Great video. Have you ever tried Wavesfactory Spectre? It's a great plugin as like an Aural Exciter for Mid Side with its Mid Side matrix capabilities and dry/wet mix knob. Sounds really good too.
I loved the sound the Portico II added on your previous mastering chain video (which really helped me understand building a mastering chain with purpose far more than anything else - the best on YT) so wanted to find something that at least did similar and was disappointed that nothing I tried came close. However, I recently demoed the AA Snow after finding out it has the MBP II - set it to Silk Red, LF Depth, HF Width - and bought it after 5 mins. I'm under no illusion there isn't the usual difference (however small) with the hardware, but it's the best I've heard by a mile ITB.
@@AudioAnimalsStudio I will say you can't apply the texture individually per channel as you can on the H/W unfortunately, but I figured I can always use it alongside the VSM-3 if I wanted the harmonics a bit more targeted.
Where in the chain would you put transient designer right before limiter? Also have you tried Newfangled Punctuate? I think it's quite magical multiband transient designer.
I like to have my transient designer just before compression and limiting. I like to pull the transients out and then control them with compression. In my chain I have the transient designer last in the mid side chain after EQ. Try a transient designer just on the mid. You get a lovely punch to the centre image.
@@AudioAnimalsStudio hmm I see I also like the Luca Pretolesi tip for parallel blend of signal of mid section (of M/S) using transient expansion and saturation or soft clipping but only applied to mid frequencies for punch and clarity especially on drums basically.
I would always prefer the modern unit over vintage for a few reasons. Warranty, VAT deduction on new gear, lifespan of valves etc. I'll shoot a video on this question.
Hi Paul, so you have your outboard dynamic eq after the limiter? Won't the dynamic eq post limiter bring out the peaks that the limiter just kept in check, before going back ITB?
I will come back into the box to set my true peak. There are a few benefits to this. My limiting is taken care of out the box using the Hum Audio look ahead analogue limiter. Then back in through the Burl B2.
Hello Paul. How do you feel about the widener on the Bettermaker Limiter( the hardware)? In case of a Lynx Hilo that doesn’t like it to be hit too hard on the way in how would you recommend using an external to make it work with the Hilo, when using the Hilo purely for AD conversion? Thank you.
The bettermaker limiter isn't bad for widening. It has brilliant saturation. Mid side processing too so you have a lot of good options for widening. I'd have a limiter before you go back in. I have the LAAL last in the chain before I hit the burl converters. I find a limiter at the end of the analogue chain essential.
@darotm7628 personally not a huge fan of ozone. I've always found izotope products to be a simplified for beginners. Which is great if you are a beginner but I've always found other tools to do better jobs. Rx 10 is a great product though.
I find I need a few different things in my bus depending on the needs of the track but I always have a solid 5 on there that are my normals. 1. Ampex-102 tape machine 2. Digital V3 eq 3. Spl PQ EQ 4. TOMO LISA 5. Amek, shadow hills, or Manley vary mu compressor….depending on my feel. 6. TB tech Kirchhoff For stereo widening you can use the correlation to decide when the widening is perfect. . Get the correlation to plus 1 and the balance in the middle and then widen it until the correlation returns to center.
You shouldn’t need 10 plug-ins on a mastering chain (obviously there are exceptions to the rule) When I looked through the comment boards, and I see people questioning whether they should use a certain type of stereo, Widener on their master chain I know that that person is not even close to being ready to master. Much much much more important than your master chain. Is your actual mix. If you need a stereo, Widener on your master chain, it is because you have failed to mix your sound appropriately. The greatest producers in the world have said repeatedly, that when a mix is done perfectly, they have very little to do on the mastering end And they know more than all of us combined
@@AudioAnimalsStudio perfection being defined objectively or subjectively? I’m not gonna try and master some thing that hasn’t been delivered correctly If you give me a turd, I am not gonna spend my time trying to polish it
@@AudioAnimalsStudio I am not worried about a client who creates turds not coming to me for work Just like Ferrari is not gonna sign an F1 driver, who doesn’t know how to drive And I am not rude to my clients. I just let them know that they have to become more educated in understanding the sound. They are trying to create and presenting them away or somebody who knows how to master can actually do the work. I believed you were highly skilled and educated about mastering, however the very fact that you just tried to spend this into me not caring about my clients as a way of defending mastering music that is not ready to be mastered makes me question that
@13thJ just advice as one mastering engineer to another. I don't want you to learn the hard way. But I will give you one last piece of advice while I'm here. Your clients are not beneath you if their music isn't what you consider good. You have to respect that different clients are of different abilities and you shouldn't turn them away because of that. If in future you find a client that isn't good enough to work with you. Send them my way. I will be happy to help them achieve their goal.
Great video. Have you ever tried Wavesfactory Spectre? It's a great plugin as like an Aural Exciter for Mid Side with its Mid Side matrix capabilities and dry/wet mix knob. Sounds really good too.
I loved the sound the Portico II added on your previous mastering chain video (which really helped me understand building a mastering chain with purpose far more than anything else - the best on YT) so wanted to find something that at least did similar and was disappointed that nothing I tried came close. However, I recently demoed the AA Snow after finding out it has the MBP II - set it to Silk Red, LF Depth, HF Width - and bought it after 5 mins. I'm under no illusion there isn't the usual difference (however small) with the hardware, but it's the best I've heard by a mile ITB.
I will have to try out the snow.
@@AudioAnimalsStudio Would be interested to hear what you think.
@@Lewis_Emblack I'm equally interested to hear what I think. It sounds good from what you are saying.
@@AudioAnimalsStudio I will say you can't apply the texture individually per channel as you can on the H/W unfortunately, but I figured I can always use it alongside the VSM-3 if I wanted the harmonics a bit more targeted.
For transient designers. Do you just bring up the transient or increase the attack
For setero imaging. I would suggest try TRacks Quad imager
For air i would suggest to use "fresh air"
Is it good to use the VSE 2 WHEN YOUR LIMITER ALREADY TURN THE SONG Up, CAUSE I ALWAYS GET A CLIPPING LIGHT WHEN THERE IS NO CLIPPING
I had this question in my mind today.. How many plugins on my masterbus !!!
Where in the chain would you put transient designer right before limiter?
Also have you tried Newfangled Punctuate?
I think it's quite magical multiband transient designer.
I like to have my transient designer just before compression and limiting. I like to pull the transients out and then control them with compression. In my chain I have the transient designer last in the mid side chain after EQ. Try a transient designer just on the mid. You get a lovely punch to the centre image.
@@AudioAnimalsStudio hmm I see I also like the Luca Pretolesi tip for parallel blend of signal of mid section (of M/S) using transient expansion and saturation or soft clipping but only applied to mid frequencies for punch and clarity especially on drums basically.
Love the video Paul , what are your opinions on vintage hardware gear such as , vintage pultecs ext. As opposed to modern mastering hardware
I would always prefer the modern unit over vintage for a few reasons. Warranty, VAT deduction on new gear, lifespan of valves etc. I'll shoot a video on this question.
Hi Paul, so you have your outboard dynamic eq after the limiter? Won't the dynamic eq post limiter bring out the peaks that the limiter just kept in check, before going back ITB?
I will come back into the box to set my true peak. There are a few benefits to this. My limiting is taken care of out the box using the Hum Audio look ahead analogue limiter. Then back in through the Burl B2.
@@AudioAnimalsStudio Thank you. I currently have my Neve MBP II before the Burl B2.
Hello Paul. How do you feel about the widener on the Bettermaker Limiter( the hardware)? In case of a Lynx Hilo that doesn’t like it to be hit too hard on the way in how would you recommend using an external to make it work with the Hilo, when using the Hilo purely for AD conversion? Thank you.
The bettermaker limiter isn't bad for widening. It has brilliant saturation. Mid side processing too so you have a lot of good options for widening. I'd have a limiter before you go back in. I have the LAAL last in the chain before I hit the burl converters. I find a limiter at the end of the analogue chain essential.
@@AudioAnimalsStudio Thank you.
Hi Paul, don't you use saturation when mastering? Thanks in advance!
Yes, lots of it.
Thanks! @@AudioAnimalsStudio
Have you ever use the nvelope as an eq, that eq function it have ? …..
I have very briefly but didn't keep using it in that way because I had the Elysia MusEQ.
I'm looking for a limiter, do you think the Fab Filter L2 is better than the Sonible Smart Limit?
I personally prefer FF L2 over smart limit
@@AudioAnimalsStudio thanks
@@AudioAnimalsStudioHave you tried the Ozone Maximiser? What do you think of it vs the FF Pro L2?
@darotm7628 personally not a huge fan of ozone. I've always found izotope products to be a simplified for beginners. Which is great if you are a beginner but I've always found other tools to do better jobs. Rx 10 is a great product though.
Do you ever use a clipper? If so, analog or digital?
We will use the Burl converters as well as the Bettermaker Darthlimiter for clipping.
I find I need a few different things in my bus depending on the needs of the track but I always have a solid 5 on there that are my normals.
1. Ampex-102 tape machine
2. Digital V3 eq
3. Spl PQ EQ
4. TOMO LISA
5. Amek, shadow hills, or Manley vary mu compressor….depending on my feel.
6. TB tech Kirchhoff
For stereo widening you can use the correlation to decide when the widening is perfect. . Get the correlation to plus 1 and the balance in the middle and then widen it until the correlation returns to center.
WHAT DO YOU REALLY THINK ABOUT THE FUSION STEREO PLUGIN
It's OK but massively over priced. It's a simple widener but has It's place.
You Have turn me into a M/S Monster lol @@AudioAnimalsStudio
You shouldn’t need 10 plug-ins on a mastering chain (obviously there are exceptions to the rule)
When I looked through the comment boards, and I see people questioning whether they should use a certain type of stereo, Widener on their master chain I know that that person is not even close to being ready to master.
Much much much more important than your master chain. Is your actual mix. If you need a stereo, Widener on your master chain, it is because you have failed to mix your sound appropriately.
The greatest producers in the world have said repeatedly, that when a mix is done perfectly, they have very little to do on the mastering end
And they know more than all of us combined
But as a mastering engineer do you get the perfect mix sent yo you every time?
@@AudioAnimalsStudio perfection being defined objectively or subjectively?
I’m not gonna try and master some thing that hasn’t been delivered correctly
If you give me a turd, I am not gonna spend my time trying to polish it
@@13Skribbles you shouldn't be calling your clients music turds. They will get offended and not return.
@@AudioAnimalsStudio I am not worried about a client who creates turds not coming to me for work
Just like Ferrari is not gonna sign an F1 driver, who doesn’t know how to drive
And I am not rude to my clients. I just let them know that they have to become more educated in understanding the sound. They are trying to create and presenting them away or somebody who knows how to master can actually do the work.
I believed you were highly skilled and educated about mastering, however the very fact that you just tried to spend this into me not caring about my clients as a way of defending mastering music that is not ready to be mastered makes me question that
@13thJ just advice as one mastering engineer to another. I don't want you to learn the hard way. But I will give you one last piece of advice while I'm here. Your clients are not beneath you if their music isn't what you consider good. You have to respect that different clients are of different abilities and you shouldn't turn them away because of that. If in future you find a client that isn't good enough to work with you. Send them my way. I will be happy to help them achieve their goal.