How to get your Masters Loud and Dynamic
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- เผยแพร่เมื่อ 29 ก.ย. 2024
- Do you struggle to get a loud dynamic master?
Sometimes we try to get loud masters by turning them up or by compressing them only to have them end up sounding squashed and lifeless. It’s because compressors and limiters aren’t what really make masters loud. In this video we will explain how to manage your dynamic range through EQ. If you’re looking to get a loud punchy master without destroying your dynamics or if you’re looking to get your masters loud and clear without sounding harsh, then forget the tips and tricks and dive into this training. This will be a high level comparison between perceived loudness and the loudness that shows up on your meters.
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Video hashtags: #Mastering #LoudnessWars #Dynamics #Loudness
• How to get your Master...
Thank you all so much for watching - we hope it's helpful!!
I really want to get on a call with you guys asap but I’m sure it’ll be best for me to wait until sometime next month financially. I know you guys don’t discuss/promote dollar amounts but do you guys have a payment plan?
Never seen the maximiser after the limiter. Interesting
Is it just me or is there a fair ammount of clicks and also audio is not in sync with video?
NAH IT ISN'T 😂 I NOTICE THAT AS SOON AS I READ UR COMMENT.
Hey Dane, I'm a member and currently working through the course. After watching and listening to this video, I noticed that you have your Sound ID plugin ON while demonstrating. I'm just curious if we are hearing the effect of your room compensation in this video? I believe that technically, it should be OFF so that we can hear the actual mix in our own speakers running our own room compensation :)
So so helpful! Thank you for this! ❤️
What sort of stuff did you get the producer to correct in the mix to let you be able to do what you wanted to do? Can you provide some examples for context please
Thank. You.
you are awesome man. thank you!
Awesome!
Seems Im the only one who can't hear the difference
between level match without the EQ at 8:42 and the EQed at 8:55
Both sounds exactly the same :/ Im using Audio-Technica's ATH-M50.
Maybe YT normalized the sound?
Can you point out what are the diffs instruments wise?
Sorry this is really frustrating :/
youtube audio sux.
02:37 BIG FACTS‼️
I figured out the 2k 3k secret YEARS ago when I solo an EQ node and scanned the frequency spectrum on a song I liked, that’s when I realized....the MID RANGE around 2/3 is what your ears love
2/3k ❤️
I learned all this the "hard" way - by testing knowledge and assumptions over 20 years of mixing and mastering. I was most blown away to find that at the end of the journey, spectral balance is the key - the Fletcher-Munson curve. It is vital to build that spectral balance into the mix, but you can correct that balance, then compress if needed, and the effect of that compression and the smoothness (the lack of artifacts) will be obvious every single time. I can now mix or master and know that it will sound good in any playback system, but it took a long time to achieve that. If I can do it, anyone can. Just don't give up!
Nice words and a huge advice from you, Sir! Thank you. Didn't know the fletcher Munson curve. Do you have tips for a decent dynamic range in your mix? Mine sound always pretty flat and not dynamic at all.
@@notGX1- Reasonable loudness ranges vary by genre, and you'll find incorrect opinions from lots of people. There are "text book" answers, but that is not what commercial engineers do. So, take rock for example - commercial rock will typically target anywhere from -8.5 LUFS to as loud as -5.7 LUFS. My personal rule of thumb for rock is never louder than -6.2 LUFS or so, and I typically target -7 LUFS to -8 LUFS, depending on instrument density. Then for loudness range for rock, you want to never go under 2.0 LU, because you really lose the sense of dynamics. If you meter a lot of commercial tracks (which I do and recommend), you'll see ranges between say 4.5 LUFS and 2.5 LUFS. Spectral balance is HUGE for getting more perceived loudness while still maintaining loudness range. Also, realize that loudness range will vary by track, since it is an average - if a track has a quiet part, or drop outs, that will influence the overall measured loudness and range. Parallel compression in the mixing session (the Rear Bus, see Andrew Scheps) can help beef up a track while not destroying loudness range. I typically run a rear bus at -12 db relative to zero for the uncompressed mix, but this will vary from track to track also. Upwards compression can be used on instrument busses, on the mix, or in mastering as well. This is a great technique because it will reduce dynamic range without destroyed perceived dynamics - as long as it is not overdone. Above all else - try things - measure them, write results down and try to change one thing at a time so you know what is creating what effects.
ко стаа, мара ба, как я карате и всякакви таива тъпотий. 5 минути дърдорене. Или ще е празни приказки или ще са приказки от 1001 нощ или история на музиката от времето на Адам и Ева......и 3 минути по темата. Да не споменавам софтуера. Не мога да повярвам колко много безсмислици има в тубата.
Good tips but all those pops and clicks brought me back to 2016 when I started recording music
What do you mean when you say "nail that frequency range (3k) in the process of production and mixing"? What does nailing that area mean in that context?
Hi, I hope you are well... One thing I would know is how many lufs this track is peaking in the final process of mastering?
Kept watching and I am no longer sad! Thanks Dane!
do u have a video on Masters for Dynamics and not loudness like they did back in the day when they did not smash the life out of a record?
Great message and just inspiring stuff Dane, thank you for adding this to our neverending learning curve. Never focused on the 3k range before myself, so I wonder what it will do going over some of my older masters. I like the idea of investing precious time only from out of a thought of concept about a wanted sound. Also liked to see more plug-ins doing little things, instead of just a few doing a lot. It's all in the detail.
All the best, Jeff
Awesome video, thanks Dane! Love the A/B comparisons. Makes a lot of sense, especially since humans are more sensitive to sounds in that 2-4k range. It's so nice knowing you don't have to destroy dynamics to get a loud perceived master. Thank you guys!
Its all about knowing your tools inside out, and stay clear from others using different tools as that can be very distracting. You will not learn easily that way
how are you running these busses?
great professional explanation, "big fish to fry" i learned this idiom here too ✌✌👍👍
What if i record Ambient sounds and there ar many quiet parts for longer duration but also very loud parts. If i bring the Loudness to -16Lufs the loud Parts need to be ultra compressed or hard limited and loosing all it´s dynamic Range.
So it would be better to lower the overall Loudness to keep the dynamic Range. But what will TH-cam do with that? Does TH-cam normalize to quiet Parts to -16Lufs anyway or does TH-cam only lower too Loud Parts and leaf the Quiet Parts as they are?
Nice video, Dane. And happy to say I could tell the difference between fader and EQ. Hopefully, I will be frying little fish! 😁
I literally just discovered this by accident a couple weeks ago and I was tripping out at how well my mixes sounded even the low end on my phone! You're the man thanks for confirming this.
🤯🤯 love the simplicity
Wonderful video!! Liked and subbed!! \m/
10:55 Introducing harmonics isn't equal with EQ at all
You can use harmonics to shape tone, similar to an EQ
If you were to bounce your mix to tape before final limiting, would you use any plugins on the master bus or hold off until you have the post-taped file (and then apply further processing)? I may have to experiment with mix:analog but that means having to rely on headphones in another setting with good wifi. Any thoughts?
True.. Luca Pretolesi Compresses the 1-4k range and brings that out of speakers...and believe me it sound more on your face vocals and every thing.
Thank you fam.. that is amazing....
wut the actual fk..
subbed.
Great video again! Thanks Dane!
at first I thought your channel has like 1 million subs according to the quality. 3k what!!!!!!
I was about to take you seriously then i saw you using a filter on the master💀💀💀💀💀💀💀💀
I would love for you fellas to mess with some of my stuff , just from hearing your logic and approach and I use logic as well ! How can I make this happen ??? I think you would really enjoy the challenge , and I would also love to hear you guys special touch you put on the mix
I appreciate the video but one of the most important things that I would like to know was the routing set up that you did on this master. Was it one stem sent out to two auxiliary channels then sent to master bus. Please reply
ya'll going to eat those fake Mastering TH-cam....nice explanation...
Absolutely prefer the mix without the comp and EQ
Why is the audio on this video full of pops and clicks …
Very Awesome Video!!! Great Delivery 📦 Great Examples
Liked, subscribed, saved. Thank you again!
Amazing! Thank you!
this video was very well put together , thank you !
Best mastering tip ever! Thanks a lot! If only I had known that earlier...
This is the most helpful explanation on youtube regarding loudness! Thanks a lot!
Thank you so much.. Forever growing
Nice video, helpful info fr!
Ok so my question is, should i avoid limiting and comp and eq when im producing? Should i first make a track with controlling the volumes via gain staging and then export it at 16 bit dithered? and then import the track and master it with comp/eq/limiting after? or i do need to do comp/eq/limiting during production and then export it. Import it and finish the master with more comp/limiting/eq?
No to all of your questions. The absolute most important thing would be to improve your monitoring. No formulaic process will help you when you can't accurately hear what eq, compression and limiting is doing to your tracks. Once you have a good monitoring setup then you can let your ear guide you.
i have 2 songs on my page that i mastered and produced. Walk Alone was fully produced by me, no friends is mastered by me. I will be dropping another one soon. Do give it a listen and lmk what you think? My process during production rn is chosing sounds that mesh well, then i eq/comp/limit efx on busses etc, then i gain stage, adjust whats needed, then master it. @@davidallanmusic
Very much appreciated in advance!
You're very welcome!
Great video demonstration
🔥🔥
FIRE FIRE!
Really appreciate you fellas !
so well said and helpful
Glad it was helpful!
Amazing video
Great explanation!
Perceived loudness means nothing when you don’t take LUFS into consideration. In your A and B demonstration, the LUFS reading would be about 3-4db louder, which means streaming services will reduce the track’s volume. LUFS is king to making loud and punchy music. A poorly mixed track at -14 LUFS will sound quiet, dull, boring, harsh while a well mixed track at -14 LUFS will sound loud, clear and pleasant. Also you leave out the other aspect of the frequency realm - distortion. Punchy sounding drums with minimal peaks and loud sounding bass is easy with a bit of distortion.
No charting songs are mixed at -14… rook
@@HollerAtcherBoi Only tone-deaf sheep who confuse music with sex and dance choreography (majority of population) listen to top charts. If your ears are worth anything, you’ll be able to hear how overly-compressed and lame-sounding any track is above about -11lufs. There’s a reason why 60s to 90s dynamic music remains so popular while today’s smashed trash only lasts a few months at best. Lastly, -14 matters because that’s TH-cam’s standard. A punchy -14 mix sounds way better than a smashed -8 mix limited to -14 by youtube. TH-cam is the most listened to platform, by far.
@@EricPeelMusic lol false again. Even most of Queen’s hits are between -9 and -11
@@HollerAtcherBoi Queen? Bohemian Rhapsody perhaps? -13.1LUFS. Try again.
@@EricPeelMusic -12.9 but you’re close. Somebody to love is -11, Killer Queen -10.9, Fat Bottomed Girls -10.2, We Will Rock You -9.8, Another One Bites the Dust -11.6, Under Pressure -11.2, We Are the Champions -9.6. You may be seated now.
Mastering in Logic ? Are you joking?