Always a pleasure to see you mixing or mastering in this case with hardware. Great edited version of mastering with explanation while giving us a tour. Thanks🙏🏿
I noticed you don't (audibly) gain-match every unit. I thought it's essential when mastering because you can't know if you processed it actually better or just gain-boost tricked you to sound better. but you don't have to do that? Please teach me. Thanks.
I love the fact that you explain things that aren’t common for intermediate learners. Like the how you pointed out the function of the cross compressor. I would’ve never thought of that by myself, but now that I know it exist, just simply having that nugget of understanding, I know will translate to substantial progress in my own journey. Thank you for not gatekeeping all this information. I hope you find tremendous success on this platform.
Thank you, you may find my review on the Goly CrossCOMPressionEQ useful. I talk about this particular function in a lot more detail here: th-cam.com/video/GLd87vuvnT8/w-d-xo.html
ปีที่แล้ว +1
Hello, as a general rule of your master chain shown in the video, how much of dbfs (in average) do you set your input signal to, before going to analog chain? Do you find the sweetspot for those outboards to work?
@@AudioAnimalsStudio was wondering the same. Of course it depends but it shouldn’t be sometimes -5dbfs or -25dbfs right? Don’t you have general “range”?
Very interesting point you made in the end of the video. Would be curious to hear more about your thoughts on this? In my experience binaural mixes can be jawdropping, but they come with a heavy price of weak to almost none existent mono elements, which can be fatal to any track that uses groove and rhythm as fundamental building block. Yes, stereo is wider and richer, but also weaker and less direct - and depth is usually achieved by contrasting the two. I've personally only had success with ambient experimental electronic music, orchestra or textural jazz in binaural. A track like your example, funky/disco, would (to me) be really dangerous to process binaurally. Additionally, doesn't the "heavy" analog processing fundamentally change the EQ filtering that Atmos uses to sum to binaural stereo, only leaving the L/R panning intact(and therefore removing the spatial attribute)? Would be curious to hear more about your thoughts on this, always love to learn.
The key is to utilise your binaural settings. The mistake a lot of engineers make is they have every object or bed set to near mid or far. Never off. What goes down the centre set to off. Now there are no binaural settings applied to this object. Zero difference from if you were to be working in stereo. Choosing the right sounds to active binaural information active on is how you achieve a jawdropping mix with every track.
Thanks for talking the time to walk through the units. So does the Goly Comp EQ do everything that the Goly Dynamic EQ does, but additionally gives you the cross compression function?
That's how I like to do my videos, like I'm talking to someone who is there with me in the room. Having a conversation. I'm glad that came across. I will be doing a lot more videos like this one.
Great video, thank you. I am interested that you put the portico (with the primary aim of increasing the stereo field) first in your chain. I would have thought stereo processing should occur towards the end of the chain due to the potential for gear that follows the stereo processing to narrow the stereo field again. Or is this just my experience where using plugins does this... your your gear is so awesome there is no concern there? :)
The Portico 2 works in a very different way to a standard stereo widener. It works far better at the start of the chain as more of an enhancement tool rather than just a stereo widener.
@@AudioAnimalsStudio Thank you Paul. Exactly why it processes the stereo field differently than the norm might be a topic for a future video. It would be interesting to get your perspective on this. Just saying :)
very well made video, thank you! sure you've tested prior - any reason to why the mbp is 1st in the chain? i mostly use it last on the mix buss. just curious to your findings. does it help the stereo image better being 1st?
It depends on you want to use it. I will use it as a stereo field editor and to add saturation with silk red and blue. This means what I want to achieve is to set the stereo image to then process that single after the chain. Instead of processing the signal and widening that processed signal.
Hi there. I have mastering chain like this: 1. TK-lizer 2 2. SSL Bus+ 3. SSL Fusion 4. Maag Audio EQ4M (M/S from Fusion) 5. Bettermaker Mastering Limiter Is this setup optimal enough or do i need to switch any position between these gears? Please help :D
I am watching several of your videos. This chain has the Thermos EQ, sounds lovely paired with the SPL Iron. About the Roger Mayer 456s, do you have them in 500 form? Been looking at these for a while. Thanks.
The Thermos is a great EQ for the price. There is a video on the channel of it up against the Maselec, Buzz and SPL PQ. 3k vs 6k plus. I've since replaced it with a buzz REQ 2.2. Regarding the Roger Mayer yes I have them in 500 series. I posted a review on them today. They are very good.
I just got the SSL Fusion to work as a 'home mastering' tool and I am absolutely loving it. But I'd love to get some kind of maximizer or comp/limiter behind it to bring everything close to 0db, any recommendations for that?
@@AudioAnimalsStudio thanks so much for these! I'd love to get Bettermaker, but 4k€ is pretty steep for home studio. I'm hoping to get around this for about half of that hopefully 😁
Im watching video which i watched alot of times, I noticem I never heard you say anything about voulme . For example after watching this video, hwod o you know you was at the correct voulme @@AudioAnimalsStudio
Too much of the outboard is being used for utility instead of tone & mojo. A lot of the functionality in your chain can be done with plugins. It's expensive to use that kind of stuff for utility. I guess if you are in a rush not working on your own music and just doing mastering for clients and you don't ever need to recall it again and it's a one time thing, you paid the extra to have knobs for all utility stuff in the same rack. But remember you could have setup a hybrid digital chain by adding a mounted knob controller (with printed labels) that controls the best-of-the-best of plugins. That's like having an advanced digital mastering unit if you think of it like that.
Mastering for atmos is very different to stereo. Each object is stereo. These channels can be processed. There is technically no physical master bus in atmos like there is in stereo.
@@AudioAnimalsStudio correct me if i'm wrong. Does this mean when mixing & mastering in Surround. We take the processed stereo stems of that song and work from there?
@TMH Studio there's a few unique ways. My approach I don't like to talk about as it's highly unique and achieves me a sound nobody else doing atmos can achieve.
@@AudioAnimalsStudio You're welcome! Oh I bet! catching sweet spots between all processors must be a joy! I am currently working on a project, and will check out your website to book a session to master, I would love to hear how my mixes translate in your chain,I'm sure nothing but ear candy!
All the Maslec's are in my other mastering studio. You'll find a Maselec MLA-3, MEA-2 and MPL-2 in there. This is the full chain... Elysia Alpha Compressor UnFairchild 670M II Elysia Nvelope Vertigo VSM-2 Bettermaker Darthlimiter Maselec MLA-3 Maselec MPL-2 Maselec MEA-2 Goly Dynamic Shelving EQ Goly Dynamic Asymmetrical EQ Goly CrossCOMPressionEQ SPL PQ Maag EQ4m Kush Clariphonic M/S Dangerous Music BAX Whitestone Audio P331 Solid State Logic Fusion Rupert Neve Portico 2 Lynx Aurora (n) 16 USB SPL Hermes SPL Phonitor 2 + Expansion Ex Machina Pulsar Trinnov ST2 Presonus Faderport Universal Audio Octo PCIe
@@AudioAnimalsStudio thanks for answering. Would you say this in any way near the maselec mpl2 hf limiter? I am still looking forma nice smooth replacement for the mpl2. Had it in the past but can’t afford it anymore and I use the Farbfilter in dynamic mode for that kinda stuff but would love to have an analogue solution such as the deesser in 500 format.
@@AudioAnimalsStudio first of all I want to thank you for taking your time and answering my question. That is really nice. Thanks. Last question. How would describe the sound of the deeser? Is it doing a good job? And since you are using it on an insert point in one of your gears would say it is plenty good for mastering application to tame those high frequencies before hitting my last piece of analogue gear the elysia xpressor?
Fablulous demo chief.... this was great explanation of mastering chain and the difference. between the mix.
Always a pleasure to see you mixing or mastering in this case with hardware. Great edited version of mastering with explanation while giving us a tour. Thanks🙏🏿
Glad you enjoyed it. Lots more of these style videos to come.
@@AudioAnimalsStudio looking forward to them.
I noticed you don't (audibly) gain-match every unit. I thought it's essential when mastering because you can't know if you processed it actually better or just gain-boost tricked you to sound better. but you don't have to do that? Please teach me. Thanks.
Bear in mind for the purpose of this video it's a quick master. I'm not doing much in the way of referencing.
such a nice video!
I love the fact that you explain things that aren’t common for intermediate learners. Like the how you pointed out the function of the cross compressor. I would’ve never thought of that by myself, but now that I know it exist, just simply having that nugget of understanding, I know will translate to substantial progress in my own journey. Thank you for not gatekeeping all this information. I hope you find tremendous success on this platform.
Thank you, you may find my review on the Goly CrossCOMPressionEQ useful. I talk about this particular function in a lot more detail here: th-cam.com/video/GLd87vuvnT8/w-d-xo.html
Hello, as a general rule of your master chain shown in the video, how much of dbfs (in average) do you set your input signal to, before going to analog chain? Do you find the sweetspot for those outboards to work?
It depends on the track and is independent of each song. There's no fixed value that works for everything.
@@AudioAnimalsStudio was wondering the same. Of course it depends but it shouldn’t be sometimes -5dbfs or -25dbfs right? Don’t you have general “range”?
Very interesting point you made in the end of the video. Would be curious to hear more about your thoughts on this?
In my experience binaural mixes can be jawdropping, but they come with a heavy price of weak to almost none existent mono elements, which can be fatal to any track that uses groove and rhythm as fundamental building block. Yes, stereo is wider and richer, but also weaker and less direct - and depth is usually achieved by contrasting the two.
I've personally only had success with ambient experimental electronic music, orchestra or textural jazz in binaural.
A track like your example, funky/disco, would (to me) be really dangerous to process binaurally.
Additionally, doesn't the "heavy" analog processing fundamentally change the EQ filtering that Atmos uses to sum to binaural stereo, only leaving the L/R panning intact(and therefore removing the spatial attribute)?
Would be curious to hear more about your thoughts on this, always love to learn.
The key is to utilise your binaural settings. The mistake a lot of engineers make is they have every object or bed set to near mid or far. Never off. What goes down the centre set to off. Now there are no binaural settings applied to this object. Zero difference from if you were to be working in stereo. Choosing the right sounds to active binaural information active on is how you achieve a jawdropping mix with every track.
Thanks for talking the time to walk through the units. So does the Goly Comp EQ do everything that the Goly Dynamic EQ does, but additionally gives you the cross compression function?
No. It is compression not dynamic EQ. I wouldn't say the two have much in the way of similarity.
Very detailed very clear explanation, good sound, thank you!
Thank you, glad you enjoyed it
For the stereo image , it's normal that i dont hear the différence when you changes the konbs ?what shold WE hear exactly ?
If a person really know something, this is like one of the greatest videos, and I Love that you shared this
Who produced the track playing ? 😀
Nice. Finally you showed how you use the Neve Portico 2 for Stereo enhancement. Will try it out this weekend 🙂
Incredible demo - wow! With a great pair of headphones, the audio evolution as the signal travels through the chain is sublime.
What’s your mix level going into the first unit or mix out level from the daw ?
Crazy the cost of that gear for an extra added 2% improvement on the mix.
Best video I´ve ever seen on TH-cam. Seriously. I truly felt teleported to the studio. Thanks Paul!
That's how I like to do my videos, like I'm talking to someone who is there with me in the room. Having a conversation. I'm glad that came across. I will be doing a lot more videos like this one.
I love it! What an amazing mastering chain.
Can't wait to get these guys on my next track.
Bouncing down stems as we speak.
Top stuff, chaps. 👌🏻👌🏻👌🏻
Thank you, we look forward to working with you
You know it
Great video, thank you. I am interested that you put the portico (with the primary aim of increasing the stereo field) first in your chain. I would have thought stereo processing should occur towards the end of the chain due to the potential for gear that follows the stereo processing to narrow the stereo field again. Or is this just my experience where using plugins does this... your your gear is so awesome there is no concern there? :)
The Portico 2 works in a very different way to a standard stereo widener. It works far better at the start of the chain as more of an enhancement tool rather than just a stereo widener.
@@AudioAnimalsStudio Thank you Paul. Exactly why it processes the stereo field differently than the norm might be a topic for a future video. It would be interesting to get your perspective on this. Just saying :)
@Owl Muso yes on the list. Been asked many many times to show how I use the Portico 2
@@AudioAnimalsStudio Awesome, I look forward to it. Thanks for the great work that you do
Question when you insert vsc vertigi what is channel 1 ans channel 2 on that device . you in m/s mode right
Yes the Vertigo VSE is in mid side. Channel 1 mid and channel 2 side.
very cool job man… my respects
wow...amazing set up mate
Thank you
Why is ATMOS so important,, if it comes down to stereo? Nice gear love my fusion..
OTHER FORMATS BRING MORE REVENUE..
ATMOS GOES FROM MOVIES TO LEGACY MUSICAL ACTS TO NEW ARTIST..
very well made video, thank you!
sure you've tested prior - any reason to why the mbp is 1st in the chain? i mostly use it last on the mix buss. just curious to your findings. does it help the stereo image better being 1st?
It depends on you want to use it. I will use it as a stereo field editor and to add saturation with silk red and blue. This means what I want to achieve is to set the stereo image to then process that single after the chain. Instead of processing the signal and widening that processed signal.
I finally tried out the Portico 2 as Stereo Enhancer. And I have to say... is sounds amazing! 🙂🙃🙂
Once you use it like that it's very hard to see it as a compressor. For me it's the ultimate stereo imager.
Godly master chain
Another great video !!
Have you tried the Spl Big for widening ,that would be a cool comparison 😊
I haven't. I am hoping they release a 19" rack version. That I would be interested in. I don't have a 500 series rack anymore.
😮😮😮😮
HAVE YOU EVER USED THE BAX IN A CHAIN
We have the Dangerous Music BAX in Studio A here and it's a brilliant EQ.
Brilliant video, Paul. Really interesting to see (and hear) the kit you use to make my tracks sound miles better.
Thank you. Going to be doing a few more videos like this.
Hi there. I have mastering chain like this:
1. TK-lizer 2
2. SSL Bus+
3. SSL Fusion
4. Maag Audio EQ4M (M/S from Fusion)
5. Bettermaker Mastering Limiter
Is this setup optimal enough or do i need to switch any position between these gears? Please help :D
If you are using the bus plus as your compressor I would move it up to before the limiter.
@@AudioAnimalsStudio nice. How about the TK & Maag Eq4m. Which one should come first in your opinion?
@@mhstoregameon I would use one as stereo EQ and the other as a mid side EQ.
@@AudioAnimalsStudio i get your point. Should i put one EQ to the first position of the mastering chain or Fusion come to the first place?
@@mhstoregameon depends on what you want to achieve. I would have the fusion first in a small chain like this.
Do you use deessers on the master often?
Yes.
Cool and im not trippin but you using the derressor in m/s via the fusion?
@SXTWLVE in this video I may have been. Very good use of it when mastering.
Dude this was awesome, thanks for sharing!!
Thanks for watching, glad you liked it.
So you just dont run it through izotope ozone and call it a day huh? 😂
No, we aren't like the others.
I am watching several of your videos. This chain has the Thermos EQ, sounds lovely paired with the SPL Iron. About the Roger Mayer 456s, do you have them in 500 form? Been looking at these for a while. Thanks.
The Thermos is a great EQ for the price. There is a video on the channel of it up against the Maselec, Buzz and SPL PQ. 3k vs 6k plus. I've since replaced it with a buzz REQ 2.2.
Regarding the Roger Mayer yes I have them in 500 series. I posted a review on them today. They are very good.
@@AudioAnimalsStudio let me watch that right now! Great content, thank you very much for uploading such quality content!
@@marbelis-my8xo thanks for watching.
I just got the SSL Fusion to work as a 'home mastering' tool and I am absolutely loving it. But I'd love to get some kind of maximizer or comp/limiter behind it to bring everything close to 0db, any recommendations for that?
On a budget the Bettermaker limiter is good. If you want to spend a bit more go for the Hum Audio LAAL
@@AudioAnimalsStudio thanks so much for these! I'd love to get Bettermaker, but 4k€ is pretty steep for home studio. I'm hoping to get around this for about half of that hopefully 😁
@syv2un1 don't look how much the Hum Audio LAAL is then. That's eye-watering
Amazing
Cool
WoW 🔥
What PMC monitors are those?
Ci Series
Probably I would feel professional when can hear A-B
Question, At what point did you turn the voulme up stage ?
How do you mean? To bring the track up to the desired LUFS
Im watching video which i watched alot of times, I noticem I never heard you say anything about voulme . For example after watching this video, hwod o you know you was at the correct voulme @@AudioAnimalsStudio
@@TicscoCampbell I monitor volume in the box
great! do you use lynx as converters?
In this studio we use the Avid MTRX converters
Too much of the outboard is being used for utility instead of tone & mojo. A lot of the functionality in your chain can be done with plugins. It's expensive to use that kind of stuff for utility. I guess if you are in a rush not working on your own music and just doing mastering for clients and you don't ever need to recall it again and it's a one time thing, you paid the extra to have knobs for all utility stuff in the same rack. But remember you could have setup a hybrid digital chain by adding a mounted knob controller (with printed labels) that controls the best-of-the-best of plugins. That's like having an advanced digital mastering unit if you think of it like that.
What like the Avid S4 console you see behind me throughout the video
Hi. I wonder how do you mastering a song in dolby atmos when all the Analog Mastering gears is only 2 channels (Stereo)?
Mastering for atmos is very different to stereo. Each object is stereo. These channels can be processed. There is technically no physical master bus in atmos like there is in stereo.
@@AudioAnimalsStudio correct me if i'm wrong. Does this mean when mixing & mastering in Surround. We take the processed stereo stems of that song and work from there?
@TMH Studio for Dolby Atmos mastering you would. Each stem is the positioned as an object around the room
@@AudioAnimalsStudio what i still not clear is how do we process something like: Mixbus eq, compression. Saturation. Etc.
@TMH Studio there's a few unique ways. My approach I don't like to talk about as it's highly unique and achieves me a sound nobody else doing atmos can achieve.
Wow, amazing sound how it all came together! 👍
Thank you. And that's just a quick 5 minute master to keep the video short. Imagine the sound after an hour of fine tuning the sound.
@@AudioAnimalsStudio You're welcome! Oh I bet! catching sweet spots between all processors must be a joy! I am currently working on a project, and will check out your website to book a session to master, I would love to hear how my mixes translate in your chain,I'm sure nothing but ear candy!
What kind of converter s u using
Avid MTRX
Interesting to see no Maselec
All the Maslec's are in my other mastering studio. You'll find a Maselec MLA-3, MEA-2 and MPL-2 in there. This is the full chain...
Elysia Alpha Compressor
UnFairchild 670M II
Elysia Nvelope
Vertigo VSM-2
Bettermaker Darthlimiter
Maselec MLA-3
Maselec MPL-2
Maselec MEA-2
Goly Dynamic Shelving EQ
Goly Dynamic Asymmetrical EQ
Goly CrossCOMPressionEQ
SPL PQ
Maag EQ4m
Kush Clariphonic M/S
Dangerous Music BAX
Whitestone Audio P331
Solid State Logic Fusion
Rupert Neve Portico 2
Lynx Aurora (n) 16 USB
SPL Hermes
SPL Phonitor 2 + Expansion
Ex Machina Pulsar
Trinnov ST2
Presonus Faderport
Universal Audio Octo PCIe
yh but can you play smoke on the water?
I kid, insane. One can dream
@@jackflynn-oakley6137 no but one can imagine how good it would sound in Dolby Atmos
@@AudioAnimalsStudio OK. Now I need a tissue for all this mess :)
Wich deesser are you using in that 50ö three slot rack?
That is the Empirical Labs Derrresser
@@AudioAnimalsStudio thanks for answering. Would you say this in any way near the maselec mpl2 hf limiter? I am still looking forma nice smooth replacement for the mpl2. Had it in the past but can’t afford it anymore and I use the Farbfilter in dynamic mode for that kinda stuff but would love to have an analogue solution such as the deesser in 500 format.
@Cocktail Maker I have a MPL-2 here and I wouldn't say they are that similar. The MPL-2 is smoother. I feel this is the best 500 series unit.
@@AudioAnimalsStudio first of all I want to thank you for taking your time and answering my question. That is really nice. Thanks. Last question. How would describe the sound of the deeser? Is it doing a good job? And since you are using it on an insert point in one of your gears would say it is plenty good for mastering application to tame those high frequencies before hitting my last piece of analogue gear the elysia xpressor?
@@9-mastering yes it is brilliant for mastering applications. The HF limit feature is great for mastering.