Yeah! It also helps showcase (I wish I had used an example now in hindsight) how when large chunks of samples are clipped that it becomes very audible;
That feeling when you hit a good sounding -8 for the first time, and the limiter is only shaving off maybe a couple of db, and no transients sound flattened and weak. 😍
THANK YOU for level matching the mix and master comparisons. I am always amazed at how many people get away with not doing this. It’s like the equivalent of standing on your tippy toes when comparing height
i cant state how much i thank you for your videos. i'm re-learning so many things and i do confidently because the quality of your masters speak for themself. and i love the bits of mastering theory you bring into your tutorials which sometimes come short in youtube videos. THX!!
LOVE LOVE LOVE the step by step analyzation of each LUFS throughout the process. Definitely going to be applying that mentality to the mastering process for me. THANK YOU!
Glad to hear! this was namely for illustrative purposes; when I'm mastering I'm not going down to the granular to calculate like this; more so; it illustrates how different decisions both musical and technical can build upon eachother to build a transparent and loud master;
@@panorama_mastering Preciate that, gonna def do more analyzing throughout my process although this visual representation was super solid. Sub’d after this vid 🙏
One of a few guys that really explain what are you doing in a way that doesn't make a unexperienced person look on google for the meaning of any scientific words or terms. You got a new subscriber.
Greek new commercial songs are nowadays around -10 to - 8 LUFS, however they use new eq templates , with sound like Taylor Swift type and cut many highs, also some artists add true peak over +3 and that's so bad
using rx will be a game changer for me especially that you can use custom plugins in rx I can load my favorite clipper (apulsoft apshaper) and preview how it cuts everything off and can even check problem areas
This track is amazing, the width on the mix is so impressive and enveloping. I really liked your tip about using another instance of Maximizer for True Peak, I might try that out because it really bothers me how Pro-L2 will have overs at 32x oversampling, but I've never got on with their TP functionality. Seems like a good way to catch peaks at the very end while still having optimal control of the main dynamic processing envelope as these true peak functions seem to do their own thing, so to speak. Great video as always Nicholas!
@@panorama_mastering Hey no problem. That's interesting, I'll have to do some more tests because I'm sometimes getting overs at x32 / 44.1k when I check in RX afterwards. Maybe a plugin I'm using before is acting funny.
Thank you for the insights, great as always! I'm working in a completely different field (chamber music, electro-acoustic music, sound art etc.) but there is always something to take away from your approach. So glad that I found your channel a while ago. :)
Search “TC finalizer” to see all the charting hits true peak values. Almost all of them go over 0, some go WAY over 0. Just set your final limiter ceiling to -0.3db (don’t use true peak mode) and don’t worry about ISP/True peaks. At the end of the chain, try Oxford inflator (100% effect, curve to taste, (0% to start) band split engaged) into a soft clipper (1-3db), into a hard clipper (0.5-1db), into 1-2 limiters doing an equal amount of limiting. If using 2 limiters, make sure the first limiter ceiling is 0, and that you match the output so that there’s no volume change when on/off. The volume will come from the final limiter.
@@panorama_mastering I guess then you didn't move at all the soft-clip saturator slider to the right in order to do not add saturation (harmonic distortion), correct? Technically that's the same behaviour like a hard-clip mode... I'm wrong?
I do the same thing with Ozone Maximizer TP. Back in your true peak video, I said TP when getting level sounds like crap and this is what I meant. But when used not to get level it sounds fine. I use the transient shaper in Neutron for a similar thing to Impact, works great in multiband to get some movement back.
@@panorama_mastering I guess that maximizer TP trick could be used with Pro L-2 as a last insert, instead of a second instance of the Izotope one, correct?
Question: Relative to your example of 0.0 dbtp for headroom at 48Khz processing... have you ever brought back into your session a down-sampled 44.1khz of the 48K master to see if you then get any peaks above zero? I had an instance where I completed a project at 96KHz / 24 bit and the client wanted a copy at 44.1khz / 16 bit as well. When I was listening back to the 44.1 KHz, I noticed there were quite few overs. Keep in mind, I had set my fabfilter L2 for true peak limiting and set the ceiling to -.0.2 db. The 96KHz file after mastering had zero peaks above 0.
Thanks for this great video! I am also using a true peak limiter at the end of my chain. I use TDR Limiter6 GE. I once saw Luca Pretolesi using it just for the true peak limiting, and it sounds great. It could be interesting to compare different true peak limiters and see which one sounds the best
When someone listen to your -14db lufs song without volume equalization it's going to be a lot quieter than pro records. The loudness is in the mix. When you get better at balancing your mix you notice that it's easy to get etc -7db lufa loudness. This has been the biggest struggle for me personally for so long.
You have another video that talks about maintaining your gain staging throughout each plug-in (dB in = dB out). How does that approach fit in with this, where you’re purposefully adding gain through each processor?
Why do you use soft clip pro and not hard clip in standard clip? Don’t you find soft clip sounds too soft and also the onset of clipping happens earlier ?
Could we please get some more (in depth) info on why you should use a separate Ozone Maximizer with true peak mode? Does this also mean you use 2x a maximizer in true peak mode? TY
Apple Digital Masters are at -1dBTP; which I mention towards the end; Otherwise; 0dBTP is what I roll at for deliverables; I know many other ME's that have away with TP limiting all together and have overs up to +1.5dB that get delivered to distro; For me I choose 0dBTP for the master as in my mind that master becomes an archive for a catalogue which may be repurposed in the future; I don't want any samples hard clipping at 0dBSP
Fair enough, I missed the apple masters part. I was of the mis-understanding that most streaming services adopted the -1dbtp as well. Thank you for the explanation.
@@panorama_mastering That fact - that the master will end up in some kind of archive from which it may be reproduced years from now - is in my opinion a good reason to NOT use TP. After all, TP is mainly a workaround to account for lossy transcoding and similar types of inferior technology which will hopefully become less widespread as time (and tech) progresses.
Are you taking care of clipping in rx editor, then forgoing using standard clip? Or are you using standard clip to clip more on top of the clipping in rx editor?
Just wondering, I really wanna try the True Peak 0dB ceiling thing, but is it safe, considering the conversions to streaming platforms? It's not going to introduce noticeable distortion?
Good question; the best way to test this is by auditioning the 96kbps AAC codec in iZotope Maximizer; this will provide you with the lossy stream conversion that the platforms use to check if it will introduce distortions; In my experience; this has never been an issue with the masters my clients have submitted to the platforms;
I've been experimenting with combining the BX true peak limiter with Pro L2 recently, but I have yet to try that Maximizer technique! Sounds great. So much great information on the channel wish I found it sooner lol
i have issues with trying to make things sound good on flat speakers then it sounds like shit on normal rigs. like even the final product of this mastering video sounds flat and bland on my MX70s and id hate it if thats how my music sounded when i was working on it..but im sure it sounds incredible on normal speakers. any advice to help me fix my brain?
Depends; I almost look at the modes as tone-tilts because of the harmonics they introduce; this was a pretty warm mix overall; so M mode was a good way to get some additional loudness and tilt the tone
Awesome vid man!!! Hey i've got an idea/request for a video -- i'd love to see something about file management. I.e. how you name files, what your folder structures are, for both mixing and mastering. Or maybe you already did a vid on that? If so, link pls?
When you said "I'm not willing to sacrifice the loudness for feel" do you mean it the other way round? "you're willing to sacrifice a tiny bit of loudness for feel"?
Enjoying your constant content. Keep it going! Would like to pick your brain for something. Sometimes when using Standard Clip lets say i clip 1-2 db of peaks. So in the waveform window it will sometimes show you in red the difference of what is being cut from the white(initial] waveform And the lower signals remain untouched (optically at least) and the waveform remains white. However every now and then i will do,the exact same thing and the waveform will have Red (clipping) being illustraded not only at the higher peaks but also almost comsistent on the waveform. Do you know what i mean? And if yes have you researched why that is? Btw i see -6.4 lufs on your meter and then you stop it and say thats how you get to -8? I am cofused
For that first part of the question; I'm not sure what resolution that visual cue is operating at... so I rarely use it; I go off the audio editor data; dialing in the clipper than A/B what I hear; I can't trust the meter on that one; As for the meter; it's -8.1LUFS long term integrated from the start to end of the track; The loudest short-term passage (3 second instance) is -6.4 LUFS;
By your delivery I am wondering if your audience would be surprised that you are hitting -8? I work with a lot of aggressive music so that's normal for me! Preserving punchiness, being careful with the non-transient material, and avoiding unwanted distortion and artifacts is always of my utmost concern in that process but if you mix well you can really push it.
No; -8.1 LUFS isn't anything to be surprised at in this genre; but doing it WELL! is; I've heard plenty of LOUD music like this that's absolutely squashed and choked;
the end result sounds amazing, but i feel like the master chain was a bit overdone. For me, the clipping + limiting wouldve been enough, as the mixing engineer had done an amazing job at creating a balanced mix already, resulting in not much mastering needed. Feel like its kinda sad as it overcomplicates music production and might make some people who are just getting into production scared
There's a hidden nugget of gold in here too - that you admit the client was right about the subs! Even MEs can occasionally mis-judge something - and there's no harm in saying "you were right, let's address that!" :)
Hey ! Of course; we're all human; and I never expect myself or any of my colleagues to hit everyones expectations 100% of the time; I love when my clients throw back notes it's my external "calibration tool" for learning new things about my clients tastes and my own.
I don't get anyones obsession with LUFS, its a relative measure that doesn't say anything about overall dynamics of a track. PSR/DR is much more reliable. Imagine a song squashed like hell to only 4db PSR turned down to -14LUFS... ...wouldn't be a track that you would enjoy much.
@@panorama_mastering Please elaborate! I have been killing myself trying to get to -8 LUFS with a true peak of -2db without it sounding like a garbage can lol. I have long since been over thinking i had to master to -14 LUFS for the DSPs but the thought of needed at least -1db for normal levels and at least -2db for -11 LUFS and up has never been challenged until now
@@2daypresentsdude search “TC finalizer” to see all the charting hits true peak values. Almost all of them go over 0, some go WAY over 0. Just set your final limiter ceiling to -0.3db (don’t use true peak mode) and don’t worry about ISP/True peaks. Try a soft clipper (1-3db, into a hard clipper (0.5-1db), into 1-2 limiters doing an equal amount of limiting. If using 2 limiters, make sure the first limiter ceiling is 0, and that you match the output so that there’s no volume change when on/off. The volume will come from the final limiter.
lol -8.1 LUFS mastering chain, is that a joke? You can't be serious. That's extremely common and easy to do, every newbie has a distortion free -8 LUFS mastering chain, that's the default and all the limiters can do that easily without any effort. Try doing something that's actually challenging like matching one of Skrillex's -3 LUFS songs that sounds completely undistorted and perfect.
Take a chill pill. This is a case study on a project; and you're right it is common; but, easy? well not for everyone; I'm not here to judge; just share what I do on the daily;
Skrillex's Fuij Opener is distorted to f *ck ! Plus, it's far easier to just jam EDM with limited elements into the ceiling. Doesn't work like that for actual instruments, they will quickly sound terrible.
That De-clip in RX Audio Editor tip and the explanation about the number of samples being clipped and audability is golden! ✨
Yeah! It also helps showcase (I wish I had used an example now in hindsight) how when large chunks of samples are clipped that it becomes very audible;
That feeling when you hit a good sounding -8 for the first time, and the limiter is only shaving off maybe a couple of db, and no transients sound flattened and weak. 😍
Spot on!
That’s that clipper working it’s sweet magic. @@panorama_mastering
THANK YOU for level matching the mix and master comparisons. I am always amazed at how many people get away with not doing this. It’s like the equivalent of standing on your tippy toes when comparing height
You're very welcome!
i cant state how much i thank you for your videos. i'm re-learning so many things and i do confidently because the quality of your masters speak for themself. and i love the bits of mastering theory you bring into your tutorials which sometimes come short in youtube videos. THX!!
11 minutes masterclass. Thanks is not enought :)
No worries; your welcome!
LOVE LOVE LOVE the step by step analyzation of each LUFS throughout the process. Definitely going to be applying that mentality to the mastering process for me. THANK YOU!
Glad to hear! this was namely for illustrative purposes; when I'm mastering I'm not going down to the granular to calculate like this; more so; it illustrates how different decisions both musical and technical can build upon eachother to build a transparent and loud master;
@@panorama_mastering Preciate that, gonna def do more analyzing throughout my process although this visual representation was super solid. Sub’d after this vid 🙏
One of a few guys that really explain what are you doing in a way that doesn't make a unexperienced person look on google for the meaning of any scientific words or terms. You got a new subscriber.
Thanks mate!
Havent even started this video yet and already excited for it!
Just finished, and what an incredible video! Explained so well and so so informative! Thanks!
amazing to hear; thanks for watching!
Greek new commercial songs are nowadays around -10 to - 8 LUFS, however they use new eq templates , with sound like Taylor Swift type and cut many highs, also some artists add true peak over +3 and that's so bad
using rx will be a game changer for me especially that you can use custom plugins in rx I can load my favorite clipper (apulsoft apshaper) and preview how it cuts everything off and can even check problem areas
Thanks for sharing! Sounds like a cool way to do it!
This track is amazing, the width on the mix is so impressive and enveloping. I really liked your tip about using another instance of Maximizer for True Peak, I might try that out because it really bothers me how Pro-L2 will have overs at 32x oversampling, but I've never got on with their TP functionality. Seems like a good way to catch peaks at the very end while still having optimal control of the main dynamic processing envelope as these true peak functions seem to do their own thing, so to speak.
Great video as always Nicholas!
Thanks mate! Appreciate the love! 32x oversampling is an overkill; 8x oversampling technically minimizes underreads to -0.15 dBFS
@@panorama_mastering Hey no problem. That's interesting, I'll have to do some more tests because I'm sometimes getting overs at x32 / 44.1k when I check in RX afterwards. Maybe a plugin I'm using before is acting funny.
thanks for a massive tutorial and also some really good music to add to my playlist!
My pleasure! YES it is a sweet song! the whole EP is great too!
Thank you for the insights, great as always! I'm working in a completely different field (chamber music, electro-acoustic music, sound art etc.) but there is always something to take away from your approach. So glad that I found your channel a while ago. :)
My pleasure! let me know how you go adapting any of my processes / techniques discussed in your own workflows!
Search “TC finalizer” to see all the charting hits true peak values. Almost all of them go over 0, some go WAY over 0. Just set your final limiter ceiling to -0.3db (don’t use true peak mode) and don’t worry about ISP/True peaks. At the end of the chain, try Oxford inflator (100% effect, curve to taste, (0% to start) band split engaged) into a soft clipper (1-3db), into a hard clipper (0.5-1db), into 1-2 limiters doing an equal amount of limiting. If using 2 limiters, make sure the first limiter ceiling is 0, and that you match the output so that there’s no volume change when on/off. The volume will come from the final limiter.
Thank you for all the amazing info you share...I noticed you are using the classic mode in standard clip...is that your go to mode for mastering?
No worries; yeap; that's basically just standard hard-clipping the way it's being dialled in;
@@panorama_mastering I guess then you didn't move at all the soft-clip saturator slider to the right in order to do not add saturation (harmonic distortion), correct? Technically that's the same behaviour like a hard-clip mode... I'm wrong?
Is there any value in setting the true peak limiter to -0.1 or something to make sure it never peaks past 0 on any streaming platform?
I do the same thing with Ozone Maximizer TP. Back in your true peak video, I said TP when getting level sounds like crap and this is what I meant. But when used not to get level it sounds fine. I use the transient shaper in Neutron for a similar thing to Impact, works great in multiband to get some movement back.
Nice! Makes better sense;
Thank you again for these incredible videos. Especially the maximizer tp tip. Wow, I would never had thought to do that.
Me either! Sometimes having an open mind is worth it! let me know how you go when you try it out;
@@panorama_mastering I guess that maximizer TP trick could be used with Pro L-2 as a last insert, instead of a second instance of the Izotope one, correct?
@@panorama_mastering Tried it out and it worked beautifully. Thanks again for the tip! You are very much appreciated
Question: Relative to your example of 0.0 dbtp for headroom at 48Khz processing... have you ever brought back into your session a down-sampled 44.1khz of the 48K master to see if you then get any peaks above zero? I had an instance where I completed a project at 96KHz / 24 bit and the client wanted a copy at 44.1khz / 16 bit as well. When I was listening back to the 44.1 KHz, I noticed there were quite few overs. Keep in mind, I had set my fabfilter L2 for true peak limiting and set the ceiling to -.0.2 db. The 96KHz file after mastering had zero peaks above 0.
Thanks for this great video! I am also using a true peak limiter at the end of my chain. I use TDR Limiter6 GE. I once saw Luca Pretolesi using it just for the true peak limiting, and it sounds great. It could be interesting to compare different true peak limiters and see which one sounds the best
Nice work and thanks for the tips. What band and song is this? It’s quite catchy.
When someone listen to your -14db lufs song without volume equalization it's going to be a lot quieter than pro records. The loudness is in the mix. When you get better at balancing your mix you notice that it's easy to get etc -7db lufa loudness. This has been the biggest struggle for me personally for so long.
You have another video that talks about maintaining your gain staging throughout each plug-in (dB in = dB out). How does that approach fit in with this, where you’re purposefully adding gain through each processor?
Videos always has some great gems. Thank you man 💎
My pleasure! thanks for watching;
Why do you use soft clip pro and not hard clip in standard clip? Don’t you find soft clip sounds too soft and also the onset of clipping happens earlier ?
No reason, soft clip pro at 0% is effectively hard clipping
I need one of those Amup jumpers. Great video, always great.
Good pickup ;)
this is pure gold brother, much appreciated!
No worries my pleasure!
I don't understand, why is the mastering up to -6,-5 lufs, later the sound will be very low when it is on UA-cam, Spotify.
All in all, I'm the happiest that you compared the unmastered to the mastered in a level matched way.
would be cool to show that with a song that is only or mainly digital instruments too
Definitely!
Could we please get some more (in depth) info on why you should use a separate Ozone Maximizer with true peak mode? Does this also mean you use 2x a maximizer in true peak mode? TY
Is it possible that the soft clip module happens after the limiter /true peak? Maybe that's why it sounds better when u add another one after?
Nope; because the soft-clip on the maximizer occours BEFORE the limiting stage;
@@panorama_mastering thanks, good to know :p
I was just wondering, Don’t you have to submit masters at -1db for streaming services?
If so why set the final tp limiter to 0?
Apple Digital Masters are at -1dBTP; which I mention towards the end;
Otherwise; 0dBTP is what I roll at for deliverables; I know many other ME's that have away with TP limiting all together and have overs up to +1.5dB that get delivered to distro;
For me I choose 0dBTP for the master as in my mind that master becomes an archive for a catalogue which may be repurposed in the future; I don't want any samples hard clipping at 0dBSP
Fair enough, I missed the apple masters part.
I was of the mis-understanding that most streaming services adopted the -1dbtp as well.
Thank you for the explanation.
@@panorama_mastering That fact - that the master will end up in some kind of archive from which it may be reproduced years from now - is in my opinion a good reason to NOT use TP. After all, TP is mainly a workaround to account for lossy transcoding and similar types of inferior technology which will hopefully become less widespread as time (and tech) progresses.
Are you taking care of clipping in rx editor, then forgoing using standard clip? Or are you using standard clip to clip more on top of the clipping in rx editor?
No the RX editor is just a visual stimuli to set-up the clipper in protools;
@Panorama Mixing & Mastering i appreciate you clarifying.
I love your videos. Thank you
You're welcome; and thank you for watching!
Just wondering, I really wanna try the True Peak 0dB ceiling thing, but is it safe, considering the conversions to streaming platforms? It's not going to introduce noticeable distortion?
Good question; the best way to test this is by auditioning the 96kbps AAC codec in iZotope Maximizer; this will provide you with the lossy stream conversion that the platforms use to check if it will introduce distortions;
In my experience; this has never been an issue with the masters my clients have submitted to the platforms;
You're amazing for sharing this chain with us. Love your process and how detailed you are! I learn a lot from you!
I've been experimenting with combining the BX true peak limiter with Pro L2 recently, but I have yet to try that Maximizer technique! Sounds great. So much great information on the channel wish I found it sooner lol
Wonderful; let me know how you get on with it;
i have issues with trying to make things sound good on flat speakers then it sounds like shit on normal rigs. like even the final product of this mastering video sounds flat and bland on my MX70s and id hate it if thats how my music sounded when i was working on it..but im sure it sounds incredible on normal speakers. any advice to help me fix my brain?
Aren't you clipping the input on the second maximizer by doing that technique?
Don't you find M mode in Ozone clipper more harsh and distorted than L when you level match them?
Depends; I almost look at the modes as tone-tilts because of the harmonics they introduce; this was a pretty warm mix overall; so M mode was a good way to get some additional loudness and tilt the tone
Awesome vid man!!!
Hey i've got an idea/request for a video -- i'd love to see something about file management. I.e. how you name files, what your folder structures are, for both mixing and mastering. Or maybe you already did a vid on that? If so, link pls?
I think I might have! But I have an idea to update it with ;)
Have you ever listened to psy trance?
DR is usually only 4-5 dBs and transients punchy
of course! I'll have other case studies coming onto the channel in the future!
Nice video man!
Thank you!
Doesn't youtube compress the audio of the video?
It compresses the encoded data-format of the playback; not the amplitude values of the PCM data.
Should I set the last limiter true peak at -1db?
We need a Guide to -3Lufs
Great Video!
Thank you!
When you said "I'm not willing to sacrifice the loudness for feel" do you mean it the other way round? "you're willing to sacrifice a tiny bit of loudness for feel"?
Enjoying your constant content. Keep it going!
Would like to pick your brain for something. Sometimes when using Standard Clip lets say i clip 1-2 db of peaks.
So in the waveform window it will sometimes show you in red the difference of what is being cut from the white(initial] waveform
And the lower signals remain untouched (optically at least) and the waveform remains white. However every now and then i will do,the exact same thing and the waveform will have Red (clipping) being illustraded not only at the higher peaks but also almost comsistent on the waveform. Do you know what i mean? And if yes have you researched why that is?
Btw i see -6.4 lufs on your meter and then you stop it and say thats how you get to -8? I am cofused
For that first part of the question; I'm not sure what resolution that visual cue is operating at... so I rarely use it; I go off the audio editor data; dialing in the clipper than A/B what I hear; I can't trust the meter on that one;
As for the meter; it's -8.1LUFS long term integrated from the start to end of the track;
The loudest short-term passage (3 second instance) is -6.4 LUFS;
By your delivery I am wondering if your audience would be surprised that you are hitting -8? I work with a lot of aggressive music so that's normal for me! Preserving punchiness, being careful with the non-transient material, and avoiding unwanted distortion and artifacts is always of my utmost concern in that process but if you mix well you can really push it.
No; -8.1 LUFS isn't anything to be surprised at in this genre; but doing it WELL! is; I've heard plenty of LOUD music like this that's absolutely squashed and choked;
my song get distorted on instagram reels and i don't know what is the problem
That look at 10:52 priceless man hahaha
haha thanks!
But how to get to -4?
Look at your eq graph and try to make it flat
the og mix being at -14 lufs is the big thing. It was already spotify loud before the master bro wtf.
Yeap ! SOLID MIX IN!
If you turn off normalize in the spotify settings it will play at the original volume
Louder is not necessarily better
Damn right!
Azing. 🤩
the end result sounds amazing, but i feel like the master chain was a bit overdone. For me, the clipping + limiting wouldve been enough, as the mixing engineer had done an amazing job at creating a balanced mix already, resulting in not much mastering needed.
Feel like its kinda sad as it overcomplicates music production and might make some people who are just getting into production scared
There's a hidden nugget of gold in here too - that you admit the client was right about the subs! Even MEs can occasionally mis-judge something - and there's no harm in saying "you were right, let's address that!" :)
Hey ! Of course; we're all human; and I never expect myself or any of my colleagues to hit everyones expectations 100% of the time;
I love when my clients throw back notes it's my external "calibration tool" for learning new things about my clients tastes and my own.
I don't get anyones obsession with LUFS, its a relative measure that doesn't say anything about overall dynamics of a track. PSR/DR is much more reliable. Imagine a song squashed like hell to only 4db PSR turned down to -14LUFS... ...wouldn't be a track that you would enjoy much.
yeah but you can't deliver that to spotify you need to stay under -2dbtp to avoid distortion
Sorry, fake news. You certainly can! and you certainly can avoid audible distortion at 0dBTP...
@@panorama_mastering Please elaborate! I have been killing myself trying to get to -8 LUFS with a true peak of -2db without it sounding like a garbage can lol. I have long since been over thinking i had to master to -14 LUFS for the DSPs but the thought of needed at least -1db for normal levels and at least -2db for -11 LUFS and up has never been challenged until now
@@panorama_mastering So -2dB True peak for streaming transcoding is a myth!!??
@@2daypresentsdude search “TC finalizer” to see all the charting hits true peak values. Almost all of them go over 0, some go WAY over 0. Just set your final limiter ceiling to -0.3db (don’t use true peak mode) and don’t worry about ISP/True peaks. Try a soft clipper (1-3db, into a hard clipper (0.5-1db), into 1-2 limiters doing an equal amount of limiting. If using 2 limiters, make sure the first limiter ceiling is 0, and that you match the output so that there’s no volume change when on/off. The volume will come from the final limiter.
Maybe a matter of taste but where is the kick ? Did you lost it in the process or maybe not so good bass drum recording in the first place ?
my rekordbox is so chock full of -4, -5, -6, -7 LUFS tracks that my -8 and -7's look and sound so weak in comparison.... DNB
maybe I am driving and distorting too hard to match
Here's something for you to watch; hitting the -3/4 range; ua-cam.com/video/kJsAyum0swI/v-deo.htmlsi=6RJ5xV5Ih2ph2gbx
-8 is norm these days. -5 and up is loud and hard to achieve.
This is long-term integrated; and I'll be doing other videos in other styles which hit those numbers you're talking about!
And dont worry. I believe you are the one whos gonna have the last Luf !
Ha ! Thanks!
AMU9
is your keyboard in a plastic bag? am i tripping?
Original packaging!
หาทางอฮกไเด้กูลูกผู้ชาย
lol -8.1 LUFS mastering chain, is that a joke? You can't be serious. That's extremely common and easy to do, every newbie has a distortion free -8 LUFS mastering chain, that's the default and all the limiters can do that easily without any effort. Try doing something that's actually challenging like matching one of Skrillex's -3 LUFS songs that sounds completely undistorted and perfect.
P.s. I posted the comment because you put "LOUD" in the video thumbnail
Take a chill pill. This is a case study on a project; and you're right it is common; but, easy? well not for everyone; I'm not here to judge; just share what I do on the daily;
Also; please share with me a Skrillex song that is -3 LUFS long-term integrated;
@@panorama_mastering One example you can
Skrillex's Fuij Opener is distorted to f *ck ! Plus, it's far easier to just jam EDM with limited elements into the ceiling. Doesn't work like that for actual instruments, they will quickly sound terrible.
You are destined to be a force to be recon.
Thank you!