Find Oscar's video courses here: courses.underdog.brussels 🖤🖤🖤 Join the Underdog Discord channel: discord.gg/z5N9CTA 👾👾👾 The patreon: www.patreon.com/underdogmusicschool 💗💗💗 Follow Face the Sun here: soundcloud.com/face-the-sun-be 📷📷📷
if you think your mixes actually improved because you started using an analyzer you should really work on your critical listening skills. the concepts explained in this video are very generic and basic. compression and mid-range improve the perceived loudness. wow, who knew?? that's literally mixing 101.
@@onesoundstudio9684 buy any sound engineering book and read it. start with the basics. delete all of your plugins and only use the stock ones that came with your daw. work on your ear training, read about how records you like were made, learn about "classic" equipment and their history. learn how tu use a mixing desk and understand signal flow. there's so much you can do, but you need a solid base, there are no shortcuts.
Having spent decades in various recording studios, doing production and also mixing - I have to say that the simple rule that I've learned about 'mixing loud' is this. Don't ever do it. Generally speaking, the trick is to mix quite QUIET, and make sure that everything, including every note of the bass guitar - is clearly audible, even on shit speakers, in mono.......In every studio, 90% of the work is done on near field speakers, simply because 'virtually anything and everything sounds amazing on the 'voice of god' (large) speakers'. I worked a lot in 80's, when we didn't even have digital audio, with all it's associated visual representations of the audio signal's waveform. We just used our ears, and listened to our mixes on as many speakers systems, in as many different environments as possible. Usually, we'd limit ourselves to a few minutes an hour of listening to the big speakers in the studio - because of their big threat: Ear Fatigue.......which reduces your capacity to make informed decisions, even at lower volume levels. Hope that insight helps..........Great upload - just trying to add some related context.......
My pleasure. I remember mixing 2 tracks for one of my musical projects back in about 1991. Neil Young had played guitar and sang on our album.......I had to go through his guitar solos and create a cohesive solo (he just started recording, totally unrehearsed, so there were loads of mistakes) Damn, when I think how quick it would have been if I'd had ProTools, etc., instead of having to sync 2 X 2" tape machines together to get the sections in the order I wanted........things were really different in those days, I can tell you. ....When it comes to 'affordable/home recording' we truly live in amazing times.
True, and not just before, ....but it never hurts to reference again during a mix session, if there's something you're really trying to keep in sync with (even previous offerings by the same artist, etc.).......
3:41 - that's right, many ppl think that way, but honestly, there is no magic wand in mastering music (I run Mastering Studio in London for over 10 years btw), if the mix is poor- the master won't help it, simple as that, mastering is not about correcting bad mixes or/and bad recordings/production. Mixing is for correcting bad mixes:). Anyway, I absolutely agree on your point - the creation/production stage is crucial, choosing a bad kick will ruin your song.
Help me understand what mastering is for then. If we’re saying that ideally the mastering engineer has no job, then … I interpret that to mean the mastering engineer’s job IS to try to fix what should have been done well initially but wasn’t. If not, what IS the purpose of the mastering process? I don’t think this would seem strange to me if we didn’t consider mixing and mastering two different jobs. Thanks Edit: it sounds like “mastering” is just a quality check by another set of ears that puts on finishing touches. If that’s the case, I still don’t understand why that would be a different specialty than mixing. Pardon my ignorance on the subject-want to understand.
Dealing with transients artfully is really where “loudness” and “punch” dance. Lots of dynamic range in the crest factor will limit the perceived overall loudness by gobbling your headroom with spikes, but keeping *some* transient intact adds punch and impact. It’s a balancing act. Training your ear for transient response is just as important as frequency response. Great video!
This is the way to win the Loudness War. Keeping your track with enough transients to keep it punchy, and squashed enough to be competitive in the music industry. It is an art, as you well said
When I started, I was deathly afraid of using limiters. Now, I use them in mixes all the time. It helps so much with dynamics, even when the limiter is doing light work and can’t really be heard.
This is tutorials has to be. A simple example that almost everyone can understand and then showing how this appears in the actual mix. Top content as always!
I'm working on a big silly metal song and this video couldn't have come at a more perfect time. Thanks for helping fill in some gaps on why my exports are coming out boneless!
I really appreciate lessons I can apply the key points to in any Daw! Thanks for that game we played, was mind blowing. Reminded me of learning science in school when the teacher would do magic in front of you and explain it with science
0:58 THIS!! You have no idea how long it took me to realize tons of compression and heavy limiting isn’t necessary for a loud mix/master, and it has completely enhanced the quality of my mixes since.
For some reason, at the half of this video i understood what i have been doing wrong so much time ago, now i can mix with total confidence, this is something that some " smoke sellers" will never explain for free, thank you very much.
As a self taught electronic music producers your videos are great. Simple yet effective, sums up what I've learned through years of trial and error in an easy to understand short video
You have a seemingly natural gift for explaination. This is my first time seeing your content, and I am subbing your channel simply based on your ability to explain things... very well. Thanks, man!
Good video and well explained about transients and how they affect loudness. The most important aspect of loud mixes isn’t addressed. But that is very common and not often talked about. Nice presentation!
@@jimmypierson1980 Hi Jimmy. The answer is masking. In my opinion dealing with masking is the most important aspect to manage in a mix to have clean and loud mixes. 👍🏻 so good monitoring is important to address this.
Such a great summary. Looking back on my past songs/mixes, I would always, always, ALWAYS mix the drums (mostly the kick), WAY TOO LOUD compared to the rest of the music. And then would spend all this time with multiband limiters, clippers, loudness enhancers, etc to get it to sound like "finished music" - though something always sounded a bit 'off' when compared to other music I admired. Another thing was always way too much low-mid buildup. That stuff ends up eating up so much headroom, that again, I would turn to multiband compressors followed by multiband limiters, clippers, more limiting, to get things to "sound right". Just pure insanity. Amazing what skillful filtering and simple compression/saturation can do.
Very useful! I am new to mixing and mastering, and all of what you said made perfect sense. Can’t wait to try out the helpful tips! Thanks for creating this video. Really well done. I will definitely check out your other videos! 😊
After a year of doing everything people told me to do on TH-cam regarding mastering and mixing for a loud mix and still not seeing results, this video actually told me what I was doing wrong all this time.
the most impactful lesson I have learned in starting my compositions is making sure all the sounds chosen are top-notch and just like you mention in the beginning, running the sounds through an oscilloscope and spectral analyzer to check any nasty transients or resonances, etc. It makes mixing the completed project almost non-existent because it already sounds that good. Especially when it comes to choosing the right percussive elements. Great video!
So car and great explanation, im atodidact, that make more dificult to me to undestand some things, but you where clear as water, also thanks for you explanation/tutorial vids, im reaching my own sound thanks to you!
This channel is a godsend. Thanks for this one! Another helpful tip I picked up one once was try avoid mixing a track at high volumes, you can comfortably mix everything more accurately at lower volumes. Having your track too loud when trying to mix it will throw you off balance, don’t forget bass travels, so the louder your track is. The less your actually hearing of critical parts. It’s best to listen to your track loud every so often when you stand up and walk around your room, If it sounds decent 4 meters away there is a good chance you’ve got a good mix, As opposed to sticking your head right next to the speakers, where you are getting a false image of the mix. Not sure if this is totally useless advice but it has helped me in recent years.
this was a great Informational video ! wow especially that first tip haha that really clicked for me, for the first time even tho I heard it before I could't understand it until now.
Using an oscilloscope is a great idea to check the loudness of transients. For some reason I have never really thought to do this and I’m sure it’s going to be super helpful… Thankyou!
I mastered an instrumental today and everything you said lets me know headed in the right direction. I'm starting to understand what mastering is really
The rms meter on the second sound has higher value which for the ears means louder.Same peak value doesn't mean both sounds equally loud.The second sound is louder due to higher harmonic content due to distortion/saturation, lower crest factor and smaller dynamic range.Just my 3 cents for whoever is interested.All the best.
Excellent!! The dynamics and speed of attack correlate more to the quality of music; The average level correlates more to the loudness and density of music. Too much dynamic attack causes wimpy sound; Too much compression-limiting causes congestion, and not enough space between instruments, higher distortion, fatigue in listening.
Solo un cuore e un like??? Cavolo Oscar,da puro italiano ti confido e parlo senza maschera o filtro, ovviamente con tanto rispetto.... Veramente mi sto guardando i video di anni fa perché sono perle! O tuoi Input, immediatamente nel cervello,e utili come non mai ! Purtroppo dopo 15 anni a suonare nei club,radio,open dance hall,5 festival,4 love boat and Resident DJ 5 anni (gli ultimi, non andavo più in giro a parte pre-disco ,come After, After tea, The after of the After, etc.)in un bel club che ogni weekend,ospitava dj internazionali (no Carl cox & Friends😂) tipo Spencer Parker,&me,Reboot,Frivoulus, Nastya, Markantonio,Dan Ghenacia,Argy, Leo Mas, Marco Bellini ecc ecc . E in principio i primi 5 anni dove o ero resident per la stagione,o due sabati al mese,2 giovedì etc.,suonavo spesso prima del guest perché ben saprai molti iniziano anche mezz'ora un ora dopo,causa la pista non è full! Devo dire è stato utile, perché Ok,la mia politica o l'unica " regola", è mai suonare quello che non t piace o suonare cose da radio che le suonano al luna park (senza offendere nessuno),ma capire quando stravolgere il tuo filo conduttore,la tua storia,quella energia che le prime volte ti faceva tremare le mani e avevi il braccetto dei TECHNICS per poi essere dipendente da quella fantastica e indescrivibili energia!! quindi stravolgere il mix,ma restando nei margini con quell'impronta più facile più allegra, spensierata e poi switch di nuovo di torna nella via. Tornando alla fine ,dicevo che gli ultimi 5 anni suonavo sempre dopo il guest ,che in principio mi sembrava penalizzante, anche stancante (alle 00.00 eravamo lì),incominciare alle 4.30/5.30,per poi innamorarmi di quella fetta di persone,che sono lì per la musica e divertirsi ,che ogni cambio energico,o Acappella's/Sample mettevo,loro urlavano si emozionavano, e io con loro, è musica che ballerei per una vita, è il mio sound,ricercato,con del lavoro, ricerca ecc, Non volevo vocalist, Iniziavo sempre con lo stesso disco (Dj Rolando 😊🐆) e suonava di bpm alto,ogni volta una sfida il secondo disco, con un Time scratch difficile a volte soprattutto perché il secondo disco è quello che da il via definitivo,e ovviamente da valore al 3'etc(fortuna vuole che ho sempre un 5-6 dischi in testa per ogni canale,tra Loop,sample ,vocal, and tracks. 5 Anni indimenticabili .....)tutto CON IL CUORE E LA PASSIONE!!! .... Tante tracce,mai un EP, solo 2 RMX . Ho la maschine, MODEL 1, CONTROLLER VARI, GIRADISCHI,ETC .. PERÒ MI SONO ARRUGGINITO... DOPO IL COVID 19 QUI È L' APOCALISSE DELLA DISCO E CLUB...CIRCA 40 NELLA MIA PICCOLA "Friuli Venezia Giulia", Mamma mia mi viene da piangere......in più cambiato ancora casa e quindi non ho più il mio studio insonorizzato,fatto ad Ok,gli strumenti "fissi,”wow ma quanto ho scritto? Non ho con cui parlare a parte persone lontane e per questo a suo tempo ho per scherzo aperto il canale TH-cam,solo per caricare i dj SET, fatti in lock down da mandare ad amici in Europa, Perù, Brasile e via.... Se vedi il canale da l'impressione di uno senza passione (e in realtà non amo i social anzi,solo per la musica e derivati),un amatoriale ! Poi ascolto la musica e la cosa cambia... Mi piacerebbe che ascoltassi una mia sessione,ecco ta te con sincerità,mi piacerebbe tantissimo un ascolto! E non fantastico mai su queste cose o altre perché ti portano in posti che nn esistono!!! Sto pensando a dei corsi ti chiederò più avanti,ora uso la daw ogni giorno dopo 3 anni! Maschinemk2 mi è più facile, ableton cavolo ho dimenticato....😮😢...troppo alcool & Company, sicuramente! 🙄.... Ti mando un abbraccio forte ❤Love & Passion caro Oscar. 😊
Nice tutorial. I would add a third rule, which is have the right amount of bass. High mid only sounds loud if it had the right amount of bass sitting underneath it.
THIS. You should be an engineering preacher! I mostly record live instruments like drums, vocals, or electric guitars, but this information is handy either way. Every time I open my DAW to start a new song, I always start by routing all my tracks & busses and creating a master chain consisting of a simple harmonic saturator working on the low end, a small EQ dip at 200, and a master limiter at the very end set to -3.0 threshold and a -0.5 ceiling. That makes everything glue together as well as bringing out that "sense of loudness" rather than actual loudness like huge EQ bumps or literal volume increasing. ...tbh... I prefer the way the end result sounds when you record with lower gain on the front end, and then mix super hot, with aggressive saturation and compression, and a heavy handed master limiter. I've had a lot of people tell me they thought I was using samples on my drum recordings but nah, I just know a thing or two about gain staging. Still, I'm no expert. Audio engineering is a vast and complex (and sometimes philosophical) subject that often takes upwards of 5-6 years to really get comfy with.
Find Oscar's video courses here: courses.underdog.brussels 🖤🖤🖤
Join the Underdog Discord channel: discord.gg/z5N9CTA 👾👾👾
The patreon: www.patreon.com/underdogmusicschool 💗💗💗
Follow Face the Sun here: soundcloud.com/face-the-sun-be 📷📷📷
The two related videos you linked are not clickable. Can you add them to the description?
This video told me what I did wrong in my mixed for the past 4 years in 6 minutes
Thank you
Fr!! Some of the best info I’ve seen in a bit ✊🏽
if you think your mixes actually improved because you started using an analyzer you should really work on your critical listening skills. the concepts explained in this video are very generic and basic. compression and mid-range improve the perceived loudness. wow, who knew?? that's literally mixing 101.
@@gimmigimmigimmi thank you any video you think I should watch?
We learn with time brother-man
@@onesoundstudio9684 buy any sound engineering book and read it. start with the basics. delete all of your plugins and only use the stock ones that came with your daw. work on your ear training, read about how records you like were made, learn about "classic" equipment and their history. learn how tu use a mixing desk and understand signal flow. there's so much you can do, but you need a solid base, there are no shortcuts.
Having spent decades in various recording studios, doing production and also mixing - I have to say that the simple rule that I've learned about 'mixing loud' is this. Don't ever do it. Generally speaking, the trick is to mix quite QUIET, and make sure that everything, including every note of the bass guitar - is clearly audible, even on shit speakers, in mono.......In every studio, 90% of the work is done on near field speakers, simply because 'virtually anything and everything sounds amazing on the 'voice of god' (large) speakers'. I worked a lot in 80's, when we didn't even have digital audio, with all it's associated visual representations of the audio signal's waveform. We just used our ears, and listened to our mixes on as many speakers systems, in as many different environments as possible. Usually, we'd limit ourselves to a few minutes an hour of listening to the big speakers in the studio - because of their big threat: Ear Fatigue.......which reduces your capacity to make informed decisions, even at lower volume levels. Hope that insight helps..........Great upload - just trying to add some related context.......
Super helpful, thanks for this! 🧡🙏
My pleasure. I remember mixing 2 tracks for one of my musical projects back in about 1991. Neil Young had played guitar and sang on our album.......I had to go through his guitar solos and create a cohesive solo (he just started recording, totally unrehearsed, so there were loads of mistakes) Damn, when I think how quick it would have been if I'd had ProTools, etc., instead of having to sync 2 X 2" tape machines together to get the sections in the order I wanted........things were really different in those days, I can tell you. ....When it comes to 'affordable/home recording' we truly live in amazing times.
that’s why you listen to references before you start mixing on any speakers lol😭
True, and not just before, ....but it never hurts to reference again during a mix session, if there's something you're really trying to keep in sync with (even previous offerings by the same artist, etc.).......
I found your response entertaining and interesting, but most of all, really resonating......Touché
“Your monitoring situation *might* influence how you’re seeing this sound”
Me, watching through my phone speakers: agreed
3:41 - that's right, many ppl think that way, but honestly, there is no magic wand in mastering music (I run Mastering Studio in London for over 10 years btw), if the mix is poor- the master won't help it, simple as that, mastering is not about correcting bad mixes or/and bad recordings/production. Mixing is for correcting bad mixes:). Anyway, I absolutely agree on your point - the creation/production stage is crucial, choosing a bad kick will ruin your song.
Always good to have my videos confirmed by veterans who know their stuff :) ✌ thanks for sharing!
My favorite kick is the flying roundhouse but my wife hates when i use it on her
@@Sh0n0 LMAO
Help me understand what mastering is for then. If we’re saying that ideally the mastering engineer has no job, then … I interpret that to mean the mastering engineer’s job IS to try to fix what should have been done well initially but wasn’t. If not, what IS the purpose of the mastering process?
I don’t think this would seem strange to me if we didn’t consider mixing and mastering two different jobs.
Thanks
Edit: it sounds like “mastering” is just a quality check by another set of ears that puts on finishing touches. If that’s the case, I still don’t understand why that would be a different specialty than mixing. Pardon my ignorance on the subject-want to understand.
Dealing with transients artfully is really where “loudness” and “punch” dance. Lots of dynamic range in the crest factor will limit the perceived overall loudness by gobbling your headroom with spikes, but keeping *some* transient intact adds punch and impact. It’s a balancing act. Training your ear for transient response is just as important as frequency response. Great video!
This is the way to win the Loudness War. Keeping your track with enough transients to keep it punchy, and squashed enough to be competitive in the music industry. It is an art, as you well said
This is what I’ve come to learn just recently from hours of practice man I’m glad to know I’m on the right track! Thank you guys 🙏🏽
Wow, this was an amazingly presented tutorial. No bs, interactive, and super informative. Excellent work!
He is probably the best instructor in electronic music. Thanks for another lesson.
Cheers 😁💙
Most of it applies to hiphop aswell, lots of overlap
@@jonathansoko1085 How about trance? Trip hop? Gangsta rap?
This video is so underrated. People don't realize how much knowledge you can get from this video. Thank you so much for explaining!
🌱
When I started, I was deathly afraid of using limiters. Now, I use them in mixes all the time. It helps so much with dynamics, even when the limiter is doing light work and can’t really be heard.
This is tutorials has to be. A simple example that almost everyone can understand and then showing how this appears in the actual mix. Top content as always!
I absolutely love their content because its no longer than it needs to be. Most youtubers would take 20 minutes to explain the same amount of content.
Ok
It's not a tutorial
@@dirtychump Actual tutorials would demonstrate what he's explaining, that's why they're longer; they're actually tutorials. This is just a lecture
He is a gem
I hear that kick mistake soooooo much. Nice one.
I'm working on a big silly metal song and this video couldn't have come at a more perfect time. Thanks for helping fill in some gaps on why my exports are coming out boneless!
My metal is silly too! I love it
Incredibly condensed information, awesome!
I really appreciate lessons I can apply the key points to in any Daw! Thanks for that game we played, was mind blowing. Reminded me of learning science in school when the teacher would do magic in front of you and explain it with science
💙
0:58 THIS!!
You have no idea how long it took me to realize tons of compression and heavy limiting isn’t necessary for a loud mix/master, and it has completely enhanced the quality of my mixes since.
Great and brief tutorial
I have never heard a better more clear explaination about the matter
For some reason, at the half of this video i understood what i have been doing wrong so much time ago, now i can mix with total confidence, this is something that some " smoke sellers" will never explain for free, thank you very much.
As a self taught electronic music producers your videos are great. Simple yet effective, sums up what I've learned through years of trial and error in an easy to understand short video
Thank you so much for your content, youre amazing. Much love from Turkey
You have a seemingly natural gift for explaination.
This is my first time seeing your content, and I am subbing your channel simply based on your ability to explain things... very well.
Thanks, man!
Good video and well explained about transients and how they affect loudness. The most important aspect of loud mixes isn’t addressed. But that is very common and not often talked about. Nice presentation!
Can you elaborate ?
@@jimmypierson1980 Hi Jimmy. The answer is masking. In my opinion dealing with masking is the most important aspect to manage in a mix to have clean and loud mixes. 👍🏻 so good monitoring is important to address this.
Pausing the video at the half of it to give you my thumbs up cause I've already learned something from it.
WOW WHAT AN AWESOME INSTRUCTOR..THIS IS THE BEST TUTORIAL I HAVE EVER EVER VIEWED..THANK YOU. YOU ARE AWESOME !!!!!
Such a great summary. Looking back on my past songs/mixes, I would always, always, ALWAYS mix the drums (mostly the kick), WAY TOO LOUD compared to the rest of the music. And then would spend all this time with multiband limiters, clippers, loudness enhancers, etc to get it to sound like "finished music" - though something always sounded a bit 'off' when compared to other music I admired. Another thing was always way too much low-mid buildup. That stuff ends up eating up so much headroom, that again, I would turn to multiband compressors followed by multiband limiters, clippers, more limiting, to get things to "sound right". Just pure insanity. Amazing what skillful filtering and simple compression/saturation can do.
Im very much a beginner really so am learning as I go along, this kind of free information/education is so much appreciated!!
Anything free is good for you. Just look at the vaccines.......oh......hehehehehehehehelol
amazingly made video, instant subscription.
Very useful! I am new to mixing and mastering, and all of what you said made perfect sense. Can’t wait to try out the helpful tips! Thanks for creating this video. Really well done. I will definitely check out your other videos! 😊
One of your best videos. Thank you.
After a year of doing everything people told me to do on TH-cam regarding mastering and mixing for a loud mix and still not seeing results, this video actually told me what I was doing wrong all this time.
A+ as always
Thanks for humbling me, The Engineer are the the real real. Thanks for posting. Will follow up.
Well done. Thanks music brother. 😊
the most impactful lesson I have learned in starting my compositions is making sure all the sounds chosen are top-notch and just like you mention in the beginning, running the sounds through an oscilloscope and spectral analyzer to check any nasty transients or resonances, etc. It makes mixing the completed project almost non-existent because it already sounds that good. Especially when it comes to choosing the right percussive elements. Great video!
Literally realised this concept a week ago and it has changed the game! Thanks for sharing with people!
Thanks for the video !
Makes a lot of sense !
Extremely well explained
Fletcher-Munson theory - very helpful
Very informative- thank you
So car and great explanation, im atodidact, that make more dificult to me to undestand some things, but you where clear as water, also thanks for you explanation/tutorial vids, im reaching my own sound thanks to you!
Love to see how this channel bloomed! awesome content, perfectly presented... grande Oscar!
this guy is awesome, thanks for share your knowledge! big up from Brazil
Great video..... I will remember these rules.
This channel is a godsend. Thanks for this one!
Another helpful tip I picked up one once was try avoid mixing a track at high volumes, you can comfortably mix everything more accurately at lower volumes. Having your track too loud when trying to mix it will throw you off balance, don’t forget bass travels, so the louder your track is. The less your actually hearing of critical parts. It’s best to listen to your track loud every so often when you stand up and walk around your room, If it sounds decent 4 meters away there is a good chance you’ve got a good mix, As opposed to sticking your head right next to the speakers, where you are getting a false image of the mix.
Not sure if this is totally useless advice but it has helped me in recent years.
I actually appreciated the concisely put info! Thanks!
This was so perfect I'm still staring at my phone.... 👏👏👏👏Solid knowledge💥
Hey mate , without knowing this i was doing it ,usefull 2 confort my way of doing ,thx again & u're still my Electronic arts hero
Its also worth noting that higher frequency sounds appear to be louder to human hearing than low frequencies, good video man!
2:11
This is great. Mixing for years, work in audio. This is very clear !
Shoutout from India, many thanks! Super helpful!
Man that was awesome what a great explanation. U rock
This was super easy to understand. Best video ever. Loved the games.
this was a great Informational video ! wow especially that first tip haha that really clicked for me, for the first time even tho I heard it before I could't understand it until now.
Using an oscilloscope is a great idea to check the loudness of transients. For some reason I have never really thought to do this and I’m sure it’s going to be super helpful… Thankyou!
@Dom Anca I have Pro L so i might give that a try too, thanks man!
Simply explained
Ahhh…you’ve inspired me to attempt to produce music for the 1,000th time. Thanks!
The way you explain is perfect.
I mastered an instrumental today and everything you said lets me know headed in the right direction. I'm starting to understand what mastering is really
Just saw this on my recommendations. Didn’t disappoint at all. Good work mate!!!!
Insanely simple and helpful.
Solid explanation 👌🏼
Man I love you. Thanks for this video, it's super clear, well illustrated and formidable content !
This is so true, it's always great to come back on the basis of music production. This video need to be seen by many people.
Showing love
Love right back
The rms meter on the second sound has higher value which for the ears means louder.Same peak value doesn't mean both sounds equally loud.The second sound is louder due to higher harmonic content due to distortion/saturation, lower crest factor and smaller dynamic range.Just my 3 cents for whoever is interested.All the best.
wise words my friend.
I’ve been mixing quiet and running every song I have through a mastering chain 6-7 plugins long for YEARS. I have to try this. GREAT piece of advice.
Excellent!! The dynamics and speed of attack correlate more to the quality of music; The average level correlates more to the loudness and density of music. Too much dynamic attack causes wimpy sound; Too much compression-limiting causes congestion, and not enough space between instruments, higher distortion, fatigue in listening.
Compress and run that transient into saturation for a bit of crunchy crispy high-end ✌️
Amazing Video! I teach this concept to my students all the time. Good to know about the different loudness meters.
Thnx Oscar, thnx! Luv u sooo much, bro!
thanks man! You are putting the concepts out there really clear.
Whooo !!! Thats cool !! Clear ! THX you !!!
Great video.
very big thank you again, Vin Diesel
your very good
Awesome video! Thanks for these helpful tips!
Absolute legend, thank you brother 🙏🏽
Wow! Great content keep it going 👍🏻
This here....is WOW!!!!!
Oscar knows... nice tips dude.
i am so thankful for this video. love it.
I had no clue about this but it was interesting and I surely remember it when needed.
you've opened my eyes
👀
Amazing, pro and simple explanation!!!
Love your explanation!
Solo un cuore e un like??? Cavolo Oscar,da puro italiano ti confido e parlo senza maschera o filtro, ovviamente con tanto rispetto.... Veramente mi sto guardando i video di anni fa perché sono perle! O tuoi Input, immediatamente nel cervello,e utili come non mai ! Purtroppo dopo 15 anni a suonare nei club,radio,open dance hall,5 festival,4 love boat and Resident DJ 5 anni (gli ultimi, non andavo più in giro a parte pre-disco ,come After, After tea, The after of the After, etc.)in un bel club che ogni weekend,ospitava dj internazionali (no Carl cox & Friends😂) tipo Spencer Parker,&me,Reboot,Frivoulus, Nastya, Markantonio,Dan Ghenacia,Argy, Leo Mas, Marco Bellini ecc ecc . E in principio i primi 5 anni dove o ero resident per la stagione,o due sabati al mese,2 giovedì etc.,suonavo spesso prima del guest perché ben saprai molti iniziano anche mezz'ora un ora dopo,causa la pista non è full! Devo dire è stato utile, perché Ok,la mia politica o l'unica " regola", è mai suonare quello che non t piace o suonare cose da radio che le suonano al luna park (senza offendere nessuno),ma capire quando stravolgere il tuo filo conduttore,la tua storia,quella energia che le prime volte ti faceva tremare le mani e avevi il braccetto dei TECHNICS per poi essere dipendente da quella fantastica e indescrivibili energia!! quindi stravolgere il mix,ma restando nei margini con quell'impronta più facile più allegra, spensierata e poi switch di nuovo di torna nella via. Tornando alla fine ,dicevo che gli ultimi 5 anni suonavo sempre dopo il guest ,che in principio mi sembrava penalizzante, anche stancante (alle 00.00 eravamo lì),incominciare alle 4.30/5.30,per poi innamorarmi di quella fetta di persone,che sono lì per la musica e divertirsi ,che ogni cambio energico,o Acappella's/Sample mettevo,loro urlavano si emozionavano, e io con loro, è musica che ballerei per una vita, è il mio sound,ricercato,con del lavoro, ricerca ecc, Non volevo vocalist, Iniziavo sempre con lo stesso disco (Dj Rolando 😊🐆) e suonava di bpm alto,ogni volta una sfida il secondo disco, con un Time scratch difficile a volte soprattutto perché il secondo disco è quello che da il via definitivo,e ovviamente da valore al 3'etc(fortuna vuole che ho sempre un 5-6 dischi in testa per ogni canale,tra Loop,sample ,vocal, and tracks. 5 Anni indimenticabili .....)tutto CON IL CUORE E LA PASSIONE!!! .... Tante tracce,mai un EP, solo 2 RMX . Ho la maschine, MODEL 1, CONTROLLER VARI, GIRADISCHI,ETC .. PERÒ MI SONO ARRUGGINITO... DOPO IL COVID 19 QUI È L' APOCALISSE DELLA DISCO E CLUB...CIRCA 40 NELLA MIA PICCOLA "Friuli Venezia Giulia", Mamma mia mi viene da piangere......in più cambiato ancora casa e quindi non ho più il mio studio insonorizzato,fatto ad Ok,gli strumenti "fissi,”wow ma quanto ho scritto? Non ho con cui parlare a parte persone lontane e per questo a suo tempo ho per scherzo aperto il canale TH-cam,solo per caricare i dj SET, fatti in lock down da mandare ad amici in Europa, Perù, Brasile e via....
Se vedi il canale da l'impressione di uno senza passione (e in realtà non amo i social anzi,solo per la musica e derivati),un amatoriale ! Poi ascolto la musica e la cosa cambia... Mi piacerebbe che ascoltassi una mia sessione,ecco ta te con sincerità,mi piacerebbe tantissimo un ascolto! E non fantastico mai su queste cose o altre perché ti portano in posti che nn esistono!!! Sto pensando a dei corsi ti chiederò più avanti,ora uso la daw ogni giorno dopo 3 anni! Maschinemk2 mi è più facile, ableton cavolo ho dimenticato....😮😢...troppo alcool & Company, sicuramente! 🙄.... Ti mando un abbraccio forte ❤Love & Passion caro Oscar. 😊
Fantastic video. Thank you!
Nice tutorial. I would add a third rule, which is have the right amount of bass. High mid only sounds loud if it had the right amount of bass sitting underneath it.
Excellent examples.
ANOTHER BANGER VIDEO
To the point, well expressed with accurate information... what an excellent video.
I found it helpful, thank you very much.
Genius!
Really good considerations, thanks man!
2 minutes into it and I have already subscribed to your channel. Good work!!
Great video, Simple and accurate.
Your tips are always eyeopening and amazingly accurate. Gracias mi Amigo!!
THIS. You should be an engineering preacher!
I mostly record live instruments like drums, vocals, or electric guitars, but this information is handy either way. Every time I open my DAW to start a new song, I always start by routing all my tracks & busses and creating a master chain consisting of a simple harmonic saturator working on the low end, a small EQ dip at 200, and a master limiter at the very end set to -3.0 threshold and a -0.5 ceiling. That makes everything glue together as well as bringing out that "sense of loudness" rather than actual loudness like huge EQ bumps or literal volume increasing.
...tbh... I prefer the way the end result sounds when you record with lower gain on the front end, and then mix super hot, with aggressive saturation and compression, and a heavy handed master limiter. I've had a lot of people tell me they thought I was using samples on my drum recordings but nah, I just know a thing or two about gain staging. Still, I'm no expert. Audio engineering is a vast and complex (and sometimes philosophical) subject that often takes upwards of 5-6 years to really get comfy with.
THIS WAS PERFECT!! It all makes sense now 😏 time to make some bangers