I got to say I’ve been watching videos like this for many years now and the subtle way you guys try to incorporate “lingo“ into your videos makes me lol. Please continue.
The secret to 3D mixes in Luna is to use your ears and use everything sparingly… the tape machines where needed, the console where needed and mix up the API and Neve summing or no summing on some like FX busses. Make it sound like a record before adding mix compression. Then a little EQ and comp to glue a bit. I get all my own sounds in the way in though.
Rewatching this again, echoing what other have said, this is a great source of info for all this compression. I like tape machines on channels for gain, EQ and compression, as well as an API 2500 sometimes
Would LOVE to see UA team up with Thermionic Culture again for a Phoenix plugin. or doug fearn with for the VT7. hell can we pretty please get a PYE as well?
Thanks for another incredibly informative video. Can't thank you guys enough! It would be awesome if you could sort out the huge difference in level between the mix examples and the voice of the gents.
Loving Luna with its streamlined Workflow and Design. I come from Pro Tools and mainly do radioplays, podcasts, VoicOvers… But there is one simple feature I miss in Luna and because of that, I can‘t switch. In Pro Tools it is called „Repeat to fill selection“ (alt+cmd+v). It allows you to fill JUST the Selection you made, with the audio from the Clipboard. In my case, roomtone. Its essential to clean up gaps between words without changing the length of the gap. And in PT, when you cut something out with cmd+b, the Audio in the Clipboard stays the same. And won‘t fill up with the piece you cutted out. So you can always have roomtone in the clipboard and fill the gaps with „Repeat to fill selection“
Great feature, although I’m pretty sure Luna’s client target is more musicians/producers. I’m a PT user myself, I tried Luna for the first time in a mix today and it was fabulous, I’m def going to make the switch in the future.
Have read that you recommend processing on 0VU for most of your analog emulations. What about percussive instruments, they are not measured properly by the VU meter. I'm thinking about drums, pianos, etc. Is there a proper measurement and level for these instruments for your analog emulations?
Love the Apollo twin but who remembers the Emu 1616m the Device that started it all including my Name KGMobile Studios back in the Myspace days, my Mobile Vocals with setting on the way in back then was ahead of there time
The FIRST thing I do is put Studor plugs on every channel and get those sounding good. The Studor and ATR are practically channel strips (including compression). Then I get into summing and bus compression. Lastly, EQ, where necessary.
One of these days someone is going to make an analog compressor where everything is program dependent (except for the threshold). We know how to automate all the relevant functions (attack, release, makeup gain, etc). We just need someone to do it. A one knob compressor that functional would be a great product
Hey Hail Mary Recordings, get in touch with Customer Support, they'll walk you through some detailed troubleshooting steps. help.uaudio.com/hc/en-us/articles/210253543-Contact-Support
not that i have any authority on these matters, but if i did i would say: 1. with airwindows BitShiftGain, you do not need to worry about leaving headroom per se, as you can turn it down transparently after all other processing. minding levels into plug-ins with modeled non-linearities is another story, of course. shame on you, UAD for not incorporating dithering to 32-bit floating point on the output of every plug-in. get it right digitally before all this faux analog summing and api-2500 plug-in stuff. (you’re forgiven.) 2. your goal with compression is not always to add punch. it could be to take away punch or to add movement or just transparent leveling with no effect on the transients. 3. what is this paint-by-numbers shit? ssl for pop, fairchild for not-pop? let’s not dumb it down that much! yes, they have different vibes (which the plug-ins do not entirely capture, ever), but mixbus compression is too special to approach with this kind of paint-by-numbers thinking. (you’re forgiven.) 4. i’m with ubk/gregory scott-i add my mixbus compression after sorting out the mix. nothing wrong with the other order, but i think it’s a bit overhyped online. 5. yes, inside the DAW we are spoiled for choice feature-wise with SC HPFs and mix knobs, but let’s be honest, there are some special sound qualities to be had in the analog domain, especially w/r/t mixbus compression. i know this is UA(D) office hours and not “mixing in general” office hours, but if you’re struggling with things sounding flat, it’s not always the settings. it’s often the settings, and the settings always matter, but there is a world outside of the computer that is relevant, even if you only have $650 to spend. if you’re really serious about mixbus compression, it’s worth investigating some of those options, in my opinion.
Luna blows. My interface is my dongle and having to connect to the internet to use the daw is a joke. Pro Tools and Logic rule. Would never use this DAW. Being an owner of the Apollo X8 & X4 with 70 plugins I think UAD's focus is to make as much money out of customers. Latency using plugins while mixing is so frustrating compared to native plugins. I have a love hate relationship, and I hate Luna and its business model - all these shiny API, Neve, Struder extensions.... that are premium prices that can't be used in other DAW's. It's like a terrible dream gone wrong. Oh, and I remember when it first came out that you could access your (recorded) music files as it has it's own system to organise.... MY MUSIC. If this hasn't been addressed then the comedy flourishes
Cmon UAD team. None of your plugs sound analog and capture that mojo. They are pseudo analog. They are pure DSP. Lovely looking gui and the UAD brand that sells well but let’s be honest please. Is that a fair assessment?.
I got to say I’ve been watching videos like this for many years now and the subtle way you guys try to incorporate “lingo“ into your videos makes me lol.
Please continue.
The secret to 3D mixes in Luna is to use your ears and use everything sparingly… the tape machines where needed, the console where needed and mix up the API and Neve summing or no summing on some like FX busses. Make it sound like a record before adding mix compression. Then a little EQ and comp to glue a bit. I get all my own sounds in the way in though.
Rewatching this again, echoing what other have said, this is a great source of info for all this compression. I like tape machines on channels for gain, EQ and compression, as well as an API 2500 sometimes
👍🏻
this entire discussion was a goldmine of info
So glad to hear it Samir!! Glad you enjoyed.
Thanks for Office Hours, guys! learn a lot!
Thanks!! We have a blast doing them. Glad you're enjoying!
This was extremely helpful. Thank you for sharing this!
Would LOVE to see UA team up with Thermionic Culture again for a Phoenix plugin. or doug fearn with for the VT7. hell can we pretty please get a PYE as well?
I love these sessions, Thank you
Thanks for another incredibly informative video. Can't thank you guys enough! It would be awesome if you could sort out the huge difference in level between the mix examples and the voice of the gents.
Thanks for the feedback Kevin! Glad you're enjoying!
Loving Luna with its streamlined Workflow and Design. I come from Pro Tools and mainly do radioplays, podcasts, VoicOvers…
But there is one simple feature I miss in Luna and because of that, I can‘t switch.
In Pro Tools it is called „Repeat to fill selection“ (alt+cmd+v). It allows you to fill JUST the Selection you made, with the audio from the Clipboard. In my case, roomtone. Its essential to clean up gaps between words without changing the length of the gap.
And in PT, when you cut something out with cmd+b, the Audio in the Clipboard stays the same. And won‘t fill up with the piece you cutted out. So you can always have roomtone in the clipboard and fill the gaps with „Repeat to fill selection“
Be sure to hit the Feedback button.
Great feature, although I’m pretty sure Luna’s client target is more musicians/producers. I’m a PT user myself, I tried Luna for the first time in a mix today and it was fabulous, I’m def going to make the switch in the future.
Have read that you recommend processing on 0VU for most of your analog emulations. What about percussive instruments, they are not measured properly by the VU meter. I'm thinking about drums, pianos, etc. Is there a proper measurement and level for these instruments for your analog emulations?
Love the Apollo twin but who remembers the Emu 1616m the Device that started it all including my Name KGMobile Studios back in the Myspace days, my Mobile Vocals with setting on the way in back then was ahead of there time
The FIRST thing I do is put Studor plugs on every channel and get those sounding good. The Studor and ATR are practically channel strips (including compression). Then I get into summing and bus compression. Lastly, EQ, where necessary.
👍🏻
great tips🔥
Glad to hear it!
Vsauce. Michael here. How do you CHOOSE a buss compressor?
One of these days someone is going to make an analog compressor where everything is program dependent (except for the threshold).
We know how to automate all the relevant functions (attack, release, makeup gain, etc). We just need someone to do it. A one knob compressor that functional would be a great product
Are there any plans for being able to use the SSL UC1, particularly with the UA SSL console and bus compressor plugin.
Tell SSL you want it! it's up to them.
@@UniversalAudio Ok, will do. Thanks.
ben linden is the best man drew is also the best and Matt is also the best hahaha
Thanks!!! We try to have fun while teaching!!
Is it possible to get UA t-shirt in China? I think there must lots people like!!
Sorry, it is not at this time.
@@UniversalAudio thx for reply,there are lots users here.
Can anyone help me with latency issues? It’s killin’ me.
Hey Hail Mary Recordings, get in touch with Customer Support, they'll walk you through some detailed troubleshooting steps. help.uaudio.com/hc/en-us/articles/210253543-Contact-Support
@@UniversalAudio Thank you! I finally got the guts to start using the plug-ins & have an amazing vocal-chain I’d like to start using.
👍🏻
Damn this long video lol I just looking to get some info gotta scrub 3 hours 😂
These streams are "hangs", enjoy the ride.
not that i have any authority on these matters, but if i did i would say:
1. with airwindows BitShiftGain, you do not need to worry about leaving headroom per se, as you can turn it down transparently after all other processing. minding levels into plug-ins with modeled non-linearities is another story, of course. shame on you, UAD for not incorporating dithering to 32-bit floating point on the output of every plug-in. get it right digitally before all this faux analog summing and api-2500 plug-in stuff. (you’re forgiven.)
2. your goal with compression is not always to add punch. it could be to take away punch or to add movement or just transparent leveling with no effect on the transients.
3. what is this paint-by-numbers shit? ssl for pop, fairchild for not-pop? let’s not dumb it down that much! yes, they have different vibes (which the plug-ins do not entirely capture, ever), but mixbus compression is too special to approach with this kind of paint-by-numbers thinking. (you’re forgiven.)
4. i’m with ubk/gregory scott-i add my mixbus compression after sorting out the mix. nothing wrong with the other order, but i think it’s a bit overhyped online.
5. yes, inside the DAW we are spoiled for choice feature-wise with SC HPFs and mix knobs, but let’s be honest, there are some special sound qualities to be had in the analog domain, especially w/r/t mixbus compression. i know this is UA(D) office hours and not “mixing in general” office hours, but if you’re struggling with things sounding flat, it’s not always the settings. it’s often the settings, and the settings always matter, but there is a world outside of the computer that is relevant, even if you only have $650 to spend. if you’re really serious about mixbus compression, it’s worth investigating some of those options, in my opinion.
Using a limiter instead of a bus compressor is more suitable for modern music.
They both have their place. Comps during mix and limiters during Mastering.
Luna blows. My interface is my dongle and having to connect to the internet to use the daw is a joke. Pro Tools and Logic rule. Would never use this DAW. Being an owner of the Apollo X8 & X4 with 70 plugins I think UAD's focus is to make as much money out of customers. Latency using plugins while mixing is so frustrating compared to native plugins. I have a love hate relationship, and I hate Luna and its business model - all these shiny API, Neve, Struder extensions.... that are premium prices that can't be used in other DAW's. It's like a terrible dream gone wrong. Oh, and I remember when it first came out that you could access your (recorded) music files as it has it's own system to organise.... MY MUSIC. If this hasn't been addressed then the comedy flourishes
Put your Auth on a USB iLok and you're good to go.
@@UniversalAudio I brought one and it doesn't work :-(
Cmon UAD team. None of your plugs sound analog and capture that mojo. They are pseudo analog. They are pure DSP. Lovely looking gui and the UAD brand that sells well but let’s be honest please. Is that a fair assessment?.