I've got question about the topic that really confuses me and there is not much information about it: What about pushing converters above 0db during mastering ? I know mastering studios are doing it, using hi-end AD/DA's to make limiting less invasive/agressive and preserve dynamics while achieving certain loudness level. Everthing seems logical but, if you are 3 db above 0 db on the way into limiter, how on earth to print the final master not exceeding 0db ?? or I don't get this concept correctly ?
i like these videos David, a quick one...do weighted or unweighted values matter on digital interfaces? some new units have hit the market on usb-c and i am investigating
rupert neve i think intended on a certain application of crosstalk on his famous neve consoles, between channels. he says this in dave grohls sound city documentary.
I'm a part of a engineering group and someone was looking for headphones that had cross talk. I was very confused. Thank you for sharing your opinion on it. I get why people are interested in capturing the analog feel but some of the uses are bizarre to me.
well here's funny thing, you have xtalk anytime you use any open back hp :D but people like to be fooled I guess. Xtalk was a problem, emphasis on problem, that some console and tape machines had, engineers and designers were trying to avoid, but after digital, some companies found out they could use the lack of xtalk as a selling point and market xtalk as a feature, go figure. So yeah, I think I should come up with a pair of cheap headphones say they have xtalk (probably they would if we use cheap enough components) and sell them for 10K a pop.
Crystal clear. I'd heard about this and had guessed, without all your knowledge, that this might be the case. From a physics perspective, it very well might have been caused by the coincident magnetic field fluctuations, just as you say. If this was the cause, it would have been extremely difficult to eliminate, since the cables and wires tend to need to be routed in parallel directions. One could have run the lines in orthogonal directions to make the dipoles less coincident, but it probably wouldn't have been worth it at all from an equipment engineering perspective. Next, people will develop and market a plugin that randomly corrupts tracks to simulate tape getting broken or fried, right? LOL.
@@mixbustv Oh wow, very interesting. Love how you real producers and mix engineers are both so metal and so technical. True Italian renaissance man, David!
Crosstalk, i find it gels and makes you mix a bit differently. Just try it with Studio One 6 with Porta Cassette. There is depth and adds different amount of control like using a filter on bass and , the drums are dominate between the two bass and drums add filter to bass lowpass and you will hear in pronounced in depth. Try it for yourself. Retro something from Presonus Studio one. I bet you a dollar you might like it. But then again i am not using it like a buss, changing it direct to buss from master, meaning i changed the output track to buss from master fader.
Crosstalk only matters wen you try to emulate an analog console , (all channels send to console and stereo master bus from console returns to daw )the sum of crosstalking on every chanell is part of the general sound of the device ,
Loving these rapid fires. I heard if you want to use a soft clipper on your master bus it should be inserted after your brick wall limiter. I also heard placing any inserts after dithering is a huge faux pas. to be more specific, Fabfilter's Pro-L is my go-to for brickwall limiting and i also like its dithering function. but what if I want to follow up with a tiny bit of soft clipping? would the proper method be using 1 instance of Pro-L just for its brickwall and then into a Soft clipper and then into another instance of Pro-L just for its dithering function? Thanks for all the years of reliable and quality audio wisdom.
I think analog emulation still has a way to go... a virtual tape machine should model irreversible tape wear so that you’d have to buy expensive new tape regularly, a virtual console plugin should massively increase your electricity bill and require an expensive service technician when thing break every now and then. Oops... please don’t blame me when Stephen Slate implements this in his plugin line...
David, if I mix a track to (let's say) -9 Lufs and the digital platform is looking for -14 Lufs, is it ok to just normalize my track to -14 Lufs, or do I need a separate master for the digital platform?? What's your take?
@@mixbustv I can hear the difference though but is it realy "cross talk?" I have a dangerous D-box and sum my tracks and there is a big difference between digital summing and analog(more separation) but what I'm thinking the difference is more so the quality of the conversion between tracks (A/D D/A). What do you think?
I liked previous videos of your great channel much more, would appreciate if you talk less and explain whatever theme you ve chosen by audio examples, would be more entertaining, easier to understand and to remember as well
Gee I don't know....maybe cuz many humans on earth are trying to get an analog vibe to their thin sounding digital recordings and they buy summimg mixers?
What I liked about this answer was that as well as explaining the technical side you gave a straight forward opinion.
Front Daw by United Plugins is amazing for Crosstalk and stereo width, you can't control it but the output is really desirable !
Depends on how you want your end result to sound, but i would say go for the actual hardware
I've got question about the topic that really confuses me and there is not much information about it: What about pushing converters above 0db during mastering ? I know mastering studios are doing it, using hi-end AD/DA's to make limiting less invasive/agressive and preserve dynamics while achieving certain loudness level. Everthing seems logical but, if you are 3 db above 0 db on the way into limiter, how on earth to print the final master not exceeding 0db ?? or I don't get this concept correctly ?
Very informative ...thnx again !
I'm really enjoying your views on these topics. Thanks.
Interesting and well explained. I learned something. Thank you.
I used the crosstalk button on UAD ATR-102...gives a lift in the mid range sounds cool
Happy you answered it that way :)
i like these videos David, a quick one...do weighted or unweighted values matter on digital interfaces? some new units have hit the market on usb-c and i am investigating
rupert neve i think intended on a certain application of crosstalk on his famous neve consoles, between channels. he says this in dave grohls sound city documentary.
On point like always D!!
So glad I found your channel, you're so cool, and we love music/mixing :P
I'm a part of a engineering group and someone was looking for headphones that had cross talk. I was very confused. Thank you for sharing your opinion on it. I get why people are interested in capturing the analog feel but some of the uses are bizarre to me.
well here's funny thing, you have xtalk anytime you use any open back hp :D but people like to be fooled I guess.
Xtalk was a problem, emphasis on problem, that some console and tape machines had, engineers and designers were trying to avoid, but after digital, some companies found out they could use the lack of xtalk as a selling point and market xtalk as a feature, go figure.
So yeah, I think I should come up with a pair of cheap headphones say they have xtalk (probably they would if we use cheap enough components) and sell them for 10K a pop.
I would recommend using either studio one or the mixbus daw. Studio one has the Console Shaper tool and mixbus is modeled after Harrison's consoles.
Crystal clear. I'd heard about this and had guessed, without all your knowledge, that this might be the case. From a physics perspective, it very well might have been caused by the coincident magnetic field fluctuations, just as you say. If this was the cause, it would have been extremely difficult to eliminate, since the cables and wires tend to need to be routed in parallel directions. One could have run the lines in orthogonal directions to make the dipoles less coincident, but it probably wouldn't have been worth it at all from an equipment engineering perspective. Next, people will develop and market a plugin that randomly corrupts tracks to simulate tape getting broken or fried, right? LOL.
@@mixbustv Oh wow, very interesting. Love how you real producers and mix engineers are both so metal and so technical. True Italian renaissance man, David!
Crosstalk, i find it gels and makes you mix a bit differently. Just try it with Studio One 6 with Porta Cassette. There is depth and adds different amount of control like using a filter on bass and , the drums are dominate between the two bass and drums add filter to bass lowpass and you will hear in pronounced in depth. Try it for yourself. Retro something from Presonus Studio one. I bet you a dollar you might like it. But then again i am not using it like a buss, changing it direct to buss from master, meaning i changed the output track to buss from master fader.
mixing two in one kindf.
Crosstalk only matters wen you try to emulate an analog console , (all channels send to console and stereo master bus from console returns to daw )the sum of crosstalking on every chanell is part of the general sound of the device ,
or tape
Most crosstalk buttons on tape plugins just seem to raise the mid and take it forward. Can just as easily be done with a mid/side eq.
Crosstalk bleeds left channel into the right and vice versa
why lots of company provides crosstalk talk cancelation plugins
Loving these rapid fires.
I heard if you want to use a soft clipper on your master bus it should be inserted after your brick wall limiter.
I also heard placing any inserts after dithering is a huge faux pas.
to be more specific, Fabfilter's Pro-L is my go-to for brickwall limiting and i also like its dithering function.
but what if I want to follow up with a tiny bit of soft clipping?
would the proper method be using 1 instance of Pro-L just for its brickwall and then into a Soft clipper and then into another instance of Pro-L just for its dithering function?
Thanks for all the years of reliable and quality audio wisdom.
I think analog emulation still has a way to go... a virtual tape machine should model irreversible tape wear so that you’d have to buy expensive new tape regularly, a virtual console plugin should massively increase your electricity bill and require an expensive service technician when thing break every now and then.
Oops... please don’t blame me when Stephen Slate implements this in his plugin line...
Thanks! Wouldn't slightly backing off the panning on fully panned tracks somewhat amount to the same thing as the question asked about?
no, because crosstalk have non-flat frequency response (maybe non-linear too? idk) but doing that would be flat response, not the same sound.
David, if I mix a track to (let's say) -9 Lufs and the digital platform is looking for -14 Lufs, is it ok to just normalize my track to -14 Lufs, or do I need a separate master for the digital platform?? What's your take?
Send the -9 is going be normalized
The best selling records in the world had cross talk. Today's music is a digital source and sounds extremely thin.
Because that's the reason why they're the best right? 😄
@@mixbustv No that is not the reason they are the best. But perhaps it is one of many ingredients other than talent.
@@380stroker yh it's true the imperfections definitely add character
There mustt be some crazy guys doing all kinds of wizardry, at -90db...
I thought you needed increased crosstalk rejection in analog because that's what the new summing boxes are marketing
Exactly, marketing change, doesn't it? Before was xtalk was a good thing, now it's not..
@@mixbustv I can hear the difference though but is it realy "cross talk?" I have a dangerous D-box and sum my tracks and there is a big difference between digital summing and analog(more separation) but what I'm thinking the difference is more so the quality of the conversion between tracks (A/D D/A). What do you think?
I liked previous videos of your great channel much more, would appreciate if you talk less and explain whatever theme you ve chosen by audio examples, would be more entertaining, easier to understand and to remember as well
Why on earth anybody would want a crosstalk to your mix? It is a flaw from analog era and unwanted feature.
Gee I don't know....maybe cuz many humans on earth are trying to get an analog vibe to their thin sounding digital recordings and they buy summimg mixers?
Flaws add character and beauty