Finally someone not using fancy terms, weird plug-ins and constantly advertising their courses. You just explain it and I understand. Thank you so much!❤
As a conductor/musician that's directing an orchestra, you're doing the same thing musically..working with the dynamics, tone and intricate detail. I appreciate how well trained the ear needs to be in making the music sound at its best. I don't have your technical skills but I can hear and fix what needs to happen in all the individual parts...when there's too much bass or where there needs to be a crescendo...bring out the melody or enough dynamic contrast..making sure no parts dominate where they shouldn't or become distorted. I tweak everything by analysing all the parts by ear..like I would a professional performance. Having absolute pitch also means that I can hear what goes and doesn't.. it all helps. Thanks for this great video 😃 You're amazing 👏
I hope your kidding I don’t know you but I believe you and admit that daw equipment cpus aren’t as cheap as people think a especially if a comp was not something in the house not that couldn’t have one just never did so I want to learn but I have multitrack order about $800 I tried to do a laptop d.a.w. And I’ve lost music for me doing it is for myself musician playing piano since I was a kid talk professionally saying I had to figure out how to do harmonies orchestrating things so I’d like to learn but producers of said if you don’t know what you’re doing you’ll be out with somebody options it will drive you nuts so I’m not getting paid and it’s just for me well for teleported read the studio but the stuff seems harder than working a multitrack recorder Mixer.
@@gaysquirrels6915 I am on about that even though Michael And Family was well laugh I’ve never had a computer so I wasn’t good at it so I bought track machines and I’ve got the latest ones and I’m glad I learn the hard way not saying you do this for d.a.w. to make it easy but producers of said if you don’t know what you’re doing or not you a lot of young kids will manipulate everything to the point didn’t even playing instrument understand now I practised my craft that’s all I have to say calm down Buddy…👃🍳🎹😭
@@Mikepo587 Oh i see what you mean now I have a good idea about the things that you can MIX and how you can help us with your own cpu and then we will terrorism the coaxial nutsack
Love your approach to teaching! Have been mastering for a long time now, but I love checking out other approaches to mastering. This old dog loves new tricks!
Thanks for this. No BS for once on mastering , just to the point. I had been doing it right (ish) all these years and just trusting my ears, but had always believed I wasn't really mastering. It's nice to know intuition means a lot and just try it out on various sound systems too to be sure.
You are a blessing streaky your old school tricks and knowledge is amazing for all new comers like me since there is so much false information on this platform. Thanks again, and pls can i have that masaleq lol
I wouldn't mind learning about what mastering really is, as opposed to the minor role of adjusting the audio. I know that stuff is boring, but what specifically is delivered to the label or client and how is it organized?
I finally invested in the fabfilter proq3 and Saturn a few months ago. The saturn is surprisingly rich and stable sounding. The pro Q 3... wow. My Ableton Eqs sound like muck in comparison, and a more objective description is simply that they colour alot! To think I used Ableton EQ for correction when working on the fly, and usually keep them in a mix... I feel silly! I guess our ear adapts to things over time. I'd have to be clear in saying that there is no problem with colour/character EQs but logically I think subtractive correction should be transparent.
For mastering 1.Eq -- tonal balance frequency boost or cut 2.compression -- compress dynamic range 3.multiband comp -- compression separately each band according to your taste 4.exciter -- add some harmonics and energy 5.stereo imaging-- wide your track 6.limiting -- limit your sound set -2 db Am I right teacher
I would use a band selective compressor instead, to filter out some of the triggering frequencies that can appear to trigger the compressor too much. It makes a huge difference in content that has dynamics and is mixed as such.
You know streaky, I've been doing this for a long time. And I am amazed that it took me 30 years to realize something (that I actually knew all along). That there are no real correct answers here. Mastering is so broad now a day, we all work so differently there is no "This is how it's done". It's simply not applicable anymore. There is however.. A guide you can share and I think you do a really good job with sharing that guide. For example: TPL. Some love it, some hate it. Another example: Inter sample peaks. With certain music/genere's they are essential to take caution with. Other music, you can't even notice them because the music genre/style is so "loud" in nature.
Hi Streaky. Thanks for another great tutorial. I have one general question regarding mastering. What would you recommend at the start of mastering the song. Should I firstly push the volume with limiters to roughly the desired level and then start all processing like EQ and compression (in moderation of course). Or should I firstly do all the processing and the push the track with volume at the end? Thanks for answering.
Why use a shelf eq on the low end? You're ineffectively boosting the mud and unnecessary frequencies in the 0-30hz range. A better idea would be to hipass filter from 20-30hz then shelf/bell curve boost the low end.
I wonder why you left out the hold tab to reverse input and output? i learned that trick from this channel and it was an absolutely game changer, a loooot of people dont know about that
Hey Streaky, I’ve heard the -14 lufs target of streaming services. But when I pull audio off streaming services at times tracks will be as loud as -6 lufs, how is this possible? Thanks.
I usually stick to -8 lufs with around -3 db of reduction in the limiter, but I mostly work in hip hop. I also use a series of compressors and clippers throughout the production.
@@musicplaylistize actually stem masterng is what a lot of professional mastering engineers prefer, but I never hear Streaky talking about it...go look it up, bro, I prefer it myself, it brings great results, better sounding masters, happier mix engineers and even happier clients
@@imremozsik1012 I'll admit that I didn't work with a looots of Mastering engineering, and I do know it's a thing. However, I still view it as mixing, and I'd rather the mastering engineer tell me what's wrong in the mix, and send it back to him. Track mixing will always be better than stem mixing, and the mastering engineer is ideally there to enchance the beat to its full potential, not fix the stems
I tend to overdo it when it comes to gain staging during my recording and mixing phase, and then when it comes time to mastering I really have to crank the limiter to get the level up. Question for you. Can I just re-add the gain in on the stereo output of the mixdown? I have been trying this and it doesn't seem to distort or change the tone of the mix.
Trying to figure out if the tracks you were hiding were playing in the background because they weren't muted or made inactive when hidden? Was it routing to a bus and the final wav was recorded in from the bus? I see the input is a bus so would that mean the other files don't play unless that track is monitoring?
How is this Mastering? This is a tutorial about mixing with plugins. How come no Mastering compressor plugins used for final stage of the song production?
Great demonstration! A very common mistake in mastering is to not level match. The person doing the mastering thinks it sounds better just because it sounds louder with the addition of EQ, compression, limiters and effects. But when comparing at the same exact LUFS level, very often, it will sound worse. Not talking about you Streaky 🤣, talking about the engineers who are learning or artists mastering themselves. I think we should always level match at least at the end to compare the mix and the master at the exact same LUFS level section by section. This is very important because of the volume normalization performed by the streaming platforms. A master must sound better than a mix, both louder and at the same LUFS loudness level. An easy way to make this test quickly for people producing their own music is to upload the mix and then the master on UA-cam in private videos and then compare side by side (assuming that both are at least at -14 LUFS or higher because UA-cam turns the music down to -14 LUFS if louder but does not turn it up if less than -14 LUFS). But beware because each platform calculates the loudness with different algorithms so for example, on UA-cam, the mix may be perceived at the same loudness as the master but maybe on Spotify, because of the way Spotify calculates the loudness, maybe the mix will sound louder than the master there so it means that the mix may be perceived as "better" by the listener. I feel it is important to validate the loudness of the mix and the master on each major platform and there are tools available to make these comparisons. For example, the stereo width or presence on the sides for some specific frequencies, although it has not a significant perceptible impact on the loudness, has an impact on how the various platforms will calculate the LUFS average level of a song and again, each platform makes the calculation differently so some platforms are taking into account a lot more the presence on the sides (versus the mids) than other platforms, same for the dynamic of the sound, music with high peaks may be calculated as "significantly louder" by platforms like Spotify just because these platforms take the peaks into consideration as one of the main criterions to calculate the average loudness of a song. Even the automatic mastering online tools can make masters sound worse than the source mixes once they level-match on the streaming platforms. This is important because most people use playlists to listen to music. So if a master's volume is significantly reduced by Spotify, this song may not sound as good as all others once in a Spotify playlists because it will be played quieter. This can be the difference between a flop and a hit for an artist trying to build his name. A very loud master in a DAW can suffer from much more gain reduction on streaming platforms than a "less loud" master in some cases, and sometimes it can also be the opposite (depending on the loudness calculation method), but I think it's good to look at this also, as we can't deny that normalization exists... but we also can't deny that loudness war also exists on non-normalized platforms, so it's balance that needs to be performed. But maybe I'm all wrong too! 🤣😂 You may explain this better than me in another video I'm sure 🤣, I just didn't listen them all yet! 🤣 I wish you a Merry Christmas 🎄🎁🎅 and Happy Holidays! Thanks for the great quality of your content and the incredibly useful information that you provide! Best Regards from your friend François in Montreal, Canada! 🎼🃏🎶🎵🙏😁🌠
@@daily23 Thank you very much, you are a very likeable person as well with your response 😀🙏. A lot of pro engineers (most) never level match when making demonstration of their mastering skills. That upsets me a lot because some of their spectacular moves are barely perceptible when you level match their mix and their master but in their demonstrations on UA-cam videos since they don't level match it sounds incredible. For example, if you raise the upper midrange during mastering, it may sound right away more spectacular to your ear and you may say "Wow I made it better" but when you level match before and after your spectacular move of raising the upper midrange, you may realize that the version prior to your spectacular move sounds better when comparing at the same integrated LUFS level (or by uploading both on UA-cam in private mode to compare both after UA-cam's normalization) because the version with more upper midrange will sound weaker in bass than the version prior to your change and this is mathematics, you can't get over this with normalization unless you know the tricks to fool the mathematic calculations of LUFS because these tricks exist and we call this "perceived loudness" and this is a very interesting science because at the same LUFS level, one version CAN be perceived as louder than another mastered version of the same song and I feel it is important to know these tricks as well.
@@Streaky_com thank u sir.. i just can't believe u replied.. i have made a song in my local language can u plz review the song.. LUFS -12 db, TP -0.1 db ua-cam.com/video/cbMoqLavsG8/v-deo.html
Streaky , you are amazing and teach us soooo much. But this song you re using....no offense...could you do your next videos with a new one ? I promise you will get more subs
Hello Streaky ! Your videos are a godsend, you truly are a genius! I've applied all of your techniques with great results and I love the sound of my masters. However, I can't get my true peak max under control. My reference tracks show me a consistent true peak max of around -0.4 dB, but mine is all over the place going from -2 dB to 2 dB... All of my other values are OK (LU range, LUFS momentary max, etc.). HELP me !!! Cheers and happy holidays from Canada !
Finally someone not using fancy terms, weird plug-ins and constantly advertising their courses. You just explain it and I understand. Thank you so much!❤
Well done old timer.. 25 years still going strong.. Master of the Masters ..Can have THE MASALEC EQ NOW PLEASE 🤣😂😂 BEST MATE 👊
As a conductor/musician that's directing an orchestra, you're doing the same thing musically..working with the dynamics, tone and intricate detail. I appreciate how well trained the ear needs to be in making the music sound at its best. I don't have your technical skills but I can hear and fix what needs to happen in all the individual parts...when there's too much bass or where there needs to be a crescendo...bring out the melody or enough dynamic contrast..making sure no parts dominate where they shouldn't or become distorted. I tweak everything by analysing all the parts by ear..like I would a professional performance. Having absolute pitch also means that I can hear what goes and doesn't.. it all helps. Thanks for this great video 😃 You're amazing 👏
I hope your kidding I don’t know you but I believe you and admit that daw equipment cpus aren’t as cheap as people think a especially if a comp was not something in the house not that couldn’t have one just never did so I want to learn but I have multitrack order about $800 I tried to do a laptop d.a.w. And I’ve lost music for me doing it is for myself musician playing piano since I was a kid talk professionally saying I had to figure out how to do harmonies orchestrating things so I’d like to learn but producers of said if you don’t know what you’re doing you’ll be out with somebody options it will drive you nuts so I’m not getting paid and it’s just for me well for teleported read the studio but the stuff seems harder than working a multitrack recorder Mixer.
@@Mikepo587 what you on about? 😂
@@gaysquirrels6915 I am on about that even though Michael And Family was well laugh I’ve never had a computer so I wasn’t good at it so I bought track machines and I’ve got the latest ones and I’m glad I learn the hard way not saying you do this for d.a.w. to make it easy but producers of said if you don’t know what you’re doing or not you a lot of young kids will manipulate everything to the point didn’t even playing instrument understand now I practised my craft that’s all I have to say calm down Buddy…👃🍳🎹😭
@@Mikepo587 Oh i see what you mean now I have a good idea about the things that you can MIX and how you can help us with your own cpu and then we will terrorism the coaxial nutsack
Love your approach to teaching! Have been mastering for a long time now, but I love checking out other approaches to mastering. This old dog loves new tricks!
Yes always learning myself too 👍
Streaky, you forgot to mention the most important ones: Depeche Mode, Nitzer Ebb, and The Prodigy! Amazing portfolio, Streaky! Teach us!
Oh. Didn't know that. Cool. Nitzer Ebb... Great memories from 30 years ago.
Thanks for this. No BS for once on mastering , just to the point. I had been doing it right (ish) all these years and just trusting my ears, but had always believed I wasn't really mastering. It's nice to know intuition means a lot and just try it out on various sound systems too to be sure.
I struggled a lot to get my masters to sound loud enough... you just changed everything. Thank you so much!
You are a blessing streaky your old school tricks and knowledge is amazing for all new comers like me since there is so much false information on this platform. Thanks again, and pls can i have that masaleq lol
@ 8:06 "That's pretty smashed". .. The EDM guys be like "Sounds amazing" LOL
I appreciate your tutorials. Your points are clearly made and easily understandable. Thank you!
Merry xmas Streaky, thanks for all your vids this year
Great stuff Streaky. De-mystifying mastering for the masses!
Just what i needed.Thanks for this
Learned a lot! Thank you for this!
Love your content streaky was really hoping you hit that 50k subs
Usher...Prodigy...sweet! Thank you for the knowledge mate! Cheers from TEXAS!
I have music content check me out
I wouldn't mind learning about what mastering really is, as opposed to the minor role of adjusting the audio.
I know that stuff is boring, but what specifically is delivered to the label or client and how is it organized?
Your videos are really helpful. I hope to learn a lot from you. Merry Christmas and a happy new year!
1) Get Notification 2) Add Limiter to interface 3) Click for video 😂
That’s was brutal for my speakers and my Neigbours
I finally invested in the fabfilter proq3 and Saturn a few months ago. The saturn is surprisingly rich and stable sounding. The pro Q 3... wow. My Ableton Eqs sound like muck in comparison, and a more objective description is simply that they colour alot! To think I used Ableton EQ for correction when working on the fly, and usually keep them in a mix... I feel silly! I guess our ear adapts to things over time.
I'd have to be clear in saying that there is no problem with colour/character EQs but logically I think subtractive correction should be transparent.
Great tipps every time! Love to watch your tips and angles to mastering.
Your tips work. Keep em coming Streaky and thank you!
Back to basic for the new coming year. Thanks streaky. 🥂🎄🎅
For mastering
1.Eq -- tonal balance frequency boost or cut
2.compression -- compress dynamic range
3.multiband comp -- compression separately each band according to your taste
4.exciter -- add some harmonics and energy
5.stereo imaging-- wide your track
6.limiting -- limit your sound set -2 db
Am I right teacher
I’d fuck the exciters off and limit a little louder but using eq, compression / limiting are the way forward 👍
I haven't gotten excited about xmas for ages. Got us all hoping Santa brings us a Maselec 🏴🤞♥️🤘 love you Streaky thanks for your Brilliance!
😭 tried to get my 15,000 contacts on board but nobody answers chain emails anymore 🤷😭❤️🏴
Merry Christmas Streaky!
I would use a band selective compressor instead, to filter out some of the triggering frequencies that can appear to trigger the compressor too much. It makes a huge difference in content that has dynamics and is mixed as such.
Paul Weller ?? Wow .. Sounds fantastic add the fact that I like too much your general approach to treat different problems as clearly as possible ..
Are you normally Mastering with a Limiter or a Compressor? I´m kinda confused when to use which..
You will always use a limiter at the end of your chain
Always enjoying your videos!! Making our day 🙏🏻🤙🏻
You know streaky, I've been doing this for a long time. And I am amazed that it took me 30 years to realize something (that I actually knew all along). That there are no real correct answers here. Mastering is so broad now a day, we all work so differently there is no "This is how it's done". It's simply not applicable anymore. There is however.. A guide you can share and I think you do a really good job with sharing that guide.
For example: TPL. Some love it, some hate it. Another example: Inter sample peaks. With certain music/genere's they are essential to take caution with. Other music, you can't even notice them because the music genre/style is so "loud" in nature.
I was side bobbing my head through this whole video and now my neck hurts
Great beginner tutorial Streaky!
Hell of a "young boy" i might say! Thanks for a video
You’re the real deal. You know your stuff
Well executed 👍🏿
Cheers Streaky
Happy New Year, Streaky! In 2021 i want to see how do u use DS1-MK3 👽 Chearsssss 🙏
Smiley rules OK, another piece of brilliant tuition
Half the time I'm thinking "Damn another great tip from Streaky", and the other half I'm trying to imitate your awesome accent "Hoy Oim Streekay"
I was just wondering if there is a difference between mastering on Master Buss with all tracks flowing in VS bouncing down to a stereo track!!??
It makes you think I’m a different way...you need to concentrate on the overall sound rather than the individual tracks like you do when you mix
@@Streaky_com Thank you so much for replying! I love your channel!
@@Streaky_com also I was wondering if you thought that the Audient id 14 is a good interface??
Easiest way to master your music? Hire someone like streaky to do it for you and trust their judgement.
Hi Streaky. Thanks for another great tutorial. I have one general question regarding mastering. What would you recommend at the start of mastering the song. Should I firstly push the volume with limiters to roughly the desired level and then start all processing like EQ and compression (in moderation of course). Or should I firstly do all the processing and the push the track with volume at the end? Thanks for answering.
You should be put the limiter on last. Boosting eq after a limiter will cause you to peak in the stereo out
@@NickB-md1oy yes limiter is last in the chain, of course. My question was different
This is the winner's corner 💪
Very simple.. Most simplest way of mastering
In your recent videos on L2 limiter you use complete different settings and not near as much gain reduction? A bit confused?
Why use a shelf eq on the low end? You're ineffectively boosting the mud and unnecessary frequencies in the 0-30hz range. A better idea would be to hipass filter from 20-30hz then shelf/bell curve boost the low end.
Hello sir.. big fan.. you helped me alot.. thank u so much..🙏
Love your Content so much!
That masaleq is never gonna be mine🥺🥺
Streaky God bless you for your help!!!
I've been mixing right into red no issue. Don't even need a limiter. Sounds louder and cleaner. Try it
Ok 👌🏻
Good advice Streaky, thanks :)
BTW, how long have you been mastering for? :p
Few months 😂😂😂
@@Streaky_com Pff and you're trying to teach us something... nOoB
How are you using, connecting/re-recording with different converters?
How do I turn the track down in Logic Pro like you do at 2:57?
Been looking for a good simple mastering tutorial recently. Thank you Streaky 👌👌
what is the most important skill to be an expert in mastering?
I wonder why you left out the hold tab to reverse input and output? i learned that trick from this channel and it was an absolutely game changer, a loooot of people dont know about that
Hey Streaky, I’ve heard the -14 lufs target of streaming services. But when I pull audio off streaming services at times tracks will be as loud as -6 lufs, how is this possible? Thanks.
I usually stick to -8 lufs with around -3 db of reduction in the limiter, but I mostly work in hip hop. I also use a series of compressors and clippers throughout the production.
Fantastic video as always, Streaky! Can you please teach us how to use MultiBand on low ends in mastering? Thank you so much!
Checkout my videos on low end
This just cured my overthinking.
Streaky, please do a vid on mastering with stems! I'd love to hear your insight on that. Keep up the good work! Cheers
that's still kind of mixing
@@musicplaylistize actually stem masterng is what a lot of professional mastering engineers prefer, but I never hear Streaky talking about it...go look it up, bro, I prefer it myself, it brings great results, better sounding masters, happier mix engineers and even happier clients
@@imremozsik1012 I'll admit that I didn't work with a looots of Mastering engineering, and I do know it's a thing. However, I still view it as mixing, and I'd rather the mastering engineer tell me what's wrong in the mix, and send it back to him. Track mixing will always be better than stem mixing, and the mastering engineer is ideally there to enchance the beat to its full potential, not fix the stems
@@imremozsik1012 aka, it only brings a better end result of your mixing engineer is a problem
Streaky masterclass 😁
Hi Streaky, does lowering the audio file volume lower the bit depth? and as a result affect the sound quality of the audio
Thank you so much for the video. Very well explained and easy to understand unlike others
Streaky you burn my speakers 03:08 :))) tnx for the great tutorial learning a lot here
What’s that track? I want the stems 😮
I tend to overdo it when it comes to gain staging during my recording and mixing phase, and then when it comes time to mastering I really have to crank the limiter to get the level up. Question for you. Can I just re-add the gain in on the stereo output of the mixdown?
I have been trying this and it doesn't seem to distort or change the tone of the mix.
Trying to figure out if the tracks you were hiding were playing in the background because they weren't muted or made inactive when hidden?
Was it routing to a bus and the final wav was recorded in from the bus? I see the input is a bus so would that mean the other files don't play unless that track is monitoring?
I was in solo
@@Streaky_com ahh okay!
For the smiley face EQ, why not have left the tracks volume where it was and subtracted from the mids rather than adding to lows and highs?
Because that wouldn’t be boosting the lows and highs, that would be subtracting from the mids making it less punchy
How to eq proper strings with stock plugins
How is this Mastering? This is a tutorial about mixing with plugins. How come no Mastering compressor plugins used for final stage of the song production?
I love your channel. I owe you a beer one day 👍
Thank you Streaky
Can people master a song with vocals the same EQ way
Listen to other trax and know how they sound on YOUR speakers is a major take way...Train your ears to your speakers.
Great video!
You’re the man!
Great demonstration! A very common mistake in mastering is to not level match. The person doing the mastering thinks it sounds better just because it sounds louder with the addition of EQ, compression, limiters and effects. But when comparing at the same exact LUFS level, very often, it will sound worse. Not talking about you Streaky 🤣, talking about the engineers who are learning or artists mastering themselves. I think we should always level match at least at the end to compare the mix and the master at the exact same LUFS level section by section. This is very important because of the volume normalization performed by the streaming platforms. A master must sound better than a mix, both louder and at the same LUFS loudness level. An easy way to make this test quickly for people producing their own music is to upload the mix and then the master on UA-cam in private videos and then compare side by side (assuming that both are at least at -14 LUFS or higher because UA-cam turns the music down to -14 LUFS if louder but does not turn it up if less than -14 LUFS). But beware because each platform calculates the loudness with different algorithms so for example, on UA-cam, the mix may be perceived at the same loudness as the master but maybe on Spotify, because of the way Spotify calculates the loudness, maybe the mix will sound louder than the master there so it means that the mix may be perceived as "better" by the listener. I feel it is important to validate the loudness of the mix and the master on each major platform and there are tools available to make these comparisons. For example, the stereo width or presence on the sides for some specific frequencies, although it has not a significant perceptible impact on the loudness, has an impact on how the various platforms will calculate the LUFS average level of a song and again, each platform makes the calculation differently so some platforms are taking into account a lot more the presence on the sides (versus the mids) than other platforms, same for the dynamic of the sound, music with high peaks may be calculated as "significantly louder" by platforms like Spotify just because these platforms take the peaks into consideration as one of the main criterions to calculate the average loudness of a song. Even the automatic mastering online tools can make masters sound worse than the source mixes once they level-match on the streaming platforms. This is important because most people use playlists to listen to music. So if a master's volume is significantly reduced by Spotify, this song may not sound as good as all others once in a Spotify playlists because it will be played quieter. This can be the difference between a flop and a hit for an artist trying to build his name. A very loud master in a DAW can suffer from much more gain reduction on streaming platforms than a "less loud" master in some cases, and sometimes it can also be the opposite (depending on the loudness calculation method), but I think it's good to look at this also, as we can't deny that normalization exists... but we also can't deny that loudness war also exists on non-normalized platforms, so it's balance that needs to be performed. But maybe I'm all wrong too! 🤣😂 You may explain this better than me in another video I'm sure 🤣, I just didn't listen them all yet! 🤣 I wish you a Merry Christmas 🎄🎁🎅 and Happy Holidays! Thanks for the great quality of your content and the incredibly useful information that you provide! Best Regards from your friend François in Montreal, Canada! 🎼🃏🎶🎵🙏😁🌠
🙏 merry Xmas to u 2
@@daily23 Thank you very much, you are a very likeable person as well with your response 😀🙏. A lot of pro engineers (most) never level match when making demonstration of their mastering skills. That upsets me a lot because some of their spectacular moves are barely perceptible when you level match their mix and their master but in their demonstrations on UA-cam videos since they don't level match it sounds incredible. For example, if you raise the upper midrange during mastering, it may sound right away more spectacular to your ear and you may say "Wow I made it better" but when you level match before and after your spectacular move of raising the upper midrange, you may realize that the version prior to your spectacular move sounds better when comparing at the same integrated LUFS level (or by uploading both on UA-cam in private mode to compare both after UA-cam's normalization) because the version with more upper midrange will sound weaker in bass than the version prior to your change and this is mathematics, you can't get over this with normalization unless you know the tricks to fool the mathematic calculations of LUFS because these tricks exist and we call this "perceived loudness" and this is a very interesting science because at the same LUFS level, one version CAN be perceived as louder than another mastered version of the same song and I feel it is important to know these tricks as well.
Hey Streaky !! you rock, thanks for making great tutorials that are precise and easy to follow
What happens with mastering results if I put Limiter first and eq - after?
How to understand Which one style of fab filter pro l is better? for any genre
Good job keep it up :) ! You deserve more❤ subscribers☺
Sir what about LUFS?? Can you plz describe it??
Check my channel 👍
@@Streaky_com thank u sir.. i just can't believe u replied.. i have made a song in my local language can u plz review the song.. LUFS -12 db, TP -0.1 db
ua-cam.com/video/cbMoqLavsG8/v-deo.html
Only eq and limiter?
Low cut 30Hz? No?
It depends on the genre but generally, even at this frequency you would use a gentle slope!
Thanks!!
Very good.
Can I do it in FL studio?
Yes you have the same plugins in fl studio
Seems like you have all the plugins in the world.
Spotify Link to Song?
Super Streaky 🤩
I have music content check me out
Very good
I feel like I'm back at a rave.
Please please do a rock or pop song with real instruments
I LOVE your energy fella!!!
The title?
Thanks I just fixed 🙏
@@Streaky_com NP. Fortunately it was nothing obscene 😂 Happy holidays :)
Streaky , you are amazing and teach us soooo much. But this song you re using....no offense...could you do your next videos with a new one ? I promise you will get more subs
Send me one demos@streaky.com 👍
When you turnt up that gain just to show us what not to do. I'm deaf now 🙂
Hello Streaky !
Your videos are a godsend, you truly are a genius! I've applied all of your techniques with great results and I love the sound of my masters. However, I can't get my true peak max under control. My reference tracks show me a consistent true peak max of around -0.4 dB, but mine is all over the place going from -2 dB to 2 dB... All of my other values are OK (LU range, LUFS momentary max, etc.). HELP me !!!
Cheers and happy holidays from Canada !
should have sidechained your voice over the track so we can hear you clearly
Sentite condoglianze.