This use of the returns across the whole mix has helped me to push my mixes so much further. My top tip is what CLA said. Mix your tracks really low and then crank them up at the end.....Trust me, it makes a massive difference.
Luv these videos. loud is good, fullness is BETTER. you can always raise the volume just before burning a cd using itunes or toast titanium. you cant make the track full after you mix it. who wants a loud thin mix. Peace!
I always come back to this session to remind myself that before anything is mixed you should learn to hear potential in the track and enhance the heck out of it.
Not sure if Dave sees the questions on here, so figured I'd answer for him. In several of his older ITL's he mentions he compresses in stages (slightly each time). For example, parallel compression on things like kick + snare, then some drum aux buss compression, then some stereo buss compression at the end.
If I had to guess, I'd say that you need to put a trim on your tracks and turn down from 0db to -12 db on every track. If you're using Slate VCC, be especially careful of that gain knob. If you're using SSL, H EQ, or any of the sig packs (not CLA comps, but CLA sig) the input volume will act as a trim. There's a great thread on gearslutz called The Reason Most ITB mixes don’t Sound as good as Analog mixes (restored) by Skip Burrows. 2 much = overloaded plugins.
In one of the earlier episodes, he mentioned that he'll often send it both ways and talk with the mastering engineer about which would be better based on the artists' wants.
That'll happen on inputting. At 32bit floating point, any OUTPUT gain can go above 0 and not clip but will eventually hit a ceiling. This because the range in dB is larger on 32bit floating point but because it's floating point it has the same resolution as 24 bit but moves that up or down depending on the output gain.
Hey Dave, Thanks for taking the time to make these videos. (I subscribe) I have the same question as the JakeDavisBand - If you wer planning to send a mix to someone else for Analog Mastering do you still use the L2 and Izotope on Busses? Or do you keep the stereo bus(busses) clean?
32 bit floating point audio files have a theoretical dynamic range of up to around 1680 dB. Compare that with the 144 dB available from 24 bit recordings and you will realise that it’s quite an improvement! In terms of resolution that’s a lot more than the human brain could ever decipher. An important note to remember - the audio files must be created as 32-bit files when starting a new session. You can't simply create that from 24-bit files, much like up-sampling from 44.1 to 88.2 etc. etc.
Can anyone review the complete chain thats being used here (comp, para comp, group bus, master bus)? Finding it difficult to following his routing on screen
Basically in practice only clipping with occur on the output because then your going out of the DAW and your hardware (DA converters) have to deal with it and cant handle that much dB in most daws the headroom is super high within the mix channels (before the master bus). That said not all plugs can handle that much dB.
Tim Atkins Thats a good question because Ive always sent my drums to say BUS 1...but the name on the channel says AUX. The only thing different is the inputs (1-2, and Bus 1). Does it make a difference is the question?
marcuelcajon Yeah it is different! The input is say the original source of the audio, where as an aux channel basically a copy of the original sound, allowing you to manipulate 2 different sources of the sound! Changing input 1-2 to say for instance bus 1 will mean the original sound will come through the bus instead of mixing the two
Hey great vids. What approach would you recommend for a Dj who wants to increase the loudness of a whole mix. The mixes will often vary in dynamic range due to the variants of file types being put together. I currently use Platinum notes to try an level everything. It would be good to take the overall quality of my mixes from decent to great any help or direction would be appreciated.
Just curious, I mix quite low, the master would peak around -10db. It looks like all of your channels are hitting 0db.. am I doing something wrong, is it about preference?
Mitchell Wade Cole yo bro. Im mixing too on -15 -12 and I see his channels hiting 0. Whats point? I guess small amount chanells playing at the same time so it cant cause cliping, or its limiter.
You can do a good job with just some basic EQ carving, and if that doesn't work you could always try maybe messing with the stereo field (depending on how bad the frequencies are clashing).
Kind of. Its good to use an aux track for your stereo bus set to feed the master, because the master is pre-fader. this way, you can do volume rides / fades with the master fader without affecting the amount of compression / FX being applied.
i still can't get it, well i send everything to separate busses , it turns louder but i'm running out of headroom, or overcompress it. how to maintain levels as they were before but to make it louder, it actiually adds dBs, not just pushes it louder, but steals your headroom. or is it all about Limiter? can anybody explain it to me? thanks in advance
ive noticed that the eq on well mastered songs stops at 17000 and the song sounds great. ive tried doing this with eq, limiters, multiband compressors, soft clippers, and i cant get the same effect. do you know what im talking about and how to do it?
Nick Simpson People in the Audio/Music professional like to use a lot of slang and shorten words.. Eg instead of saying Microphone Pre-amplifer, many people just say mic pre, or just simple just; pre. I personally think its a bad habit, especially for people who aren't used to recording terms, let alone when they're abbreviated!
Defenently He will keep the bus clean because L2 and Izotope is mastering stuff so when u use it not as pro master engineer it's like u do ur own mastering... =)))
Turn it off. Or, send mastering both versions (on and off), and let them decide. Mastering engineers LOVE mixes with lots of peaky transients and dynamics. They hate squashed mixes. BUT, us mix engineers have a hard time trusting the mastering engineers, so we do a lot of it ourselves (too much? ...probably). One way or another, the ME is going to need a kick and snare that punches high through the mix, so give 1 or 2 versions, but make sure they have the transients they need to do their job.
![Into The Lair #58 - Ear Training Part 2 [FULL]](http://i.ytimg.com/vi/0K133DdB-CQ/mqdefault.jpg)
![Into The Lair #58 - Ear Training Part 2 [FULL]](/img/tr.png)
This use of the returns across the whole mix has helped me to push my mixes so much further. My top tip is what CLA said. Mix your tracks really low and then crank them up at the end.....Trust me, it makes a massive difference.
Love this. No fluff, nothing fancy, just a demonstration of pure understanding of mixing technique. Cheers Dave!
Luv these videos. loud is good, fullness is BETTER. you can always raise the volume just before burning a cd using itunes or toast titanium. you cant make the track full after you mix it. who wants a loud thin mix. Peace!
I always come back to this session to remind myself that before anything is mixed you should learn to hear potential in the track and enhance the heck out of it.
Instablaster.
Legendary Mr Pensado. Class is in session.
Not sure if Dave sees the questions on here, so figured I'd answer for him. In several of his older ITL's he mentions he compresses in stages (slightly each time). For example, parallel compression on things like kick + snare, then some drum aux buss compression, then some stereo buss compression at the end.
Dave is a complete Genius ! I bow both hands down... ! thx Dave
"aww look at the little noise I got, that's soo cool" lol : D
Thank You🙌🙌Mr Dave Pensado Very Helpful Video🔥🔥.
This crazy! Its not just that the after sounds louder, but it sounds way groovier too somehow. I know what video i’m studying this month…
If I had to guess, I'd say that you need to put a trim on your tracks and turn down from 0db to -12 db on every track. If you're using Slate VCC, be especially careful of that gain knob. If you're using SSL, H EQ, or any of the sig packs (not CLA comps, but CLA sig) the input volume will act as a trim. There's a great thread on gearslutz called The Reason Most ITB mixes don’t Sound as good as Analog mixes (restored) by Skip Burrows. 2 much = overloaded plugins.
Its 2022 and this was great to watch!
In one of the earlier episodes, he mentioned that he'll often send it both ways and talk with the mastering engineer about which would be better based on the artists' wants.
That'll happen on inputting. At 32bit floating point, any OUTPUT gain can go above 0 and not clip but will eventually hit a ceiling. This because the range in dB is larger on 32bit floating point but because it's floating point it has the same resolution as 24 bit but moves that up or down depending on the output gain.
Great explanation Dave (eyes rolling).
Thanks for the tutorial Dave, you work is amazing. One sugestion, in my beginer mind i would like to see the mixing process since the start.
What's going on in the Maximizer and Dynamics tabs in Ozone 5?
Thanks Dave!! I'm learning a lot from your video's... I really appreciate it...
But how does this work for hip hop, as the kick and snare are always way louder than the melody?
Hey Dave, Thanks for taking the time to make these videos. (I subscribe) I have the same question as the JakeDavisBand - If you wer planning to send a mix to someone else for Analog Mastering do you still use the L2 and Izotope on Busses? Or do you keep the stereo bus(busses) clean?
I would like to know your approach on the dynamics section on the Ozone plugin for the Drum Bus.
Didn't take much notice, but he might be on 10 which operates on 32-bit floating point. Thus no clipping internally. A thought.
32 bit floating point audio files have a theoretical dynamic range of up to around 1680 dB. Compare that with the 144 dB available from 24 bit recordings and you will realise that it’s quite an improvement! In terms of resolution that’s a lot more than the human brain could ever decipher.
An important note to remember - the audio files must be created as 32-bit files when starting a new session. You can't simply create that from 24-bit files, much like up-sampling from 44.1 to 88.2 etc. etc.
Can anyone review the complete chain thats being used here (comp, para comp, group bus, master bus)? Finding it difficult to following his routing on screen
Thank You for sharing !!!
Thank you master!
Basically in practice only clipping with occur on the output because then your going out of the DAW and your hardware (DA converters) have to deal with it and cant handle that much dB in most daws the headroom is super high within the mix channels (before the master bus). That said not all plugs can handle that much dB.
32 bit floating point is like a vector image right?
When he says "Aux" does he mean a send and return.......or a group, like a bus for all the drums?
Tim Atkins He's routing all drums to an auxiliary bus
Tim Atkins Thats a good question because Ive always sent my drums to say BUS 1...but the name on the channel says AUX. The only thing different is the inputs (1-2, and Bus 1). Does it make a difference is the question?
thx!
marcuelcajon Yeah it is different! The input is say the original source of the audio, where as an aux channel basically a copy of the original sound, allowing you to manipulate 2 different sources of the sound! Changing input 1-2 to say for instance bus 1 will mean the original sound will come through the bus instead of mixing the two
Hey great vids. What approach would you recommend for a Dj who wants to increase the loudness of a whole mix. The mixes will often vary in dynamic range due to the variants of file types being put together. I currently use Platinum notes to try an level everything. It would be good to take the overall quality of my mixes from decent to great any help or direction would be appreciated.
Was this question ever answered? I'm wondering about this as well! I guess I can try it out to see if it hinders the master or not..
I found it very useful, thanks!
Red is only bad if its the master bus. It can be bad on other tracks, but not necessarily.
Okay wait I have a question, should I send everything to a stereo bus or make their outputs a stereo bus?
Just curious, I mix quite low, the master would peak around -10db. It looks like all of your channels are hitting 0db.. am I doing something wrong, is it about preference?
Mitchell Wade Cole yo bro. Im mixing too on -15 -12 and I see his channels hiting 0. Whats point? I guess small amount chanells playing at the same time so it cant cause cliping, or its limiter.
howd you get the bass to be have so much low end but not interfere with the kick
You can do a good job with just some basic EQ carving, and if that doesn't work you could always try maybe messing with the stereo field (depending on how bad the frequencies are clashing).
also possible side compression so the bass drops a few db when the kick comes in.
i wouldn't mess with the stereo field in low frequencies since that will have tons of phase issues, side chaining or eq carving tend to be my go tos
do you accept projects for mixing ?
When you keep saying the "Stereo Bus", do you mean the Master?
basically yah
Kind of. Its good to use an aux track for your stereo bus set to feed the master, because the master is pre-fader. this way, you can do volume rides / fades with the master fader without affecting the amount of compression / FX being applied.
Danny Kaump Whoops sorry i meant *post-fader*
good question
What's a stereo bus for?
What converters is Dave using? who Knows?
what does the l2 on the stereo bus do?
Is there any plugin can replace the compressor d3 C L ???
i still can't get it, well i send everything to separate busses , it turns louder but i'm running out of headroom, or overcompress it. how to maintain levels as they were before but to make it louder, it actiually adds dBs, not just pushes it louder, but steals your headroom. or is it all about Limiter? can anybody explain it to me? thanks in advance
ive noticed that the eq on well mastered songs stops at 17000 and the song sounds great. ive tried doing this with eq, limiters, multiband compressors, soft clippers, and i cant get the same effect. do you know what im talking about and how to do it?
what do you mean with "stops at 17000" ?
What is an Ox? "Everything's coming through this ox"? What on earth?
Aux, Auxiliary Send.
Gotcha!
Nick Simpson People in the Audio/Music professional like to use a lot of slang and shorten words.. Eg instead of saying Microphone Pre-amplifer, many people just say mic pre, or just simple just; pre. I personally think its a bad habit, especially for people who aren't used to recording terms, let alone when they're abbreviated!
Does anyone know what the frequency we can read for ourselves is? LOL My screen is too small. 3:48
you can get away with clipping (a little) on percusive tracks.
can I assume your tutorials aren't for beginners?
Defenently He will keep the bus clean because L2 and Izotope is mastering stuff so when u use it not as pro master engineer it's like u do ur own mastering... =)))
Ain they all got the same headroom now days though, thats what I meant by 32 bit..
How so?
keep it clean
Turn it off. Or, send mastering both versions (on and off), and let them decide. Mastering engineers LOVE mixes with lots of peaky transients and dynamics. They hate squashed mixes. BUT, us mix engineers have a hard time trusting the mastering engineers, so we do a lot of it ourselves (too much? ...probably). One way or another, the ME is going to need a kick and snare that punches high through the mix, so give 1 or 2 versions, but make sure they have the transients they need to do their job.
he's using pro tools 10.. colossal headroom.
Im old he talking about ozone 5 omg I'm on ozone 9
and I chose that word carefully.... lol
i wanna know the same thing!
CLOCK!
Yeah, he did an ITL on it.
/watch?v=ranVw1E7tb4&feature=plcp
damn i didn't see how he sets up L2
bubnjarovski he just compressed about 2 dB with it.
Unless the sound of digital distortion is wanted, don't clip. ever.
115hz
Watch
++++++++++++++++++10000
I'd get rid of that a w f u l bass. It's so amateur.
How do you define what bass is amateur?