Nice video, but the track sounds more transparent without the compressor. It's too much compressed in de midds for my tast. Maybe use the parallel slider a bit?
👍🍀A very well-made tutorial, everything is explained very well, Sam. I followed the proceedings attentively through headphones. Because I have been in the comfortable position of being able to spend a few hours a day recording, mixing, mastering, etc. for a few years now, I have noticed that my ears have become more "trained" during this time, i.e. I hear/perceive things that I had not heard before. In this particular tutorial, but also in many similar tutorials by many other respectable mixing and mastering specialists, the results of "better sound" are so marginal and subtle that I personally have enormous difficulty determining with certainty what is "A" and what is "B". I have therefore long been of the opinion that the NORMAL MUSIC CONSUMER does not notice these differences, and even less so when you consider how and with which playback components music is mostly consumed these days. Gross mixing errors such as too massive a low end, harshness, boxiness, etc. or an unbalanced balance of instruments and vocal tracks is something the average music consumer will of course notice, that's completely clear. But similar subtle changes such as the one in this tutorial...? Let's not kid ourselves, "let's keep our feet on the ground". I like to compare it to a model maker who recreates something down to the smallest detail on a very small scale, e.g. a truck. The "normal" viewers are delighted with the result and can hardly believe how it could be recreated on such a small scale, everyone crowds around the glass display case...But now the truck company boss comes along and says that the vehicle manufacturer's logo on the front of the radiator grille is not attached to the second strut of the radiator grille, but only to the third...Yes, what a botched job...(irony end😉)
Thanks for the video, but I find it a bit counterproductive that the main output level in gain match mode goes up and down with every kick & snare hit. It's somehow like a secondary slow compression stage. Doesn't this affect the assessment of the actual compression? I think so.. Would you at least deactivate the gain match function when rendering? In my opinion, a kind of static gain match function would work better. I mostly use gain match in Ozone to manually adjust the output level and then deactivate the function again. A constantly moving the output level doesn't seem to be the best way, at least to me. Would be interesting what are your thoughts on this. Thanks.
12:36 hey Sam, the Gain Match is countracting the upward compression, it's literally doing the opposite movement so you can't hear what upward compression is doing at all
I think my ears are just garbage. I totally get what compression is and what it does on a technical level but, I REALLY struggle to hear the things that you point out here. I just don't hear them. :(
It's okay, any mixbus processing is suppose to be so subtle you can barely hear it. Also, better studio monitors/audio interface and a proper setup would help. These things are very subtle and take an extremely long time to notice, so don't feel bad, eventually you'll be able to tell, just keep working on it :)
It’s ok to feel that way, any engineer will experience that phase. Try to practice using compressor everyday for 5-10’ and you will hear it eventually. If you can’t hear any compression at all, i recommend watching the video “how to hear compression” by kush afterhour, he explains what to hear and how to use it emotionally.
Sorry Sam. Not personal but I've got to comment here. I got as far as the 9.35 comparison and at that point you should be hearing you've disconnected the punch of the kick and snare from the other instruments and sucked the front off the bass overall. Your buss compression sounds worse than before, imho35yrs. Bassier sure, 'warmer' sure, but stodgy bass. Good edu detail about what's happening and why, but I get this sort of buss mushing in from clients all the time. and therefore you're furthering not fully understood urban myths about multi band compression here. i could master the mix 'before' fine but what you're doing cannot be undone. You're taking away my ability to make the whole thing punch because I think you're focussing too much on the elements and the received wisdom desire to for some reason ' reduce the dynamics a little'. It's not the way to get snare snap accented either.This mix needs just a nudge of Shadow Hills solid state with a low bypass from about 200Hz. 4:1 1/2 dB max comp. LONG attack, shortest release. Then a single multiband linear phase on the bottom octaves with a MUCH longer attack time and shortish release. Or your own low end focus module to punch it, not slice the low end off like this and present it as a win with 'longer bass sustain'. That's the sure fire net result of attacking bass too quickly - loss of punch and gain in the sustain and/ or release sections of the dominant instrument in the bottom octaves. This is not what I get with 'mix glue', it's not sitting the mix up and making it cohesive.... and that's extraordinarily difficult to do if you're going to use 3 bands. Just use an SSL mix buss emulator or said Shadow Hills but with a 180-200Hz bass bypass. They're classic for a reason. I'd be asking the client for the stems please.. without your mix buss additions.
Wow, the compression create some great ‘snap’. ❤
One of the Best videos about audio compression, straight to the point, easy to hear and simple to use ... Thank you Sam and iZotope
Nice video, but the track sounds more transparent without the compressor. It's too much compressed in de midds for my tast. Maybe use the parallel slider a bit?
👍🍀A very well-made tutorial, everything is explained very well, Sam. I followed the proceedings attentively through headphones. Because I have been in the comfortable position of being able to spend a few hours a day recording, mixing, mastering, etc. for a few years now, I have noticed that my ears have become more "trained" during this time, i.e. I hear/perceive things that I had not heard before.
In this particular tutorial, but also in many similar tutorials by many other respectable mixing and mastering specialists, the results of "better sound" are so marginal and subtle that I personally have enormous difficulty determining with certainty what is "A" and what is "B". I have therefore long been of the opinion that the NORMAL MUSIC CONSUMER does not notice these differences, and even less so when you consider how and with which playback components music is mostly consumed these days.
Gross mixing errors such as too massive a low end, harshness, boxiness, etc. or an unbalanced balance of instruments and vocal tracks is something the average music consumer will of course notice, that's completely clear. But similar subtle changes such as the one in this tutorial...?
Let's not kid ourselves, "let's keep our feet on the ground". I like to compare it to a model maker who recreates something down to the smallest detail on a very small scale, e.g. a truck. The "normal" viewers are delighted with the result and can hardly believe how it could be recreated on such a small scale, everyone crowds around the glass display case...But now the truck company boss comes along and says that the vehicle manufacturer's logo on the front of the radiator grille is not attached to the second strut of the radiator grille, but only to the third...Yes, what a botched job...(irony end😉)
Thanks for the video, but I find it a bit counterproductive that the main output level in gain match mode goes up and down with every kick & snare hit. It's somehow like a secondary slow compression stage. Doesn't this affect the assessment of the actual compression? I think so..
Would you at least deactivate the gain match function when rendering? In my opinion, a kind of static gain match function would work better.
I mostly use gain match in Ozone to manually adjust the output level and then deactivate the function again. A constantly moving the output level doesn't seem to be the best way, at least to me. Would be interesting what are your thoughts on this. Thanks.
12:36 hey Sam, the Gain Match is countracting the upward compression, it's literally doing the opposite movement so you can't hear what upward compression is doing at all
The output is clipping ?
Kewl track, curious to know who that is
is it just me or the song was better before and all over the place after the mb compression done
I actually like the compressed song more, it sounds like a real record instead of a good mix
Bro, do you happen to drive a Ford Galaxy and have a habit of turning rib cages into coffee tables?
😂
WHO TOLD YOU?!
I think my ears are just garbage. I totally get what compression is and what it does on a technical level but, I REALLY struggle to hear the things that you point out here. I just don't hear them. :(
It's okay, any mixbus processing is suppose to be so subtle you can barely hear it. Also, better studio monitors/audio interface and a proper setup would help. These things are very subtle and take an extremely long time to notice, so don't feel bad, eventually you'll be able to tell, just keep working on it :)
@@Noxal99 Thank you for your encouragement. I appreciate you! Thanks.
Compression is a placebo……
@@C-MAGs Use headphones until you get used to it.
It’s ok to feel that way, any engineer will experience that phase. Try to practice using compressor everyday for 5-10’ and you will hear it eventually.
If you can’t hear any compression at all, i recommend watching the video “how to hear compression” by kush afterhour, he explains what to hear and how to use it emotionally.
Sorry Sam. Not personal but I've got to comment here. I got as far as the 9.35 comparison and at that point you should be hearing you've disconnected the punch of the kick and snare from the other instruments and sucked the front off the bass overall. Your buss compression sounds worse than before, imho35yrs. Bassier sure, 'warmer' sure, but stodgy bass. Good edu detail about what's happening and why, but I get this sort of buss mushing in from clients all the time. and therefore you're furthering not fully understood urban myths about multi band compression here. i could master the mix 'before' fine but what you're doing cannot be undone. You're taking away my ability to make the whole thing punch because I think you're focussing too much on the elements and the received wisdom desire to for some reason ' reduce the dynamics a little'. It's not the way to get snare snap accented either.This mix needs just a nudge of Shadow Hills solid state with a low bypass from about 200Hz. 4:1 1/2 dB max comp. LONG attack, shortest release. Then a single multiband linear phase on the bottom octaves with a MUCH longer attack time and shortish release. Or your own low end focus module to punch it, not slice the low end off like this and present it as a win with 'longer bass sustain'. That's the sure fire net result of attacking bass too quickly - loss of punch and gain in the sustain and/ or release sections of the dominant instrument in the bottom octaves. This is not what I get with 'mix glue', it's not sitting the mix up and making it cohesive.... and that's extraordinarily difficult to do if you're going to use 3 bands. Just use an SSL mix buss emulator or said Shadow Hills but with a 180-200Hz bass bypass. They're classic for a reason. I'd be asking the client for the stems please.. without your mix buss additions.