)

thanks again for watching this other video, but again i don't understand what your comment has to do with the topic. we're not discussing analog/hardware vs. plugins here... You might prefer an hardware opto comp to a vst emulation and that's fine . This doesn't take away that opto has another attitude than vari-mu or FET and this is true in hardware and software emulations. My purpose here is to help people understand those differences in order to better choose the right tool for the job. This being said i quite strongly disagree with the statement of vst being 50 to 70% as effective as hardware otherwise how would you explain worldwide known mastering engineers working daily switching to 100% ITB? Also workflow is way easier on soft vs hardware (not only for cables, interfaces,... but simply on the exact recall because only a few hardware developers now provide digital control/recall of their hardware) but then again this is off topic...

thanks for watching, i just don't understand how your comment is any relevant to the topic of the video. it's not a video about signing techniques but about compression ....

@forse.music96 thank you so much for your lovely words! Made me blush :p I've only been here for two months and not so active on other channels... I guess all this plays in the way the algo behaves.. at least I know it's not useless thanks to you :) feel free to share to friends of yours who might benefit from it as well :) slowly, step by step i'm hoping this is how it will grow :) Cheers and thanks!

i really don't understand what you mean with "pre-transient knee"... lookahead basically "reads" the audio signal erlier to allow compression to start increasing before the actual peak occurs in the processed audio. I actually made a nwe video on the subject here th-cam.com/video/qQLDqMFKyOE/w-d-xo.html&ab_channel=IncidenceStudio

thank you ! glad to see at least some ppl enjoy the content :)

@RDH.85 thank you! Glad you enjoyed :) Many more coming :)

hi and thanks for bringing this to my attention. I've to admit having been pretty lazy on the vocal part of this video and not processing anything straight into OBS. I realize people might expect higher attention on this aspect and i'll take it in consideration for the next videos i'm going to shoot ;)

Your vocals still sound natural and fantastic, would this test you are running be the same if fabfilter c2 was in mono ? And is there a specific reason why you have the dB set to 36 next to the dry gain, I noticed that when you change the dB on fabfilter it sounds different? 90 dB sounds different to 72 and so on? Thanks for this 1 of a kind video very professional testing sir 👏

you can always drop whatever compressor you're using into plugin doctor to see how it behaves (when it starts adding loads of harmonics) I checked yello (could only find a live version). From what i hear there it's mostly a sidechain compressor coming from the kick (and where kick level is not the same at every hit so the amount of sidechain compression is not the same every hit either).

@DaniloMarkolovic-kv5vd I mean , for writing music which is an emotional thing (not mixing which is technical)that you should not block your mind with external perturbations such as the goal/intention to make it the best ever rather just be in the moment, fully connected to yourself to express what you really have to say, not what you think ppl might expect/enjoy

@forse.music96 thank you for the kind words. I have quite a lot other topics I wanna cover :) For the coming weeks I'll focus on compression then we'll see :)

i think you missed the point here... i agree the title can be misleading but the real topic here is to help understand what kind of eq moves should be done pre-compressor and what eq moves should happen after. This being said, eq's all also add slight THD (leading also to aliasing) so you'd always be better with fewer than more.. cheers and thanks for your contribution

Totally right ! Tbh if it was a real track it would have received much more processing to give it some movement (for example filter moves and decays automations). I didn't plan to add that sound but while recording the video I felt like also showing how two sounds can be first panned then merged in a group and processed together to fit better in the stereo field. The whole loop here is in fact pretty rough and unmixed. Just talking about stereo approaches ;)

🙏🙏🙏 thank you :)

@a.d.5649 thank you! Glad you enjoyed the content :)

@@forse.music96 thank you! It's definitely coming;)

My goto clipper when i need one 'cause... I own it and do not remember why 😅.

@@forse.music96 totally! I didn't use the second stage (output) on purpose to compare similar things

Several reasons : 1) If everything is mastered accordingly, you don't need to touch the gain and your tracks will all blend together smoothly (in terms of loudness) 2) Many dj mixers are digital, if you clip the input by pushing the gain (in the analog domain before the conversion) to add a lot of unwanted THD. Years ago mixers were all analog and could take less cautious manipulation and a bit of overdrive, in the digital world this is a very delicate aspect and i think it's best actually dj's stay away from the gain. 3) if you have a louder track and want to match the next one (quieter one) and need to push the gain to match the previous one's loudness, as everything is peaking close to 0dBFS you'll end up clipping the quieter track A LOT!!! 4) staying away from the gain knob is also avoiding the sneaky risk of willing to push things louder from track to track (it's a natural process that happens even more if the dj is insecure) and every time you feel a bit risqky during a transition you'll end up pushing that gain a lil bit more, until you're maxed out (believe me i worked as sound engineer in Fuse Club brussels for over 3 years and it's something that happens even if the dj's should not have to touch the gain). 5) Club and festival PA's have limiters to protect the sound system, so even if the dj was to use a rane or xone analog mixer, if the PA is close to be maxxed out, by pushing the gain of a "peaky" /higher crest-factor track, those peaks will end up being clipped/limited by the PA's protection circuit. Trust me a properly limited master will always sound better than those "protection limiters" Hope this helps understand the reason why it's still relevant in this case and why playing with gain to match tracks with different loudness is not a good option.

These are all familiar points, and I trust your experience. But it all boils down to not trusting DJ’s as capable professionals. If setting up gain staging between the line input and the fader is already too much.. oof! You’re probably right, but it feels weird to prepare a master for amateur DJ’s as the main audience. I’ve heard good DJ’s (not talking about myself!) mix records from the 60ies with loud club masters on the usual DJM mixers, it is still possible to do that perfectly smooth.

@@LYFoulidis sadly "gain" control is indeed an aspect that is often overlooked (or badly understood) by many... yet even with high attention and care if you try to match the loudness of a very dynamic 60's track on vinyl with a cd from something like actual EDM, if ever you have enough gain on the mixer to get the same loudness ballpark, your peaks would kill any DJM mixer :p (and don't even get me started on the more than ultra shitty curve of gain progression on those a$$ DJM mixers :p ) cheers mate and glad to see another "spaghetti lover and knobs fiddler" here ;)

Ha, talking about gainstaging the spaghetti is on a whole other level with its lack of standards 😉 Thanks for your thoughtful answer :)

@Hasan-bl3fo IMHO the beauty of LimitOne is the blend from transparent to a more gritty sound that is just another layer of "texturing"(or not) your sound in a very smooth and progressive way. I don't see it as better or worse I see it as a tool to grab if ever the mix received is a bit too sterile and your usual coloring tools don't get the job nailed, it's another tool in the toolbox to go towards a desired goal

@BoringVic my pleasure mate! It's of course just my point of view and always looking to be confronted in order to grow :)

indeed subject is deep and rules are meant to be broken it's just interesting to think that if you don't do things carefully (understand paying attention to the phase) tuning might in fact add more problems than when not tuning. Writing this down here i realise this should have been said more clearly in my video :p Thanks again for your kind words and support in regard of this channel! cheers!