Our clients get the Mix, preMaster (described as in house Mastering) then final master from preferred Mastering House. The preMaster is a good tool to send as reference to the mastering engineer. Of course there is many different ways and work flows but sometimes the client is happy with the in-house.
i've got the opposite problem. i can barely convince myself to mix because i'm always way more interested in getting started on a new song than polishing an old one. my best songs are the ones i composed in a solid block of 3 or 4 hours and then didn't touch at all after rendering.
@@famitory Thats true for me as well, but when I really really like one of these, its hard to not try to make it absolutely perfectly mixed afterwards.
Thank You for the video. Other engineers and musicians we’re always telling me to never mix what I track and to never master what I mix and this might have been true when I was mixing from 2” 16 and 24 track tape machines, but now with DAW environments, spectrum analyzers, affordable high quality monitor systems and room treatments. I know what my control room really sounds like and I understand how it should sound in a multitude of different room environments. I have no problem tracking, mixing and mastering everything myself. My biggest laugh is having a client Evaluating a mix at their home wearing $10.00 laptop earbuds. Thanks Again for the video.
Long time follower here, been watching your vids since 2017. Just wanna say thanks for the great content over the years, keep it up :) Also Reaper 4 life
Yeah, between White Sea Studio, Dan Worrell and Ben Levin, I’m seriously considering demoing Reaper. I’ve never used it, but I like what I keep seeing in their videos, like its versatility, it looks like almost any situation one might face can be addressed within Reaper’s feature set. I’m a long time, devoted Logic user and have used just about every DAW out there. Logic and Studio One are my choices. But Reaper looks to have the best of those two combined.
I fully get why you are doing this. How ever even if you extend your mix with some M/S processing and some limiting it's still mixing, not mastering. Mastering is all about second opinion in completly different environment.
So when Mike Dean produces, mixes, and masters some of the biggest albums in modern history (Astroworld, Watch the Throne) he's not really mastering? Those millions of records sold were for an unmastered album because the artist didn't have it sent to another person to be mastered? That's ridiculous lol. Mastering is Mastering. Has nothing to do with opinions. It's a process.
You mentioned something a while back in a vid about how clean and energetic your mixed were and only required a bit of mastering or if any at all and I could relate to that as a musician who mixes and masters my own stull I find that as I mix while creating I get the sounds I want as I go, and by the end I am usually pretty loud and pretty clean (i hope) that by the time I need to master, there is very little to do... mostly just imaging, or chasing that last mask or two etc and being in that nice place where its thick and saturated but also dynamic still to some degree. That is the benefit of being the creator/mixer/mastering eng,... when mixing other people its a whole set of subjective bullet points that have to be met in the clients mind and 90 % of that seems to be communication or lack thereof ... lol , enjoying some of your more theoretical vids of late, keep cranking it !
I record, mix and master my own stuff too. I don't use hardly anything on the master buss. I just get the level right, do any conversion that is needed and maybe a bit of compression. Get it right in the mix.
@@DBCisco that is basically what it is. Getting levels right. But some times they will add a compressor just to glue the whole thing together, maybe 2-3 db. Maybe some eq to balance things more, or add some flavor. That's about it.
For sure mixing is roughly 95% and mastering is the rest. Good mastering is a subtle art. Like 1db up or down on a certain frequency can go a long way for that final touch, whereas that kind of small move is mostly unheard of in lixing
This makes sense workflow wise, but i feel like youre missing the best thing about mastering which is getting fresh ears on the project. I usually send the client something that is limited pretty hard so we both know how itll sound once at a standard loudness but then give the mastering engineer both limited and unlimited version so they know what we have been used to
Thank you for this video, I like the way you explain things, both deep and simple. I feel less lonely when I listen to you about some topics not treated very often in youtube videos. Thank you!
Would love to see a mastering walk through, and your thought process. Keep up the videos. You're my first stop when looking at equipment and just to get your opinion.
Why is it bad to mix with a mastering chain? To me it seems logical to mix while hearing the song go through limiting etc. Becouse limiting, eq etc changes the mix so you often have to go back and fix things in the mix anyway.. You talked about problems with solo-ing etc, please elaborate!! :)
It's not bad, and actually plenty of producers use this method. It's called "top down mixing." You just turn off your mastering chain if you get it mastered elsewhere. Nolly Getgood uses top down, and his mixes in metal are phenomenal.
Please make more in depth videos on all your hardwares that you use in the studio. Also fun to see under the hood when you do servicing vintage hardware units. Thanks in advance for great channel. 👍😊
It's a shame, but this is the way it's going. I do music on the side. I'm mostly a video editor (for commercials & music videos). In that world there's color correction. For big budget commercials we still send it to a full professional colorist. But for low budget jobs, we just color ourselves. Like you're saying it's the same thing. It's even WORSE than music. Because after it's color corrected we get the files back and have to edit all the shots back in. That can be MORE than a week. Sometimes. So now I often color correct myself.
I say exactly that. I say to the client, "Lowering the hi-hat will take a week." I want my clients to know because they have release dates and things on their end to plan on. In an ideal world we would make records which please everyone in the production chain. In reality, as David Bowie said: Great records aren't ever *finished*; Great records are *quit*. What I've learned to do is to mix as I track, and master as I mix. I QC mixes on speakers in rooms that I know will translate to other listening environments. Really, translation is the most important thing! Recordings need to sound roughly the same on every system, right? Or it drives everyone on the team nuts 😅 Have a brilliant day my friend! I'm enjoying your channel more and more. Cheers!
Interesting insights! I've recently discovered your channel and have been enjoying going back over your old content. Your video on the benefits of working with an actual mastering engineer vs. some algorithm based thing was really fun to watch. As much as I love working with computers, I've never liked the idea of trusting them to tell me what sounds good!
AS A THEMES FOR NEXT VIDEOS I suggest digging into gain staging and gain levels BALANCE between groups of instruments in different styles. Balancing Lows And Highs in correlation.. miXing is more difficult subject than mastering at some point.. also there is some typical stuff over there to different styles...you can dog in styles and corresponding mixing styles... as a suggestion..
Hey, please keep doing what you're doing! I really really appreciate your perspective. And, apparently massive companies seemingly make it so simple to come up with lesson plans for the Audio Engineering program at TH-cam University (just like with textbooks when I was in college). All kidding aside, I love technique videos over gear videos, but I totally understand if, financially, it makes more sense to get some gear/money/content when you're tired. Tell us how to do something though! It could be something small!
Hey Hallo, informative as usual, one thing you may want to raise your key light and angling it down a bit to negate the glare on the computer screen behind you or leave half of your face in a little shadow.
Quite some mixers master as well. I mix my own songs and recordings, therefore I do not master them myself. I always wanna have a second professional opinion, a second pair of ears. From your point of view and already being the second pair of ears, I get your point.
Very interesting, thanks very much. Wondering if you always use your recording program for mastering and why. I have always used Wavelab after Cubase. It seems like one extra step but I find it to be a more complete mastering program than Cubase. Then I use Studio One for the "album" since it has great track handling features in the "project" mode. So it's a lot of work all this bouncing. Do you make DDP's or is no-one doing that anymore? Cheers, well done.
I used to do something similar a few years back... render from Ableton and then master within SoundForge, but that was mostly because my mastering plugins were DirectX format. Now I just master within Ableton, though I do miss the precision viewpoint of SoundForge at times.
Actually I like mixing into my mastering chain though I do flip it off and on to check things out. Identifying masking is easier with it off but outside of that, It helps to know what the final level and tonality of it is to allow me to make better changes in the mix. My opinion anyway.
The function of mastering has changed dramatically in the thirty or forty years. When I visited the studios of Bernie Grundman, Doug Sax and other top LA mastering engineers when I wrote for Mix in the mid 80s, the focus was still translating the finished mix to vinyl (with its inherent limitations). The concept of mastering for digital media (CD at that time) was just beginning. A lot of the work was making old masters suitable for CD, warts and all. These days, there is no reason to use mastering services unless you want to have your mix refined by someone that you trust in a better acoustic space and who has access to better tools. Of course, if you want to produce vinyl disks, you will need the services of a mastering lab that can actually cut a vinyl master.
Wytse, I'm surprised you don't use your tape machine or do you already use it when mixing groups/stems? That's why you don't use analogue emulations for tape/saturation whatever, because that already happened during mixing? I think that many people expect rather sinfully expensive analogue hardware for mastering ;) It must be the 3000€ EQ and from that they expect a particularly high-quality "analogue" sound. In my opinion, reference tracks are most important when mastering yourself. This also compensates for a room that is not acoustically optimised. No matter what tools you use, the result should be close to the reference track, maybe even better. The rest is really just practice and knowing over time how it should sound so that it sounds good everywhere.
How is your way of doing your mastering without losing your objectivity for your mix? Or do you any break between the mix and mastering session before sending it the first time to the client? (days, ours ..etc)
It depends the main problem is you need another set of ears at least, pro ears, and it usually is hard for a pc to handle and it can get a bit messy. The advantage is that if you want to change something from the mix you can do it really fast but if you have another person listening then you shouldn’t need to get back to the mix Also if you do correct gain staging to -6dB it’s usually good but if you don’t it can get you some unwanted distortion allegedly
@@MacetazzOpina My argument on "Pro Ears" is that the audience doesn't have "Pro Ears". Imagine recording a movie in 4K when the people watching it only have old TVs (320x480).
If you're putting the mastering plugins on early on, it makes more sense. I master with the mix bounced down as a stereo track and very rarely use any plugins on the master track during mixing. In the end, best to do what works for you
@@DBCisco it’s psychoacoustics of course no ones gonna say “damn that snare is so tight did he do parallel compression!!!???” But they can “feel” that it’s legit or not. It’s like when someone asks for something to sound “professional” they don’t know why but they can spot the difference. No insult here but if you yourself can’t hear a difference maybe you need more practice because for a trained ear it’s night and day and it’s easy to spot specific things that people associate as “professional” not that it applies to this example but in general it’s counterproductive to underestimate your audience in that matter Anyway My original point here was that if you didn’t listen to something bad in the writing or recording process you won’t in the mixing and in the mastering one so you don’t realize it’s wrong until another speaker accentuates it and it’s too late (because you can’t have every type of speaker ever)
When I send my mixes to my client I always tell them "this is mix, is no mastered yet, you have to tell me in this process if you want to change something, if not the master engineer is gonna charge you extra" DONE!. That happen to me only once, also I prefer to send it a different engineer, but I have my go to master engineer, which is Joel Grind, he's amazing, way better than me, also he works with pro bands.
i like watching the videos, but i would like to pose a challenge to you......first find an independent song with various tracks and mix in the box with reaper plugins only, then do a comparison with production plugins, then run the tracks through your analog gear to let us hear the comparison.........i would sit and watch this.......
I think its possible, and I do sometimes change things in the mix while the masterbus is active, but generally, I'm better at mixing without anything on the masterbus...
Hi :) You taling about MASTERING here, so my question is about mastering, of course :) I stuck in mastering stage always. For example , when I finish mix , it is usually -0,3dB TPeak and about -10LUFS. And my problem is which is the best way to make fine MASTER for streaming services (-16LUFS for example) from that mix. It would be really nice if you can make video about that. Is my mix too loud? Should I start to make mix less loud? I tried...but than when I’m trying to make it louder for CD MASTER it is not sound right...it losing dynamic from the mix etc. I hope you got my point?
I'm in that same boat at the moment. Part of me just wants to drop that -10LUFS mix down a few db's for the streaming services and call it done. It's hard to say whether it's worth creating a separately adjusted master, especially when it's going to a lossy format anyway.
try mixing with limiter on the mix to get the target -10lufs, then back it off so that the limiter wont engage. if you slap a limiter and push it to -8 or even -5lufs, it has to lose dynamics, thats how a limiter works. more dynamics - lower average level while preserving the same peak level
There are good videos explaining all this already on TH-cam. For starters, dont just master for spotify or the like. Make a master about what sounds best. Print that. There is your master. Then take your -0.3 output on your limiter, the one you dont use in mixing, and turn it down until you are hitting -16lufs. Remember these loudness rules are subject to change so it makes sense to make the best master you can at the loudness you think it calls for, then turn it down to -16lufs on the final output stage of your mastering effects chain. Also, it's not a definite rule that all music above -16 will all be turned down all the time. It doesn't work like that. I suggest you study the services you will release to and you will see there are nuances to that. Loudness normalization doesn't have to change how you mix or master. It simply changes the level you should release it at to different platforms or else they will turn it down for you. That's it.
I hate to do this but ridge wallet is just a rebadged cheap Chinese wallet. I bought three for ten dollars a year before I started to see sponsored videos on TH-cam in their name. The extra cost pays for their “lifetime warranty” etc. Ridge are just a marketing exercise for a cheap Chinese wallet.
How many ways are you looking for people to support this channel bud? I'm on the lookout for a new scarf and some gloves, could you please advise? Thanks!
compressor, yes, or you can add it later (but level match using integrated LUFS and blind test to be sure you truly like it better with the compression). using a limiter or multi-band limiter on the mixbus will sound good and 'finished' very quickly and easily, but it's actually taking away some control. it's fine to use one until you are actually missing that control, except that you may not be hearing what you're missing, and a mastering engineer might hear it (better monitors and all) and ask for a version without the limiter. but then when you remove the limiter the mix will disintegrate. if you opt for a compressor try 30 ms attack and 100 ms release for a starting point.
Based on the history lesson, you took some of the classic producers duties on you - you should charge for production services, too - not just mixing/mastering :)
Ordered a t shirt to support you paid for it but unfortunately got an email that because of Covid my order was canceled and the money was returned to my account.. Sucks really wanted to get the t shirt
Even if you find some mastering houses can do it better they can still get negated because you both have your own schedules. Speaking of mastering. Time to show us your mastering chain. Time to cough it up as we say in Canada. ✌️🤪😎
Well a Mastering Engineer has a different set of ears and can actually tell you what's wrong with your clients mix. They simply hear things different from a Mixing Engineers prospect. Trying to wear both hats is like trying to be your own writer and editor for a book to proof read your own work and correct mistakes. The Vision is also too close because a Mastering Engineer would take things to a whole other level.
Sure you could force large amounts of people to build you a pyramid but you could also just hire one of those modern building companies to get you one of those modern houses we all fancy, y'know?
You're chasing your tail here man. The most intelligent thing to do is EDUCATE your clients and explain them the workflow. You can't go back and forth from mixing to mastering and viceversa just for a hihat 1dB too loud, this is kinda crazy and to me it appears an intricate and unprofessional way to work. EDUCATE them and you will be fine, and they will thank you later.
There's a myth that the engineer who record the song shouldn't mix it and the person who mix it shouldn't masterize it.... B***sh*t !!!! It's all about having "good taste", plenty of knowledge and a little bit of luck.....
Removing quality control from the process is a bad idea. By all means do a reference master and learn the art, but always get your stuff mastered by a reputable engineer.
Big thanks to Ridge for sending this wallet and supporting the channel! Here's the site if you want to check them out! -> ridge.com/WHITESEA
Do you still mix with the softube console 1?
You're doing Anthony Fantano proud with that sponsorship
I request a collab
Our clients get the Mix, preMaster (described as in house Mastering) then final master from preferred Mastering House. The preMaster is a good tool to send as reference to the mastering engineer. Of course there is many different ways and work flows but sometimes the client is happy with the in-house.
I like sending mixes to a mastering engineer because it means I have to stop working/tweaking/making changes. I’d never move on if I didn’t.
I feel you on this.
@@CraigScottFrost Jea but when its possible to go back to the project and change things I will do that. Even when being in mastering phase.
i've got the opposite problem. i can barely convince myself to mix because i'm always way more interested in getting started on a new song than polishing an old one. my best songs are the ones i composed in a solid block of 3 or 4 hours and then didn't touch at all after rendering.
@@famitory Thats true for me as well, but when I really really like one of these, its hard to not try to make it absolutely perfectly mixed afterwards.
Thank You for the video. Other engineers and musicians we’re always telling me to never mix what I track and to never master what I mix and this might have been true when I was mixing from 2” 16 and 24 track tape machines, but now with DAW environments, spectrum analyzers, affordable high quality monitor systems and room treatments. I know what my control room really sounds like and I understand how it should sound in a multitude of different room environments. I have no problem tracking, mixing and mastering everything myself. My biggest laugh is having a client Evaluating a mix at their home wearing $10.00 laptop earbuds. Thanks Again for the video.
Long time follower here, been watching your vids since 2017. Just wanna say thanks for the great content over the years, keep it up :) Also Reaper 4 life
Yeah, between White Sea Studio, Dan Worrell and Ben Levin, I’m seriously considering demoing Reaper. I’ve never used it, but I like what I keep seeing in their videos, like its versatility, it looks like almost any situation one might face can be addressed within Reaper’s feature set. I’m a long time, devoted Logic user and have used just about every DAW out there. Logic and Studio One are my choices. But Reaper looks to have the best of those two combined.
I fully get why you are doing this. How ever even if you extend your mix with some M/S processing and some limiting it's still mixing, not mastering. Mastering is all about second opinion in completly different environment.
No different opinion is called feedback, not mastering.
So when Mike Dean produces, mixes, and masters some of the biggest albums in modern history (Astroworld, Watch the Throne) he's not really mastering? Those millions of records sold were for an unmastered album because the artist didn't have it sent to another person to be mastered? That's ridiculous lol. Mastering is Mastering. Has nothing to do with opinions. It's a process.
@@LordDRockMusic shout out to Mike Dean the GOAT
@@rko.8027 he's the man. His videos in the Moog factory are next level.
You mentioned something a while back in a vid about how clean and energetic your mixed were and only required a bit of mastering or if any at all and I could relate to that as a musician who mixes and masters my own stull I find that as I mix while creating I get the sounds I want as I go, and by the end I am usually pretty loud and pretty clean (i hope) that by the time I need to master, there is very little to do... mostly just imaging, or chasing that last mask or two etc and being in that nice place where its thick and saturated but also dynamic still to some degree. That is the benefit of being the creator/mixer/mastering eng,... when mixing other people its a whole set of subjective bullet points that have to be met in the clients mind and 90 % of that seems to be communication or lack thereof ... lol , enjoying some of your more theoretical vids of late, keep cranking it !
I record, mix and master my own stuff too. I don't use hardly anything on the master buss. I just get the level right, do any conversion that is needed and maybe a bit of compression. Get it right in the mix.
After many years, I still have no idea what "Mastering" is. I just mix until it sounds good at a decent volume and I am done. lol
@@DBCisco that is basically what it is. Getting levels right. But some times they will add a compressor just to glue the whole thing together, maybe 2-3 db. Maybe some eq to balance things more, or add some flavor. That's about it.
For sure mixing is roughly 95% and mastering is the rest. Good mastering is a subtle art. Like 1db up or down on a certain frequency can go a long way for that final touch, whereas that kind of small move is mostly unheard of in lixing
This makes sense workflow wise, but i feel like youre missing the best thing about mastering which is getting fresh ears on the project.
I usually send the client something that is limited pretty hard so we both know how itll sound once at a standard loudness but then give the mastering engineer both limited and unlimited version so they know what we have been used to
I feel you, I do exactly the same with my clients. All in one like an Apple silicone! 😎
you should try putting a clipper on your mastering chain. Helps with peaks and total level
I don't need a master because no one want's to hear my music, but I do need a new wallet, where do I sign in for the free give away?
Genius you are. Now I want to hear your music.
i want to hear your music!
@@russellszabadosaka5-pindin849 I am no genius! D,C,G,A & E, Like I said "no one want's to hear my music. I just want a free wallet
@@russellszabadosaka5-pindin849 🤣
@Serge Weiss yeah, really. 😁
Thank you for this video, I like the way you explain things, both deep and simple. I feel less lonely when I listen to you about some topics not treated very often in youtube videos. Thank you!
What hair products do you use?
Would love to see a mastering walk through, and your thought process. Keep up the videos. You're my first stop when looking at equipment and just to get your opinion.
Why is it bad to mix with a mastering chain? To me it seems logical to mix while hearing the song go through limiting etc. Becouse limiting, eq etc changes the mix so you often have to go back and fix things in the mix anyway.. You talked about problems with solo-ing etc, please elaborate!! :)
It's not bad, and actually plenty of producers use this method. It's called "top down mixing." You just turn off your mastering chain if you get it mastered elsewhere. Nolly Getgood uses top down, and his mixes in metal are phenomenal.
Please make more in depth videos on all your hardwares that you use in the studio. Also fun to see under the hood when you do servicing vintage hardware units. Thanks in advance for great channel. 👍😊
It's a shame, but this is the way it's going. I do music on the side. I'm mostly a video editor (for commercials & music videos). In that world there's color correction. For big budget commercials we still send it to a full professional colorist. But for low budget jobs, we just color ourselves. Like you're saying it's the same thing. It's even WORSE than music. Because after it's color corrected we get the files back and have to edit all the shots back in. That can be MORE than a week. Sometimes. So now I often color correct myself.
Thanks
Hi. This makes so much sense. Great video!
I like this approach about mastering
Melon, I spent all my money on ridge wallets please let my family go... wait a second... oh, nevermind
loll Mellon grew hair
I say exactly that. I say to the client, "Lowering the hi-hat will take a week." I want my clients to know because they have release dates and things on their end to plan on. In an ideal world we would make records which please everyone in the production chain. In reality, as David Bowie said: Great records aren't ever *finished*; Great records are *quit*.
What I've learned to do is to mix as I track, and master as I mix. I QC mixes on speakers in rooms that I know will translate to other listening environments. Really, translation is the most important thing! Recordings need to sound roughly the same on every system, right? Or it drives everyone on the team nuts 😅 Have a brilliant day my friend! I'm enjoying your channel more and more. Cheers!
You should make more mastering videos of you mastering songs. Covering different genre
i really like your videos and i always love how you blame plugins for their bad analog emulation haha. greetings from germany mate
Interesting insights! I've recently discovered your channel and have been enjoying going back over your old content. Your video on the benefits of working with an actual mastering engineer vs. some algorithm based thing was really fun to watch. As much as I love working with computers, I've never liked the idea of trusting them to tell me what sounds good!
AS A THEMES FOR NEXT VIDEOS
I suggest digging into gain staging and gain levels BALANCE between groups of instruments in different styles. Balancing Lows And Highs in correlation.. miXing is more difficult subject than mastering at some point.. also there is some typical stuff over there to different styles...you can dog in styles and corresponding mixing styles... as a suggestion..
Hey, please keep doing what you're doing! I really really appreciate your perspective. And, apparently massive companies seemingly make it so simple to come up with lesson plans for the Audio Engineering program at TH-cam University (just like with textbooks when I was in college). All kidding aside, I love technique videos over gear videos, but I totally understand if, financially, it makes more sense to get some gear/money/content when you're tired. Tell us how to do something though! It could be something small!
Hey Hallo, informative as usual, one thing you may want to raise your key light and angling it down a bit to negate the glare on the computer screen behind you or leave half of your face in a little shadow.
Quite some mixers master as well. I mix my own songs and recordings, therefore I do not master them myself. I always wanna have a second professional opinion, a second pair of ears.
From your point of view and already being the second pair of ears, I get your point.
I usually send loudmax versions to the client.
I just gotta have more Hi Hats!
Very interesting, thanks very much. Wondering if you always use your recording program for mastering and why. I have always used Wavelab after Cubase. It seems like one extra step but I find it to be a more complete mastering program than Cubase. Then I use Studio One for the "album" since it has great track handling features in the "project" mode. So it's a lot of work all this bouncing. Do you make DDP's or is no-one doing that anymore? Cheers, well done.
I used to do something similar a few years back... render from Ableton and then master within SoundForge, but that was mostly because my mastering plugins were DirectX format. Now I just master within Ableton, though I do miss the precision viewpoint of SoundForge at times.
I make DDP's... 2 times per year on average 😅
Actually I like mixing into my mastering chain though I do flip it off and on to check things out. Identifying masking is easier with it off but outside of that, It helps to know what the final level and tonality of it is to allow me to make better changes in the mix. My opinion anyway.
The function of mastering has changed dramatically in the thirty or forty years. When I visited the studios of Bernie Grundman, Doug Sax and other top LA mastering engineers when I wrote for Mix in the mid 80s, the focus was still translating the finished mix to vinyl (with its inherent limitations). The concept of mastering for digital media (CD at that time) was just beginning. A lot of the work was making old masters suitable for CD, warts and all. These days, there is no reason to use mastering services unless you want to have your mix refined by someone that you trust in a better acoustic space and who has access to better tools. Of course, if you want to produce vinyl disks, you will need the services of a mastering lab that can actually cut a vinyl master.
Great i di the same with my music releases
Wytse, I'm surprised you don't use your tape machine or do you already use it when mixing groups/stems? That's why you don't use analogue emulations for tape/saturation whatever, because that already happened during mixing?
I think that many people expect rather sinfully expensive analogue hardware for mastering ;) It must be the 3000€ EQ and from that they expect a particularly high-quality "analogue" sound.
In my opinion, reference tracks are most important when mastering yourself. This also compensates for a room that is not acoustically optimised. No matter what tools you use, the result should be close to the reference track, maybe even better.
The rest is really just practice and knowing over time how it should sound so that it sounds good everywhere.
Does the wallet come with the bank cards and cash ?
First ever serious comment. Glad you have got sponsorship, well deserved. Back to Snaking around 🐍🐍
I love you
Hey I like your desktop wallpaper, where did you get it?
How is your way of doing your mastering without losing your objectivity for your mix? Or do you any break between the mix and mastering session before sending it the first time to the client? (days, ours ..etc)
Whitethony Seatano
Is ridge wallet a good compressor? 🤔🤪
Is it bad to basically compose, mix, and master songs within the same Ableton project? Your hi-hat example validated my behavior. :)
If your cpu can handle it there is no problem
It depends the main problem is you need another set of ears at least, pro ears, and it usually is hard for a pc to handle and it can get a bit messy. The advantage is that if you want to change something from the mix you can do it really fast but if you have another person listening then you shouldn’t need to get back to the mix
Also if you do correct gain staging to -6dB it’s usually good but if you don’t it can get you some unwanted distortion allegedly
@@MacetazzOpina My argument on "Pro Ears" is that the audience doesn't have "Pro Ears". Imagine recording a movie in 4K when the people watching it only have old TVs (320x480).
If you're putting the mastering plugins on early on, it makes more sense. I master with the mix bounced down as a stereo track and very rarely use any plugins on the master track during mixing. In the end, best to do what works for you
@@DBCisco it’s psychoacoustics of course no ones gonna say “damn that snare is so tight did he do parallel compression!!!???” But they can “feel” that it’s legit or not. It’s like when someone asks for something to sound “professional” they don’t know why but they can spot the difference.
No insult here but if you yourself can’t hear a difference maybe you need more practice because for a trained ear it’s night and day and it’s easy to spot specific things that people associate as “professional” not that it applies to this example but in general it’s counterproductive to underestimate your audience in that matter
Anyway My original point here was that if you didn’t listen to something bad in the writing or recording process you won’t in the mixing and in the mastering one so you don’t realize it’s wrong until another speaker accentuates it and it’s too late (because you can’t have every type of speaker ever)
When I send my mixes to my client I always tell them "this is mix, is no mastered yet, you have to tell me in this process if you want to change something, if not the master engineer is gonna charge you extra" DONE!. That happen to me only once, also I prefer to send it a different engineer, but I have my go to master engineer, which is Joel Grind, he's amazing, way better than me, also he works with pro bands.
Honest question; is mastering REALLY that complicated? Why are most mix engineers intimidated by the idea of them doing some mastering?
i like watching the videos, but i would like to pose a challenge to you......first find an independent song with various tracks and mix in the box with reaper plugins only, then do a comparison with production plugins, then run the tracks through your analog gear to let us hear the comparison.........i would sit and watch this.......
Did you do something to your audio? Sounds amazing!
Who knows 😉
You should have chosen Carbon Fiber.. for extra 10 Hp
#REAPERGANG 🔥🔥🔥
Are you booked for 2021?
Not fully 😂
Wtf no Darude in this video😔
Oh dear, I literally mix and master at the same time rather than leaving the Master bus dry. What have I been doing all these years
I think its possible, and I do sometimes change things in the mix while the masterbus is active, but generally, I'm better at mixing without anything on the masterbus...
Will you please record a video explaining how to create a 432hz master.
Hi :) You taling about MASTERING here, so my question is about mastering, of course :) I stuck in mastering stage always. For example , when I finish mix , it is usually -0,3dB TPeak and about -10LUFS. And my problem is which is the best way to make fine MASTER for streaming services (-16LUFS for example) from that mix. It would be really nice if you can make video about that. Is my mix too loud? Should I start to make mix less loud? I tried...but than when I’m trying to make it louder for CD MASTER it is not sound right...it losing dynamic from the mix etc. I hope you got my point?
I'm in that same boat at the moment. Part of me just wants to drop that -10LUFS mix down a few db's for the streaming services and call it done. It's hard to say whether it's worth creating a separately adjusted master, especially when it's going to a lossy format anyway.
try mixing with limiter on the mix to get the target -10lufs, then back it off so that the limiter wont engage. if you slap a limiter and push it to -8 or even -5lufs, it has to lose dynamics, thats how a limiter works. more dynamics - lower average level while preserving the same peak level
@@solkompleksowa444 I know how limiter works and I don’t use limiter in a mixing stage
There are good videos explaining all this already on TH-cam. For starters, dont just master for spotify or the like. Make a master about what sounds best. Print that. There is your master. Then take your -0.3 output on your limiter, the one you dont use in mixing, and turn it down until you are hitting -16lufs. Remember these loudness rules are subject to change so it makes sense to make the best master you can at the loudness you think it calls for, then turn it down to -16lufs on the final output stage of your mastering effects chain. Also, it's not a definite rule that all music above -16 will all be turned down all the time. It doesn't work like that. I suggest you study the services you will release to and you will see there are nuances to that. Loudness normalization doesn't have to change how you mix or master. It simply changes the level you should release it at to different platforms or else they will turn it down for you. That's it.
@@peytonbaconjr6664 thank you
That wallet is Snake Oil!
I hate to do this but ridge wallet is just a rebadged cheap Chinese wallet. I bought three for ten dollars a year before I started to see sponsored videos on TH-cam in their name. The extra cost pays for their “lifetime warranty” etc. Ridge are just a marketing exercise for a cheap Chinese wallet.
Pleaseee Make an video about ReEq pleaseee
Do you still mix with the softube console 1?
How many ways are you looking for people to support this channel bud? I'm on the lookout for a new scarf and some gloves, could you please advise? Thanks!
Lord of Snake.
What do you think about mixing into a master compressor or limiter?
compressor, yes, or you can add it later (but level match using integrated LUFS and blind test to be sure you truly like it better with the compression). using a limiter or multi-band limiter on the mixbus will sound good and 'finished' very quickly and easily, but it's actually taking away some control. it's fine to use one until you are actually missing that control, except that you may not be hearing what you're missing, and a mastering engineer might hear it (better monitors and all) and ask for a version without the limiter. but then when you remove the limiter the mix will disintegrate. if you opt for a compressor try 30 ms attack and 100 ms release for a starting point.
how much do you charge for recording a song?
Based on the history lesson, you took some of the classic producers duties on you - you should charge for production services, too - not just mixing/mastering :)
Do you have a faderport or any other control surface for your automation workflow?
not yet
Post some Befoe and After videos
Ordered a t shirt to support you paid for it but unfortunately got an email that because of Covid my order was canceled and the money was returned to my account.. Sucks really wanted to get the t shirt
Wow! I didn't knew that was going on... Can you share a few more details about this via e-mail?
@@Whiteseastudio I have just send u an email (flowmasterzproductions) with all the info about the t shirt order cancelation
Where can we hear your work to know how well you master your tracks?
his website in the vid description
How to mix stoner rock?
Even if you find some mastering houses can do it better they can still get negated because you both have your own schedules. Speaking of mastering. Time to show us your mastering chain. Time to cough it up as we say in Canada. ✌️🤪😎
Pro-Q2 -> Pro-MB -> Pro-L2
@@Whiteseastudio Ah... Fab Filter. Intersample peak detection on in Pro-L2 ?
Well a Mastering Engineer has a different set of ears and can actually tell you what's wrong with your clients mix. They simply hear things different from a Mixing Engineers prospect. Trying to wear both hats is like trying to be your own writer and editor for a book to proof read your own work and correct mistakes. The Vision is also too close because a Mastering Engineer would take things to a whole other level.
Why use an advanced EQ with crazy features (like fab pro 3) when all great mixes from the past century were done with simple analog EQ's?
Because we do not live in the past
Sure you could force large amounts of people to build you a pyramid but you could also just hire one of those modern building companies to get you one of those modern houses we all fancy, y'know?
My wallet is made out of cloth.
You're chasing your tail here man. The most intelligent thing to do is EDUCATE your clients and explain them the workflow. You can't go back and forth from mixing to mastering and viceversa just for a hihat 1dB too loud, this is kinda crazy and to me it appears an intricate and unprofessional way to work.
EDUCATE them and you will be fine, and they will thank you later.
There's a myth that the engineer who record the song shouldn't mix it and the person who mix it shouldn't masterize it.... B***sh*t !!!! It's all about having "good taste", plenty of knowledge and a little bit of luck.....
100000% agree , Such a trite cringeworthy phrase
Removing quality control from the process is a bad idea. By all means do a reference master and learn the art, but always get your stuff mastered by a reputable engineer.
It's the video or I'm deaf in one ear?
You should check your gear, I'm watching on headphones and both side sounds normally
Bruh...really. q3, mb and L? Switch to SSL, Softube or Nugen, for real, fabfilter is weak like Izotope
Dude I literally have the same reasons
Can you please react to “The lady of heaven trailer?”❤️🙂
Sorry bro what’s all this sponsor stuff.