The amount of attention to details is amazing! At first, I am like: What? Then after awhile, I started to notice the artifacts. So much to learn and I LOVE IT! Thank you for the video!
Just saw this series for the first time. The phase rotation episode blew my mind. So clear in the explanation. Another way subtle way to eliminate/reduce distortion. More!
such a great series! I do a TON of this in RX...I love their machine learning to get rid of mouth noises....back in the day I would spend about 4hrs per vocal track drawing them out manually in ProTools with the pencil tool hahaha....life is much better now with these awesome tools we get to use!
Today I learned that I absolutely have to get my stuff mastered by someone experienced! I couldn't even hear what was wrong on the first two examples. John is some sort of wizard with razor-sharp ears :) I did pick up all the others, however, and it's come as a nice reminder to me that the annoying nasal click that I get when recording my own speaking voice can actually probably be fixed in a spectral editor, should I ever want to do that...
I love the surgical things you can do to audio. These kinds of tools were super helpful to me in cleaning up noise for videos recorded in less than ideal environments. I am also amazed that clipped samples can be reconstructed in a believable manner, something I would have never thought possible years ago.
@@inmemoryofin I use the Spectral De-Noise tool and experiment with what section of background to use as the noise profile and what settings in the filter are best for removing the noise without inducing too many artifacts. Depending on the audio you can get some unpleasant warbly lofi sounds in quiet sections. The fact that you can apply feathering to your selection is also very interesting.
I've done this on over 14,000 songs now from my collection (took 15 years). I don't have Cedar but I can do the same thing in Sound Forge with the smooth/enhance process or the pencil tool. After a few thousand songs you begin to learn what things look like. The zoom level is key to really finding the difficult ones and Sound Forge can go all the way to sample level and you can move one sample at a time like nodes on an envelope if you have to. I call this restoration since I'm remastering. If you want the most challenging source get a CD of Jimi Hendrix - Valleys Of Neptune. It's like a video game for folks like me. I love the CD because they didn't mess with it, it's the raw tracks with no attempt to fix anything.
You mastered 14k songs in roughly 5,500 days? Assuming you didn’t work 7 days a week the entire time, what’s your average output per day, week or month? Cheers
@@ilikemyrealname It wasn't a steady pace. The first 10 years was getting all the CDs ripped and remastered. Then in the last 5 or 6 years it's just been doing the new CDs I've added to the collection. It's my hobby, I do that instead of watching TV. Some songs don't need much restoration and go quick, other songs take many hours to restore. One good thing is I've actually listened to all my music at least once, every single song.
I'm just relieved I could hear all the artifacts Mr. Mayfield mentioned, although I had to try a couple of times to catch some of those. This video really taught me what I should listen for! Thank You!
Previous episode on fixing phase rotation was much more interesting and helpful to me, since it gave me another perspective on how phase can be fixed besides, for example, stereo phase correlation, or fixing phase relation between kick and bass to gain more headroom. I cannot even hear the artifacts John is fixing in this episode :D (Audio-Technica ath-m30 headphones) Anyway, I learned that apparently there really is a whole another level of audio-engineering. John mentioned, quote: "you have to have a good resolution in your monitors to be able to hear this", - is he talking about frequency spectrum resolution or what type of resolution to be precise (timecode: 2:26)?
Hi Denok, yes the phase rotation episode was certainly a not-so-well known topic, so we're so happy you enjoyed that one. And the fixes are difficult to hear out of most systems. It also takes a very well-trained ear and ample experience to know precisely what to listen for like John has been doing for decades now. When it comes to monitoring resolution, it's many things: The frequency response from the lows to the highs.. the stereo imaging and how well you can hear "into" a mix and much more. Thanks for tuning into this episode!
Same, but I'm also fairly new to mixing/mastering. You probably should also keep in mind that many people are listening on very bad speakers, so maybe you shouldn't stress too much about those details 😄 But still interesting to see how deep you can go with mastering.
@@jannisbmrt why do bad quality? Surely we should aim for the stars...there are definitely people out there with $50K systems who will hear this stuff.
Yes. For this reason, I apply a little more compression than normal temporarily, and listen for noises that poke out, isolate them, and remove. Then I remove the compression and listen once more. Harder problems are when the noises have a series of harmonics to them. That...is a problem.
Well articats....A thing 99.9% of people won't hear it at all due to their media. Including engineers. No engineer listens in a perfectly tuned mastering room their music. Great video.
Stellar episode once again! Learning so much! I wasn't in my studio to listen in on this one, but was certainly able to hear the before and after on Apple Airpods! I notice some folks mentioning that they couldn't hear the difference, or that it doesn't matter. But I believe they are overlooking that this mix John is working on isn't processed to volume yet- so the artifacts are more subtle and less offending. However, if you were to listen at volume- these things would stick out like a fart in church! In my personal experience, it's the subtle things, like this- that build up over a mix. And when handled accordingly- actually gives the record that polished "mastered" sound. It's something simple processing via gear/plugins can't give you. Cheers! :)
Another Great Episode!
Thanks for watching!
The attention to detail here is wildly inspiring. There’s a little David Goggins on my shoulder screaming this is what it takes!!!!
Thanks for watching, Chris! Appreciate the feedback 👊
ha ha ha STAY HARD.
I could sit and listen to John talking about his craft for hours
Glad you enjoyed it, Leonardo! All the best 👍
The amount of attention to details is amazing! At first, I am like: What? Then after awhile, I started to notice the artifacts. So much to learn and I LOVE IT! Thank you for the video!
Just saw this series for the first time. The phase rotation episode blew my mind. So clear in the explanation. Another way subtle way to eliminate/reduce distortion. More!
this was the last piece to the puzzle of a production im proud and satisfied with thank you!
such a great series! I do a TON of this in RX...I love their machine learning to get rid of mouth noises....back in the day I would spend about 4hrs per vocal track drawing them out manually in ProTools with the pencil tool hahaha....life is much better now with these awesome tools we get to use!
Insane attention to detail
Today I learned that I absolutely have to get my stuff mastered by someone experienced! I couldn't even hear what was wrong on the first two examples. John is some sort of wizard with razor-sharp ears :) I did pick up all the others, however, and it's come as a nice reminder to me that the annoying nasal click that I get when recording my own speaking voice can actually probably be fixed in a spectral editor, should I ever want to do that...
Glad you enjoyed it, thanks for watching 👍
A privilege to learn from a true master.
Thank you for watching, Chris 👍 Glad you enjoyed it!
I could watch and listen to this guy moulding mixes for hours. Bob Ross-esque.
I love the surgical things you can do to audio. These kinds of tools were super helpful to me in cleaning up noise for videos recorded in less than ideal environments. I am also amazed that clipped samples can be reconstructed in a believable manner, something I would have never thought possible years ago.
In the current version of RX, what do you use to do this
@@inmemoryofin I use the Spectral De-Noise tool and experiment with what section of background to use as the noise profile and what settings in the filter are best for removing the noise without inducing too many artifacts. Depending on the audio you can get some unpleasant warbly lofi sounds in quiet sections. The fact that you can apply feathering to your selection is also very interesting.
I've done this on over 14,000 songs now from my collection (took 15 years). I don't have Cedar but I can do the same thing in Sound Forge with the smooth/enhance process or the pencil tool. After a few thousand songs you begin to learn what things look like. The zoom level is key to really finding the difficult ones and Sound Forge can go all the way to sample level and you can move one sample at a time like nodes on an envelope if you have to. I call this restoration since I'm remastering. If you want the most challenging source get a CD of Jimi Hendrix - Valleys Of Neptune. It's like a video game for folks like me. I love the CD because they didn't mess with it, it's the raw tracks with no attempt to fix anything.
Nice! Thanks for watching, Frank
You mastered 14k songs in roughly 5,500 days? Assuming you didn’t work 7 days a week the entire time, what’s your average output per day, week or month? Cheers
@@ilikemyrealname It wasn't a steady pace. The first 10 years was getting all the CDs ripped and remastered. Then in the last 5 or 6 years it's just been doing the new CDs I've added to the collection. It's my hobby, I do that instead of watching TV. Some songs don't need much restoration and go quick, other songs take many hours to restore. One good thing is I've actually listened to all my music at least once, every single song.
@@frankcoffey Gotcha! Thank you for the reply. 💪
I don't find this boring at all 😊
I'm just relieved I could hear all the artifacts Mr. Mayfield mentioned, although I had to try a couple of times to catch some of those. This video really taught me what I should listen for! Thank You!
Amazing work
@M.V.I.D! 🙏🏼
Dope bro
Thanks for watching, Timmy!
What has been your favorite part of our mastering series so far? Let us know 👇
All of it! :D
Exactly what I needed! The explanations are incedibly clear and on a level I haven't seen anywere on TH-cam yet. Keep it up!
Previous episode on fixing phase rotation was much more interesting and helpful to me, since it gave me another perspective on how phase can be fixed besides, for example, stereo phase correlation, or fixing phase relation between kick and bass to gain more headroom. I cannot even hear the artifacts John is fixing in this episode :D (Audio-Technica ath-m30 headphones)
Anyway, I learned that apparently there really is a whole another level of audio-engineering. John mentioned, quote: "you have to have a good resolution in your monitors to be able to hear this", - is he talking about frequency spectrum resolution or what type of resolution to be precise (timecode: 2:26)?
Hi Denok, yes the phase rotation episode was certainly a not-so-well known topic, so we're so happy you enjoyed that one. And the fixes are difficult to hear out of most systems. It also takes a very well-trained ear and ample experience to know precisely what to listen for like John has been doing for decades now. When it comes to monitoring resolution, it's many things: The frequency response from the lows to the highs.. the stereo imaging and how well you can hear "into" a mix and much more. Thanks for tuning into this episode!
Same, but I'm also fairly new to mixing/mastering.
You probably should also keep in mind that many people are listening on very bad speakers, so maybe you shouldn't stress too much about those details 😄
But still interesting to see how deep you can go with mastering.
@@jannisbmrt why do bad quality? Surely we should aim for the stars...there are definitely people out there with $50K systems who will hear this stuff.
By good resolution he meant: not ATH-M30 headphones
By good resolution monitors I believe he means a system that has a nice and tight impulse response and waterfall plot.
Impressed on Cedar Retouch. Does it available only on Pyramix?
Amazing content, John is a treasure.
Absolutely, Matt! Thank you for watching 👍
Thanks for this!
Thank you for watching 👍
This series is great. Can't wait for the next episodes :D
Edit: Subbed so i don't miss the next one^^
Yes. For this reason, I apply a little more compression than normal temporarily, and listen for noises that poke out, isolate them, and remove. Then I remove the compression and listen once more. Harder problems are when the noises have a series of harmonics to them. That...is a problem.
Nice approach 👍 thanks for watching.
Well articats....A thing 99.9% of people won't hear it at all due to their media. Including engineers. No engineer listens in a perfectly tuned mastering room their music. Great video.
I'd be curious to hear the end mastered version with and without the artifacts to see how much more they poke out.
That would be really interesting! Thanks for watching, Brad 🙏
his ears are magic...
Thanks for this :)
Thanks for watching, Mathias!
Thank you 🙏
Thank you for watching 🙏
Stellar episode once again! Learning so much! I wasn't in my studio to listen in on this one, but was certainly able to hear the before and after on Apple Airpods!
I notice some folks mentioning that they couldn't hear the difference, or that it doesn't matter. But I believe they are overlooking that this mix John is working on isn't processed to volume yet- so the artifacts are more subtle and less offending. However, if you were to listen at volume- these things would stick out like a fart in church!
In my personal experience, it's the subtle things, like this- that build up over a mix. And when handled accordingly- actually gives the record that polished "mastered" sound. It's something simple processing via gear/plugins can't give you. Cheers! :)
Great points and thanks for watching!
and all this time I'm throwing vinyl clicks and pops into my mixes to dirty them up a bit hahahaha
Gold ear ❤️
Daaaaaaangg
this man can heal cancer in audio
I'm curious, did anyone here actually hear those artifacts ?
Yes! You just need good equipment
Love the daw 😂
It's Science!!! 🤓
It is indeed 😃
wtf is he removing !?
His mic need to be clean on RX too.
HES A JEDI -----MASTER
cant hear enithing :(
That gear is WAY out of my price range.
xtg3n
vun.fyi
Anyone know of an artist that intentionally plays with artifacts?
I think most of them sound amazing, just not in their context.
i'm unsure if this is genius or a horrible idea