I appreciated the whole video, but that explanation in particular. There's an expanding community of DIY producers/musicians who really appreciate this level of clarity.
There are lots of wannabes and so-so mixing/mastering tutors on UA-cam, but this guy is the real deal. He has the knowledge, but is also a great sharer of that knowledge. A brilliant teacher!
Finally, someone who explains everything in plain English. I'd love to have Jonathan Wyner as a teacher.. very detailed, but easy to follow what he's saying.
wow. This advice was pure gold. Brilliant and extremely eloquently put. Especially the bit about comparing LUFs to RMS and the transient-sustain relationship in the low end.
This is extremely helpful! You can basically write down all these key points and turn them into a roadmap of mixing! And don’t touch the mastering until you’re through all these checkmarks! Great great advice! Thank you guys!❤
most of these problems can be addressed with a compressor on the master bus, the caveat here is, you need to know what youre doing with the the compressor levels and presets otherwise you can easily do a homerun and end up at first base again. done correctly, you will finish off with a much more balanced mixdown.
thank you for this mixing checklist! especially that divergence tip! where mixing and production and arrangement all meet. music is both a science and an art.
These have all been very helpful! Being an engineer/producer, I find I often need to "boost" a track to make it sound right to clients. But knowing a little about mastering, I feel more confident that I'm not destroying the mix we worked so hard to create. Thanks, Jonathan!
Yeah people don't really know what dynamic range is often times. I didn't know what it was either before learning about it, so putting myself in their shoes I can understand why people think that Mastering is just making a song as loud as possible. When I first started music production, I would make my mixes extremely loud
Amazing information. I have just learnt so much in this video that many courses that I have done just wash over. Example you explain what the issue is and the equipment to use but also why and how it works. The meters for example I know what measure to set to, but never knew why and what the difference was until now.
Such a wonderful series! love it. It may seem basic, but a subject often overlooked is just a track with acoustic instruments or maybe only guitar and voice. The dynamic range and LUFS are different and from the tonal balance measurements I’ve done with my favorite recording they can be really different . Would love to see a video dedicated to mastering just Bluegrass, folk, solo singer songwriter and things of that nature that don’t use drums or electronic instruments.
So useful tutorial ! What I like with them is that it's very professional for everyone, not only the iZotope users... May be, in addition to all the problems you mentioned, I would have added the "space balance" : if you notice during the mastering that the placements of sources in the space, -dry or wet with reverb or delay (short or long)-, it's too late. No software or magical trick (even the fabulous post-production suite !) will be able to efficiently correct what has been done (without defaults). You have to adjust the mix before mastering.
Excellent tips! I'd say go hunting for the distracting background noises as a first step... That said I once discovered a computer beep on a bass track after the event, and I ended up liking it! 😆
I have learned so much from your channel watched hundreds of hours really like the way you teach new composers how to mix and master the right way thank you so much.
high frequencies can be safely cut at 10k hz during mixdown, and other more problematic sounds may require more cutting, by the time it gets compressed side chained and mastered it should sound very clean :-)
Thanks for the continued insights. I've definitely become more cautious about points 4, 7, and 8, all from one concept, the Fletcher Munson curves or equal loudness contours. I know from those curves that areas like the subs and highs come out more and more in the mix the more we crank the volume up. So if something like 808s or kick drums or hi hats sound loud in the mix when listening at quiet volumes, they are going to blow your ears out at loud volumes. I've been a lot better about not just trying to add too much low end or high end to my mixes knowing some of that will naturally come out just from turning up the volume knob. But I never really thought much about comparing LUFS to RMS in point 9. I think some people try and use LUFS as a shortcut to trick themselves into thinking they are hitting a loudness target, but they aren't addressing the different frequency areas in the mix that contribute to those numbers, or thinking about what areas of the mix increase perceived loudness. Definitely going to start paying more attention to RMS going forward. Love these videos. I've learned so much from this series.
I love doing my own "amateurish" mastering, for practicing purposes. And the Ozone master assistant is useful for rough balance I have noticed. When the assistant gives a reasonable flat EQ then the mix is fairly ok in the frequency spectrum. But yes, the levels of the drums and bass for example compared to the rest of the mix, that can be tricky.
Jonathan, your content is more than awesome. Keep posting these please... by the way, I would love to watch from you an in depth video explaining the differences (advantages) of IRC and their different modes from Ozone 10 versus other well-know limiters with constant release times. Thanks!
excellent, wonderful informative series! absolutely top notch! so very useful... would love to have an episode devoted to jazz and folk where there is way more dynamic range, peaks, transient attack variation, etc. and you want to keep it that way. thanks so much!
His description of the needle drop . . . like explaining this ancient technology to a new generation. "In my day, we had plastic disks that went round and round and a pin connected to a wire and it was in a cartridge and . . . ah, forget it. It's too complicated,"
I gotta say, neutron 4 and tonal balance have really been an ear opener to me. Tonal balance is so useful that I'm double backing and re-mastering tracks (mastering for me being an admittedly loose term). But that's the point and that's why tonal balance is working so well for me. Being linked with N4 and Ozone back in the mix is the eco system I need, man. I'm 60 and my ears range from kinda hearing properly to at times pretty skewed. These videos make a point of not overtly pushing izotope at every turn but I have become an even bigger fan this month with the sales and loyalty discounts to grab the extra tools. Long time Ozoner and now the other tools. Love these videos - thank you. Izotope though, thanks for having my back.
Neutron 4 is mindblowing...A great addition to Ozone9. I use ozone for my mixdowns and now i have a post mixdown phase where i try to extract more of those artifacts and gems within my productions
Tonal balance control taught me (particularly in regard to my older mixes) that my ears cannot be trusted! It's great as a sanity check, as I sometimes think my bass is too quiet (or too loud) and TBC will tell me I was wrong!
1:37 i find that using a VU meter to get the reference and your mix sounding same level. Just match them to roughly the same measurement on the VU meter
I think the issue is perceived loudness, when I do that in a psytrance track, the reference with the same level is really burning as explained there. So that is a relief for me to hear that leveling reference with an element to one's track makes sense for me while we are doing our first mix and master currently
This was a good video and very timely for me. I am trying to finish my mix and move on to mastering so I can use this a checklist tor that process. Thanks for defining terms like sibilance and speaking plainly. The tonal balance piece is very interesting and something I need to start focusing on. I will definitely be measuring and comparing LUFS with RMS.
That snare transition sound effect is really jarring. I zone in listening to the audio guy's chill voice and true facts and then have some annoying noise in my ear telling me the topic's changed. I don't want it, the chill audio guy can tell me that by talking about a different topic.
This is great. The idea of comparing Lufs to rms is gold.
I appreciated the whole video, but that explanation in particular. There's an expanding community of DIY producers/musicians who really appreciate this level of clarity.
Literally was about to say the same thing. Everything is great here but that alone is amazing insight
Yes. Around the 11 minute mark.
This video is not about mastering, it’s a mixing bible. Top notch content guys
This means a lot, thank you! 🤘
There are lots of wannabes and so-so mixing/mastering tutors on UA-cam, but this guy is the real deal. He has the knowledge, but is also a great sharer of that knowledge. A brilliant teacher!
That momentary/RMS LUFS comparison tip is really, really helpful. Thanks so much.
Studied with John in college, one of the most insightful audio minds I’ve ever come across. Always a treat to learn from him!
every single point was absolutely "on point" and golden. not one of them was "filler" or peripheral....really solid advice!
While I've heard some of these points before, this video is very well organized and has zero hyperbole. I'm bookmarking it for reference.
Finally, someone who explains everything in plain English. I'd love to have Jonathan Wyner as a teacher.. very detailed, but easy to follow what he's saying.
wow. This advice was pure gold. Brilliant and extremely eloquently put. Especially the bit about comparing LUFs to RMS and the transient-sustain relationship in the low end.
One of the best audio resources online imo - absolutely stellar knowledge being shared with the community here… all for free.
🤟❤️🤟
This is extremely helpful!
You can basically write down all these key points and turn them into a roadmap of mixing! And don’t touch the mastering until you’re through all these checkmarks!
Great great advice! Thank you guys!❤
Thank you! Yes this we agreed this is a must-have checklist 🖤✅
most of these problems can be addressed with a compressor on the master bus, the caveat here is, you need to know what youre doing with the the compressor levels and presets otherwise you can easily do a homerun and end up at first base again. done correctly, you will finish off with a much more balanced mixdown.
Great watch and information. Good insight about crest factors
The concept of combining Lufs and RMS is so insane!!!!!
thank you for this mixing checklist! especially that divergence tip! where mixing and production and arrangement all meet. music is both a science and an art.
This is the most useful explanation of LUFS I've ever heard
These have all been very helpful! Being an engineer/producer, I find I often need to "boost" a track to make it sound right to clients. But knowing a little about mastering, I feel more confident that I'm not destroying the mix we worked so hard to create. Thanks, Jonathan!
Yeah people don't really know what dynamic range is often times. I didn't know what it was either before learning about it, so putting myself in their shoes I can understand why people think that Mastering is just making a song as loud as possible. When I first started music production, I would make my mixes extremely loud
I like the series but it would be great if we were shown examples of him mastering a track with the tips he's describing.
Stay tuned 🤫
Measuring the sub sonic information with insight was something i never knew to get better tonal balance. Great video
God, these videos have been so helpful. Just finished up my ep, and have used these videos in assistance to mixing and mastering it myself!
Let’s collab
11:08 here I learnt something
At last, good advices regarding finishing a mix before mastering. Best video I saw on this subject.
Good timing as I am mixing a new song!
Amazing information. I have just learnt so much in this video that many courses that I have done just wash over. Example you explain what the issue is and the equipment to use but also why and how it works. The meters for example I know what measure to set to, but never knew why and what the difference was until now.
What a fantastic series name. Sometimes I genuinely am curious, ARE THESR GUYS EVEN LISTENING BEFORE THEY SEND ME IT
Gratitude & Appreciation💯
Such a wonderful series! love it. It may seem basic, but a subject often overlooked is just a track with acoustic instruments or maybe only guitar and voice. The dynamic range and LUFS are different and from the tonal balance measurements I’ve done with my favorite recording they can be really different . Would love to see a video dedicated to mastering just Bluegrass, folk, solo singer songwriter and things of that nature that don’t use drums or electronic instruments.
So useful tutorial ! What I like with them is that it's very professional for everyone, not only the iZotope users... May be, in addition to all the problems you mentioned, I would have added the "space balance" : if you notice during the mastering that the placements of sources in the space, -dry or wet with reverb or delay (short or long)-, it's too late. No software or magical trick (even the fabulous post-production suite !) will be able to efficiently correct what has been done (without defaults). You have to adjust the mix before mastering.
Very helpful tips. Tackles many points hitherto not discussed anywhere else.
Excellent tips! I'd say go hunting for the distracting background noises as a first step... That said I once discovered a computer beep on a bass track after the event, and I ended up liking it! 😆
A tutorial which you can tell is genuine, brilliant advice.
10:32 best way possible to explain LUFS vs RMS!
I have learned so much from your channel watched hundreds of hours really like the way you teach new composers how to mix and master the right way thank you so much.
Happy to hear that 🖤
high frequencies can be safely cut at 10k hz during mixdown, and other more problematic sounds may require more cutting, by the time it gets compressed side chained and mastered it should sound very clean :-)
Well that cleared out the fog. Thanks Mr Wyner
i love this guy he is so 💎clear in his explanations ...
i feel like i've learned more here than in a decade 🚀
no doubt this pure gold 🏆🏆🏆
Thanks for the continued insights. I've definitely become more cautious about points 4, 7, and 8, all from one concept, the Fletcher Munson curves or equal loudness contours. I know from those curves that areas like the subs and highs come out more and more in the mix the more we crank the volume up. So if something like 808s or kick drums or hi hats sound loud in the mix when listening at quiet volumes, they are going to blow your ears out at loud volumes. I've been a lot better about not just trying to add too much low end or high end to my mixes knowing some of that will naturally come out just from turning up the volume knob.
But I never really thought much about comparing LUFS to RMS in point 9. I think some people try and use LUFS as a shortcut to trick themselves into thinking they are hitting a loudness target, but they aren't addressing the different frequency areas in the mix that contribute to those numbers, or thinking about what areas of the mix increase perceived loudness. Definitely going to start paying more attention to RMS going forward.
Love these videos. I've learned so much from this series.
I love doing my own "amateurish" mastering, for practicing purposes. And the Ozone master assistant is useful for rough balance I have noticed. When the assistant gives a reasonable flat EQ then the mix is fairly ok in the frequency spectrum. But yes, the levels of the drums and bass for example compared to the rest of the mix, that can be tricky.
Jonathan, your content is more than awesome. Keep posting these please... by the way, I would love to watch from you an in depth video explaining the differences (advantages) of IRC and their different modes from Ozone 10 versus other well-know limiters with constant release times. Thanks!
Thank you Jonathan, you are a master of your craft and a great teacher
I just found gold here.
excellent, wonderful informative series! absolutely top notch! so very useful...
would love to have an episode devoted to jazz and folk where there is way more dynamic range, peaks, transient attack variation, etc. and you want to keep it that way. thanks so much!
This is gold!!! Tysm!!! And the cat T-shirt is wonderous 🐱
This video as mine blowingly amazing and informative. Thank you for these videos
His description of the needle drop . . . like explaining this ancient technology to a new generation. "In my day, we had plastic disks that went round and round and a pin connected to a wire and it was in a cartridge and . . . ah, forget it. It's too complicated,"
Awesome stuff! Thanks doc.
Absolutely valuable knowledge, so many key questions flagged out for checking your mixing status. Thanks So Much!
Really good video. Great advice.
All of these tips are so perfectly explained with clear examples. Superb video.
11:26 GOLD!!!😳
Very clear breakdown..refreshing..
Fantastic video. Thank you thank you thank you
This video is pure gold guys
I gotta say, neutron 4 and tonal balance have really been an ear opener to me. Tonal balance is so useful that I'm double backing and re-mastering tracks (mastering for me being an admittedly loose term). But that's the point and that's why tonal balance is working so well for me. Being linked with N4 and Ozone back in the mix is the eco system I need, man. I'm 60 and my ears range from kinda hearing properly to at times pretty skewed. These videos make a point of not overtly pushing izotope at every turn but I have become an even bigger fan this month with the sales and loyalty discounts to grab the extra tools. Long time Ozoner and now the other tools. Love these videos - thank you. Izotope though, thanks for having my back.
Neutron 4 is mindblowing...A great addition to Ozone9. I use ozone for my mixdowns and now i have a post mixdown phase where i try to extract more of those artifacts and gems within my productions
Anytime, Dfizzbom! Thanks for watching and letting us know how much our tools have helped you.
Tonal balance control taught me (particularly in regard to my older mixes) that my ears cannot be trusted! It's great as a sanity check, as I sometimes think my bass is too quiet (or too loud) and TBC will tell me I was wrong!
Fantastic video. Proper understanding of the mastering process helps push back on the mix better than anything else.
Excellent crystal clear advice. Many thanks :)
Really enjoyed this! y’all nailed it! Going to test out some of these tips tomorrow during one of my home sessions.
Great information. Thank you for sharing this.
This is great thanks guys
Great content, thank you a lot for such a great information.
This season fantastic
Pure gold this channel
This is a great video on levels and the meaning between each type RMS Momentary, LUFs....
great video!! very clear guidance! thanks much
I love all of your video ,your work are realy usefull
Thank you
Subscribed and bookmarked! Next level stuff here! Thanks!🙏
The intro would have me hyped for the episode if it didn’t last several times longer than the hype feeling.
Great episode 🙏
This was really useful , thx
What a great intro. sound as well as visually
Thanks for dedicating time to share your knowledge with us. All of this is is very helpful.
Appreciate it 😇
Fantastic video! Thank you very much!
I want Jonathan's t-shirt. I have 2 cats and they're always near me when I'm working on my music.
Put me down for one too!😊
Wonderful. Thanks. Loved the lufs vs rms knowledge.
Wow. That was so helpful!
1:37 i find that using a VU meter to get the reference and your mix sounding same level. Just match them to roughly the same measurement on the VU meter
I think the issue is perceived loudness, when I do that in a psytrance track, the reference with the same level is really burning as explained there. So that is a relief for me to hear that leveling reference with an element to one's track makes sense for me while we are doing our first mix and master currently
pure gold
So straightforward. Thanks!
Dang, I’ve learned so much today
This was a good video and very timely for me. I am trying to finish my mix and move on to mastering so I can use this a checklist tor that process. Thanks for defining terms like sibilance and speaking plainly. The tonal balance piece is very interesting and something I need to start focusing on. I will definitely be measuring and comparing LUFS with RMS.
This means a lot - thank you! 🙌
Wavelab FTW! :)
Great tutorial, I learned a lot thank you!
Thank you. I needed to hear this
That snare transition sound effect is really jarring. I zone in listening to the audio guy's chill voice and true facts and then have some annoying noise in my ear telling me the topic's changed. I don't want it, the chill audio guy can tell me that by talking about a different topic.
Learned melody takes the lead in 88’.
This one is soooo helpful!
Great tips
BANGER VID RH!! ❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤
This was gold 💯🙏🏿
Great tutorials! Thank you iZotope!
very helpful !!
i wonder whats a good peak to rms ?
peak at -5 and rms -10, something like that?
Fantastic and ver practical insights...many thanks
Hiya, enjoyed this! Also, just wondering what audio interface and speakers Jonathan’s using here? Thanks!
I'm loving these tips.
Great video! Jonathan is an awesome teacher!
I love your shirt bro!
Thank you!
Thanks again
Excellent!
That TShirt!! Where is it from? 😻