Відео

@buskertv7138 Glad it's of some help! I'm not sure how well that would work as a general template because it relies on knowing when, and what, you want to change the tempo/time signature to! But if you're struggling programming it in yourself and need some help, you could drop me a line through my website and I could arrange a quote for a custom template for you holosuitemastering.com/#let-s-chat

Hey @emretenker, there could be a number of factors at play - it would definitely help if I could hear (and perhaps see) your mix! Please fill in my contact form and I'd be happy to talk in more detail, so I help you troubleshoot holosuitemastering.com/#let-s-chat

Interesting, this is something I've not thought about in detail - but certainly on paper it makes sense. Collapsing a stereo track to mono _should_ make any phase issues permanent. It does make me wonder whether the mono buttons on plugins such as Ableton's utility compensate for that - seems like they should, but I've never actually tested it out! I shall tinker around in the studio and see what I can put together 😊

One argument is that if you bake it in and still get things sounding the way you want, at least you won't get any surprises when played back on different systems. I just did some testing with the Ableton Utility plugin, and it doesn't seem to do anything surprising. It does in fact bake in the phase cancellation when you use the Mono or Bass Mono buttons. You can try it yourself by putting an Operator with a 100 Hz sawtooth drone through Utility, then hit the phase invert switch on one channel so you get perfect cancellation. If you listen through headphones, you can still hear it, but if you put a Spectrum after in L+R mode, you won't see any signal. Then hit the Bass Mono switch in the Utility and the fundamental just disappears.

@timmarcusmoore nice one! I did fudge around with a few Reese bass samples and Utility in Ableton the other day, and while they did end up with some volume dips where phasing occurred, it was much of a muchness really. What I found more interesting was listening to what happens when you compare a wide phasey stereo reverb vs that same reverb narrowed vs two mono versions of the same reverb vs two stereo versions of the same reverb that have been mono'd using Utility - each sounds subtly different. Still deciding whether it's interesting enough to turn into a video. What do you think?

That's pretty sucky that Splice includes samples that have phase issues by default....how unprofessional! 😮

@@holosuitemastering Oh man, I go through a lot of old 90s CDs and the same thing happens with those. For some reason, it seems like audio guys don't always check the DC offset lol To be fair neither do I

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That's something I haven't run into before! I assume this is for a stereo instrument? I guess the easiest way to fix it would be to run two versions of the same instrument, both in mono with slightly different PWM speeds, and pan them left and right - that way they would have a lower chance of lining up and causing cancellation (and on paper it shouldn't sound that much different from the stereo).

You're welcome Glad you found it helpful 😊

Haha indeed! 😋

I was watching a Dan Worrall video the other day, and he reminded me that a lot of Bluetooth speakers are in mono - so I wouldn't be surprised if some people are listening to ambient without realising it's in mono! Plus anyone listening on any speaker setup where they're not perfectly in the middle is not really listening in stereo 🤔 Now that I am monitoring my phase regularly when making music, I haven't had any issues - except when I've been going back trying to remaster my old tracks, ouch 😅

@@holosuitemastering Yes, I hear you. True that. Over the years I have just destroyed so many pads by making them mono'ish. I mean, all the other instruments are fine for me and I get them to sound good in the mono mix. But pads? It's still a struggle. It always seems to be a compromise. I try to save some money so that I can get one of your feedback offerings. Maybe we know more afterwards, haha. Thanks for the cool ambient content by the way. See you!

Thanks so much for your support! I find the key with pads is just to record two mono ones, rather than a stereo one, and then pan them. Also allows me to play with settings to get a bit of contrast, makes the mix more fun.

@@holosuitemastering have you seen the taches teaches video how he makes ambient with bitwig, beginning with a 10 layer pad? At the moment I try to get this mono-ish. maybe interesting for you as well? Just a tip for long, nice winter nights.

I haven't, I will check it out - thanks for the recommend! I'm in Australia so it's nearly summer here haha

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So glad you enjoyed it! Thanks for the support! 😊

You're welcome! Glad I could help! 😊

@@holosuitemastering I went to apply this today on a mix I'm working on and it has been so useful. Cheers :)

Awesome, you're welcome 😉

Thanks so much for watching! Haha yes brevity is the soul of wit 😊

@@holosuitemastering Absolutely agreed! +Sub 😁🤍

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Indeed, although would we not consider that to be a separate genre, given that it has its own title? Or a sub-genre perhaps?

Glad I could help! Let me know how it goes! 😊

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You're welcome! Thanks for watching! ☺

Trip Hop definitely came to mind, but my first thought was "seeing as it has its own classification, I guess it technically doesn't count" 😋 I've done this video on reverb, which hopefully might be helpful: ua-cam.com/video/EI7Asd3iJDI/v-deo.htmlsi=gyv8AWVYHId5MOrR I try not to be prescriptive with reverb for ambient because it's basically the whole sound for some artists - I'd rather just show some techniques for how to get around muddiness without having to dial it back too much 🙂

Thanks for watching! That sounds like a good way to do things - whatever works for you really! It's not necessarily a bad thing to mix and master at the same time, though if you get stuck tweaking it might be a sign that you need to try and keep them separate. If you're struggling with objectivity, of course it's always helpful to get another set of ears on it 😉

The cult of BASS 🔊🔊🔊

Sweet, thanks for the recommends! It also just occurred to me that Shlohmo probably also counts too, at least some of his earlier stuff 😀

Yay, another winner! Thanks for watching! It really depends on the project - I will always work with the artist to help them fix the issues in their mixes first, but if they are lacking in the knowledge or resources to do it themselves, I'll offer to stem master if it's in their budget. If neither of those are an option (e.g for artists who recorded everything down to stereo from hardware and don't have multitracks), sometimes I can pull off some pretty amazing stuff at my end - Izotope Ozone and RX are indispensable for that. And sometimes we just have to accept some compromises...

Indeed! That is the next stage of the plan 😉

Thanks for watching! Glad it was helpful! 😊

Haha oopsie! I need to brush up on my music theory. I just used the wording from that chart cos the way it was written suggested that it was a variation on the traditional European mapping of notes to frequencies. Are they all based on A440? Wiki says that before the 1900s A435 was most common.

@@holosuitemastering yea the commenter is wrong, 440 is the modern frequency, the scale itself isn't american but the frequencies are, based on ww2 germany introducing 440hz

Apologies for the ear fatigue - I was lazy and didn't try to EQ down the top end for the video. Supermassive is a lovely verb!

It's definitely not something to worry about! I think because there's not a lot of info about ambient engineering out there, we all get fooled from watching content on rock or EDM and thinking that there's some kind of golden number we should all be working to (and get worried when we hit high numbers that we must be doing something wrong). I often get questions from clients about this, so I thought it was worth addressing 😉

Aha can't believe I missed that! Can't fix it without replacing the video (and deleting the original) so I'll just have brace for the "learn 2 spell" comments haha

@@holosuitemastering Ha ha !!! All good… 👍🏾

It really is the best plugin 💪

Thanks so much for the support! 😊

Ah yes the mind control frequency. I put that in all of my songs to trick people into thinking they're good 😋

@@holosuitemastering The Rsonanzes at 23KHZ is pure evil brethren!!

Oh wow I've only ever used Q3, didn't realise that wasn't in the earlier versions! I don't have to use it a lot, though I do occasionally use the EQ match function to help with unmasking - Dan Worrall did an amazing tutorial where he pointed out if you use sidechain to analyze the frequency of a track that's partially masking another one, Q3 will create a profile that tries to mimick it - but if you invert the EQ choices it makes, it also works as a handy way to see where the masking is happening and makes it easy to EQ cos the points have already been made for you. Very cool trick! Annoyingly, I can't find the dang link for you 😅 Dynamic EQ is also fun!

Thanks so much for watching! ☺ Let me know if there's anything you'd like me to cover!

Yes definitely works better with mono instruments, but it is possible to get good effects with stereo instruments - just takes more fiddling!

Thanks so much for watching! I am not saying it should be done strictly, just that it's easier to mix mono instruments than stereo ones. I will often record one part in stereo to give some fullness, and make the rest of the parts be mono to keep the complexity down 😉

Haha glad to know I'm not the only one with this on my mind! 😅