Fantastic content and advice, as always. I often see myself in the same position and I hate the same things about the process as you do haha! Thanks again for the cool video, Ryan.
Some plugins alternatives : - TDR kotelnikov is a great bus/master compressor with really good sounding presets, usefull for noobs like us lol - TDR VOS slick eq, a kind of analog emulation. I find it pretty handy on mastering, and the slight built in saturation is efficient - Variety of sound Baxter EQ has shelving eq + hi&lo passes, and can process in mid/side, really usefull for stereo manipulation - In the Reaplugs suite, built in Reaper but available to download for free for everyone : - Reaxcomp : multiband compressor. It will probably not sound better than G multi, but allow more than three bands, has a built in in&out visualiser, and has some cool presets. (and I just like the ui ;) - JS Stereo Ehancer : it includes a crossover split so you can sum the low end to mono and/or expand the high end width
Great video dude, I didn't know about the first plugin, it looks interesting. Btw, why don't you try the second version of TDR NOVA? It still has a free version.
Good stuff yet again, thanks! I consider the two main goals of mastering the final touch that glues the mix together and a generic consistency applied across the songs so that they sound like one coherent material and not just a bunch of independent songs. If the latter is also correct, I’m wondering how much of the signal chain and in particular the settings of the plugins apply to each and every track identically, and to what degree there are per-song deviations from the EP-level mastering “template” (mastering has never been my cup o' tea, so I apologise if this is a very stupid question)?
The mixing process is what I leverage In terms of making songs sound coherent. If you have radically different guitar tones or drum productions across several songs, no amount of mastering is going to make them sound cohesive without undoing something else. This isnt necessarily bad if that's your intention, but that's why I tend to approach projects with Cubase templates and instrument rigs that I've committed to beforehand to eliminate such variability.
Great video, as usual, with commercials that I found interesting. I'm a TH-cam consumer, not a producer. Do you get to choose which commercials run on your channel?
Enjoyable vid Ryan. I find your honesty incredibly refreshing....in regards to how skilled and/or confident you are when it comes to mixing and mastering. Unfortunately,these days many online guys will inflate their skills after barely knowing their way around a DAW , with their skills as a 'musician' being able to hold down a note on a midi keyboard whilst using the latest software instrument. Sad. Keep up the good work bro......you have great content, and your playing is not too shabby either lol.
TDR is the best eq plug-in ever......I love just limiting instead of cutting guitar frequencies.....for mastering I find the slate fg compressor best....but mix must be. Superb
About the loudness war, it's important to say that some records have their dynamics squashed in order to sounds the way we want it to. Periphery IV has a DR of 6, less than the 7 of Death Magnetic, and it's sounds incredible. Some kind of music are supposed to sounds kinda compressed, in a good way (wich is difficult to achieve, that's why Ermin Hamidovic has to do his job, and do it great). That's even the reason Nolly mix through a master bus with eq and compression, in order to have a better idea of the compressed final result. Everyone criticise the loudness war, but some records are not compressed to sounds loud but compressed to sounds great. That being said, the cliping, oupsie, mastering of Death Magnetic still suck, so being carefull with your limiter is still a relevant advice.
That's exactly the point I'm trying to make here. Getting that result is nothing less than an art form, which is why I advise beginners who would be watching this video to stay on the safe side. I have less of a problem with modern engineers who can do it well like Ermin, and more with rereleased versions of older music that keeps getting overly compressed and sacrificing the sound of the original versions.
That Sanford bass tightener totally surprised me. Getting that plugin now.
Fantastic content and advice, as always. I often see myself in the same position and I hate the same things about the process as you do haha! Thanks again for the cool video, Ryan.
Invaluable video as always!! Would love to see the mixing side of this video from you ! or atleast guitar mixing tips! Thank you Ryan! Big fan!
fine work
Absolute legend.
Very informative video, thank you for all your hard work. 🤘
Great video bro ,I just subscribed
And yes the nova is AWSOME
How do you feel about "T.B" plug-ins?
Great job man! Cheers from The Netherlands, Jeroen Simons, Independent, ex- Epica.
Some plugins alternatives :
- TDR kotelnikov is a great bus/master compressor with really good sounding presets, usefull for noobs like us lol
- TDR VOS slick eq, a kind of analog emulation. I find it pretty handy on mastering, and the slight built in saturation is efficient
- Variety of sound Baxter EQ has shelving eq + hi&lo passes, and can process in mid/side, really usefull for stereo manipulation
- In the Reaplugs suite, built in Reaper but available to download for free for everyone :
- Reaxcomp : multiband compressor. It will probably not sound better than G multi, but allow more than three bands, has a built in in&out visualiser, and has some cool presets. (and I just like the ui ;)
- JS Stereo Ehancer : it includes a crossover split so you can sum the low end to mono and/or expand the high end width
TDR Ferris is best for mastering and saturation
Great stuff!
Great video dude, I didn't know about the first plugin, it looks interesting.
Btw, why don't you try the second version of TDR NOVA? It still has a free version.
Good stuff yet again, thanks! I consider the two main goals of mastering the final touch that glues the mix together and a generic consistency applied across the songs so that they sound like one coherent material and not just a bunch of independent songs. If the latter is also correct, I’m wondering how much of the signal chain and in particular the settings of the plugins apply to each and every track identically, and to what degree there are per-song deviations from the EP-level mastering “template” (mastering has never been my cup o' tea, so I apologise if this is a very stupid question)?
The mixing process is what I leverage In terms of making songs sound coherent. If you have radically different guitar tones or drum productions across several songs, no amount of mastering is going to make them sound cohesive without undoing something else. This isnt necessarily bad if that's your intention, but that's why I tend to approach projects with Cubase templates and instrument rigs that I've committed to beforehand to eliminate such variability.
Great video, as usual, with commercials that I found interesting. I'm a TH-cam consumer, not a producer. Do you get to choose which commercials run on your channel?
Not at all unfortunately.
Enjoyable vid Ryan. I find your honesty incredibly refreshing....in regards to how skilled and/or confident you are when it comes to mixing and mastering. Unfortunately,these days many online guys will inflate their skills after barely knowing their way around a DAW , with their skills as a 'musician' being able to hold down a note on a midi keyboard whilst using the latest software instrument. Sad. Keep up the good work bro......you have great content, and your playing is not too shabby either lol.
TDR is the best eq plug-in ever......I love just limiting instead of cutting guitar frequencies.....for mastering I find the slate fg compressor best....but mix must be. Superb
And let's not forget that last year the second version was released, making it even better :D
About the loudness war, it's important to say that some records have their dynamics squashed in order to sounds the way we want it to. Periphery IV has a DR of 6, less than the 7 of Death Magnetic, and it's sounds incredible. Some kind of music are supposed to sounds kinda compressed, in a good way (wich is difficult to achieve, that's why Ermin Hamidovic has to do his job, and do it great). That's even the reason Nolly mix through a master bus with eq and compression, in order to have a better idea of the compressed final result. Everyone criticise the loudness war, but some records are not compressed to sounds loud but compressed to sounds great. That being said, the cliping, oupsie, mastering of Death Magnetic still suck, so being carefull with your limiter is still a relevant advice.
That's exactly the point I'm trying to make here. Getting that result is nothing less than an art form, which is why I advise beginners who would be watching this video to stay on the safe side. I have less of a problem with modern engineers who can do it well like Ermin, and more with rereleased versions of older music that keeps getting overly compressed and sacrificing the sound of the original versions.
@@PlagueScytheStudios I could not agree more.