TIP: If you want a less expensive alternative to Space Control, there's several versions of a tool called "SideMinder" by Raising Jake Studios. These all sit in the $30-40 range. If you look close at SideMinder, you'll see the same basic features as everything I show you happening on the right side of the Space Control UI. www.raisingjakestudios.com/sideminder%20series.html TIP2: Also see Metall1ac's reply to this pinned comment. If you have Ozone 8 or later you might also be able to do most of what I show you with the Ozone Imager module.
There is also a hidden feature in the iZotope Ozone Imager starting from version 8 (IIRC) called "Prevent antiphase" that's hidden in the plugin settings. It does pretty much similar type of phase limiting as Space Control and SideMinder. You can also select linear-phase crossover from the same settings view by selecting "digital", and even mess with the Q-value of the crossovers. Just putting this out there, since many people already have and use Ozone and they might not necessarily need new tools for this kind of processing.
Nice video as always, big thanks! So much new and useful information :) P.S.: Can I also combine bunch of Ozone plugins: Imager+Dynamics, Imager for wideness control (like Space Control), and Dynamics for side limiting? In Dynamics and Imager settings use digital crossover for linear-phase, in Dynamics - split signal up to 4 bands and process only side infrormation in each band, setup compressor to work like a limiter with maximum ratio, fast atack and release. Should it work?
No one, NO ONE puts out more practicable content, that's also so well explained and demonstrated, than you! Each episode is a gem with invaluable take aways. Thank you once again!
Thanks for the vids man, my tracks went from being okay to something I can be proud of. Would have never guessed that proper gain staging makes such a big difference. You rock!
I watched tho whole CTZ series,some twice and made notes and it's really changed my mix workflow/thinking, and my mix sound so much better, these videos are pure Gold Thank You!
I recently realized my FM transmitter in my car sums music to mono. I go on road trips every month or so and each time that’s where I spend ~15 hours straight intently listening to brand new music. imagine all the artists I’m not a fan of because they didn’t care to engineer the music for people like me and their stuff sounded like ass when it mattered most
I just finished this playlist and Ive combined a couple of method of your CTZ with a Rupert Neve Desing MBP Portico II. outstanding result! Thanks for sharing all of this. Even if im more into Detroit Electro... this really level-up my game
Ive made a custom rack for controlling the side, just a quick question, when limiting the sides do you push the gain to trigger some limiting then bring down the ouput, or do you just bring the ceiling/output down on the limiter?
This is so cool! Question: Can anyone recommend something I can read to understand more about the +12db of headroom over 0dBFS mentioned in the CTZ document? Don't know where to ask.
Thanks for the video. I tried using ozone 9 mastering suite. It doesn't have a multi band limiter, but I used an exciter in M/S mode. For a track am working on I found out I was losing the high end when switched to mono, so I excited only the mono signal around high frequency of my entire percussion bus. Whats your take on this. Thanks
You used a creative way to effectively boost the audible mids vs the sides. So you were effectively playing with mid-side balance. Which is perfectly fine.
The limiters are NOT static on the sidebands! Instead of setting a threshold you map the phase correlation, which functions as the limiters input signal, meaning it will reduce more volume when there is less phase correlation. The ratio you set is the amount of limiting applied, basically turning it in a compressor below a 100%. Based on the manual and the button info text^ it seems like the limiter has 2 modes, which determine the shape of compression: Where Safe mode only limits after a certain phase correlation value, and probably applies linear compression with the ratio you set with the knob. (Until the highest ratio where it truly is hard clipping/limiting the most negative values) And continuous where it starts compressing directly at the point the when phase is no longer perfectly and seems to not work linearly but rather more 'smooth'. Probably something akin to the shape of a softclipper with the treshold all the way down
Hey @baphometrix amazing work!!! I am wondering if you (or someone!) can say the name of the original creator of the far away rack. You say it on some point of the video, but I can't find it right now. Anyone could help me? Thanks!!
Checking on mono on most daws employs the panning law causing a 3db volume change for hard panned instruments when you employ the mono switch, as it's essentially just panning the track to center. I use a dual planner plugin to pan the right channel all the way to the left so whatever pan law is in effect is negated AND you get true mono coming from one speaker and not a phantom mono that is created with two speakers. This is a lot closer to a real world mono speaker setup as none of these employ a pan law - they just feed both channels into one.
Good points! You still get the phase cancellation either way, though, and that's the main thing you're listening for. Which elements drop out of balance, and which elements become "hollow" sounding or drastically change their timbre and micro dynamics. Also not everyone has access to a dual panner, and a lot more of us work exclusively on headphones than you might suspect. 🙂
@@Baphometrix I reckon it’s easier to listen to phase issues when the levels aren’t effected due to pan laws too The vsx mono auratone doesnt seem to suffer from the pan law problem as far as I can tell. For headphones I’d probably add a 2nd panner that pans the summed mono to the center to check.
@@emrahalpat Yep. MAAT also makes a free plugin called "2BusControl" that has a mono button that I'm pretty sure ignores pan law. I'm also pretty sure that built in "Mono" button in Bitwig that you see me using ignores Bitwig's pan law as well. And I'm fairly certain that the Mono button in MetricAB also ignores pan law. It all just depends, I guess, and I've been using Bitwig for so long that I started to take mono-checking for granted. Thanks for bringing this up.
This was good , every time have problem with this when i make it wide ( im fan of wide mix) has some problems . I watched full video for Wide proccess u can do it with Ozone Imager which has multiband frequency for widening but for side Limiter i work with studio one 5 which u can do it that u can put every plugin u want on side od mid . Thank u Baphometrix Bro (Y)
Question Teach??? When limiting the side information, what release time sounds best? And should I lower JUST the ceiling, or mess around with the threshold as well? Because I noticed when I bring the threshold AND ceiling down to the same db level, low end information is being brought up which alters the tone of whatever instrument I'm limiting. Due to that, I stopped messing with the threshold parameter and have just been lowering the ceiling. Any suggestions?
When I saw the far away rack I remembered Mr Bill talking about this rack from Ill Gates many years ago ahah. Anyway, I really enjoyed these informations. I never thought of limiting the side channel of a sound. Makes me want to experiment with side treatment. Thank you so much
Would love a video on how your workflow with VSX, someday :) I have it and have been enjoying it but always interested in your insight. Thanks for all the labor!
What are your thoughts on using EQ for loudness? I saw a video of "sebb" and he said you could remove frequencies to make those around them sound louder for example
Bro whats your thoughts on neutron 4 i tend to use the sculptor on the master in add fullness mode at like 30 to 35 % really cleans up your mix wanna hear your thoughts on neutron
i'm only half way through the video but to me the mix with the corrections sounds better even in stereo - more balanced, nice and wide without being ott
lol monophonic lack o' dynamics zeitgeist in music is hilarious. let our auditory cortices be great. also y tf we still using ghetto ass two channel systems when wavefield synthesis been here for two decades.
Sometimes yes, sometimes no. The "safest" rule of thumb is that "anything goes" when it comes to crazy sound design processing on ONE sound. But you are more likely to run into to trouble with unwanted phase cancellation or crest factor issues when you do band splitting on more complex signals like the sum of tracks on any given bus.
Hi guys, sorry for asking. where do I need to start if I want to learn how to build the Far Away Rack or other useful tools in Bitwig? If its possible that someone can share or sell me the preset I am also intrested :)
You can pause the video at strategic points and copy the settings. Building a rack like that is a good learning experience. You can also join the Bitwig discord and PM me there and I'll share the preset.
Yep. StageOne is great too. I have it and use it, especially for adding width to a thing. I feel like its "Depth" slider often doesn't push things back _far_ enough, but it's great for very subtle depth changes.
@@Baphometrix running multiple instances in serial is interesting. Also putting CenterOne after it in the chain is helpful for controlling that mid (leapwing calls it center) space. Love the content keep it up!!
Do you have any thoughts about using gating to clean up sounds in CTZ? Since you're pushing sounds to have a low crest factor, you might also be bringing up the noise floor or the sustain on certain sounds also, so it might be pertinent to control these sounds pre loudness treatment with gating in cases where this is happening. I know when processing old breakbeat samples, they benefit from multi band gating to prevent them getting muddy or midrange heavy when you give them the modern squish treatment
The level of noise that snuck in on old recorded material is quite a bit different from the level of noise in modern in-the-box sound design and production. If anything, some people complain that digital in-the-box production is "too clean sounding, and too sterile/dry". As a result, it's common to find ways to literally ADD noise and foley sounds at the limit of perception to "dirty up" a production and make it more like "that vintage sound". That said, sure, gates can be useful in a variety of ways in sound design, so if you bring some sound way up in level (and transparently clip it) to fit into the framework of a loud, dense mix, and you _hear_ that some lower level content in that sound is annoying in some way, sure, you can use a variety of techniques in your sound design and post processing to control that. Gating, downward expansion, dynamic EQ dips, etc.
Except - NO mastering! No mastering limiter; no mastering chain, nothing. That's all in the raw mix itself. It can be done. CTZ is the way it can be done.
Hi there! In my opinion Lowsub frequency nothing to.do with side treatment ( diff between left e right) to get depth in that area cut the sub in the side e make it sound in the mid to get widht play with sides in other freq areas but not in.the sub area wich u can make it sounds wider still using mono signal but without pushing it to the sides as it would.work for.other type.of.sounds
Fletcher Munson curves. Physics. Psychoacoustics. Volume drops off with the square of distance (physics). If you increase both the sub/bass region and the high region, relative to the mids, it sounds "louder" than before (Fletcher Munson, psychoacoustics). This was the basic trick behind "Loudness" buttons on audio component consoles in the 70s. So now flip that around. If you _reduce_ those regions relative to the mids, it sounds "less loud" than before. Which, (because volume drops off with the square of the distance), makes your brain think its now further away. Finally, in any ambient space, sound-emitting objects with more direct signals and less reflected signals sounds "closer" to your brain.
@@Baphometrix I know all of tht all very true but to have a clear sounding mix sub freq have to be cutted out from the side theres a correct way to spread sub if you wanna a sub sounding width and depth and its all about routing the mid signal across the mid field not across the side. midside its always dealing with a mono signal wich is the resulting m/s decoded signal the point is how routing mono and wich situation requires using just the sum, or the diff or both to spread it into the stereo field left and right channels resulting in a correct binaural listening
I don't think I've ever been more frustrated by someone who's clearly extremely knowledgeable yet is so bad at teaching/explaining a subject its mind blowing.
I think his explanations are detailed and thorough but well needed with the plethora of beginner only UA-cam content. You could also skip ahead. I’d hate for him to change his style
TIP: If you want a less expensive alternative to Space Control, there's several versions of a tool called "SideMinder" by Raising Jake Studios. These all sit in the $30-40 range. If you look close at SideMinder, you'll see the same basic features as everything I show you happening on the right side of the Space Control UI. www.raisingjakestudios.com/sideminder%20series.html
TIP2: Also see Metall1ac's reply to this pinned comment. If you have Ozone 8 or later you might also be able to do most of what I show you with the Ozone Imager module.
There is also a hidden feature in the iZotope Ozone Imager starting from version 8 (IIRC) called "Prevent antiphase" that's hidden in the plugin settings. It does pretty much similar type of phase limiting as Space Control and SideMinder. You can also select linear-phase crossover from the same settings view by selecting "digital", and even mess with the Q-value of the crossovers. Just putting this out there, since many people already have and use Ozone and they might not necessarily need new tools for this kind of processing.
@@Metall1ac That's great to know! Thanks for sharing this.
@@Baphometrix SideMinder ME has the extra functions like limiting only the sides.
Nice video as always, big thanks! So much new and useful information :)
P.S.: Can I also combine bunch of Ozone plugins: Imager+Dynamics, Imager for wideness control (like Space Control), and Dynamics for side limiting? In Dynamics and Imager settings use digital crossover for linear-phase, in Dynamics - split signal up to 4 bands and process only side infrormation in each band, setup compressor to work like a limiter with maximum ratio, fast atack and release. Should it work?
Baphometrix I hope you are ok and doing well.
❤
No one, NO ONE puts out more practicable content, that's also so well explained and demonstrated, than you! Each episode is a gem with invaluable take aways.
Thank you once again!
Pure gold. I knew most of the theory but as always linking it together and seeing it in use turns information into knowledge.
Thanks for the vids man, my tracks went from being okay to something I can be proud of. Would have never guessed that proper gain staging makes such a big difference. You rock!
Miss you so much! So glad you're back to teach us gems of the producer world!
Thanks Bapby, saving this for saturday.
I watched tho whole CTZ series,some twice and made notes and it's really changed my mix workflow/thinking, and my mix sound so much better, these videos are pure Gold
Thank You!
Thank you for this tutorial. Now i know how to use Space Control the proper way. Its a best purchase i ever made.
I recently realized my FM transmitter in my car sums music to mono. I go on road trips every month or so and each time that’s where I spend ~15 hours straight intently listening to brand new music. imagine all the artists I’m not a fan of because they didn’t care to engineer the music for people like me and their stuff sounded like ass when it mattered most
Rip
I love this guy
Great video. I use RJ Sideminder and it works well. These videos have been invaluable. Excellent work again Baphy 🔥
I just finished this playlist and Ive combined a couple of method of your CTZ with a Rupert Neve Desing MBP Portico II. outstanding result! Thanks for sharing all of this. Even if im more into Detroit Electro... this really level-up my game
Space Control seems to have disappeared from Acoustica's website
I miss ur videos
the saga continues...... fire..... uuuh weeee
Ive made a custom rack for controlling the side, just a quick question, when limiting the sides do you push the gain to trigger some limiting then bring down the ouput, or do you just bring the ceiling/output down on the limiter?
Ya how about we just make mono illegal
This is so cool!
Question:
Can anyone recommend something I can read to understand more about the +12db of headroom over 0dBFS mentioned in the CTZ document? Don't know where to ask.
Thanks for the video. I tried using ozone 9 mastering suite. It doesn't have a multi band limiter, but I used an exciter in M/S mode. For a track am working on I found out I was losing the high end when switched to mono, so I excited only the mono signal around high frequency of my entire percussion bus. Whats your take on this. Thanks
You used a creative way to effectively boost the audible mids vs the sides. So you were effectively playing with mid-side balance. Which is perfectly fine.
The limiters are NOT static on the sidebands! Instead of setting a threshold you map the phase correlation, which functions as the limiters input signal, meaning it will reduce more volume when there is less phase correlation.
The ratio you set is the amount of limiting applied, basically turning it in a compressor below a 100%. Based on the manual and the button info text^ it seems like the limiter has 2 modes, which determine the shape of compression:
Where Safe mode only limits after a certain phase correlation value, and probably applies linear compression with the ratio you set with the knob. (Until the highest ratio where it truly is hard clipping/limiting the most negative values)
And continuous where it starts compressing directly at the point the when phase is no longer perfectly and seems to not work linearly but rather more 'smooth'. Probably something akin to the shape of a softclipper with the treshold all the way down
Voxengo SPAN is a nice free spectrum analyzer that allows for mid-side comparison
How are you Baphy? ! Miss u!
If you were recording drums and bass. would you record your levels as close to zero as possible? Would this create a better rms?
iZotope Ozone's Dynamics Module has Mid/Side, Multiband Limiter, so it seems like it can be replaced.
I missed your content a lot. I love this episode!
Hey @baphometrix amazing work!!! I am wondering if you (or someone!) can say the name of the original creator of the far away rack. You say it on some point of the video, but I can't find it right now. Anyone could help me? Thanks!!
thanks for all your work! its great!
Can’t wait for the start to finish CTZ video 🔥
Great video man! Quick question, what plugins would be in your updated must buy list?
Checking on mono on most daws employs the panning law causing a 3db volume change for hard panned instruments when you employ the mono switch, as it's essentially just panning the track to center.
I use a dual planner plugin to pan the right channel all the way to the left so whatever pan law is in effect is negated AND you get true mono coming from one speaker and not a phantom mono that is created with two speakers. This is a lot closer to a real world mono speaker setup as none of these employ a pan law - they just feed both channels into one.
Good points! You still get the phase cancellation either way, though, and that's the main thing you're listening for. Which elements drop out of balance, and which elements become "hollow" sounding or drastically change their timbre and micro dynamics. Also not everyone has access to a dual panner, and a lot more of us work exclusively on headphones than you might suspect. 🙂
@@Baphometrix I reckon it’s easier to listen to phase issues when the levels aren’t effected due to pan laws too
The vsx mono auratone doesnt seem to suffer from the pan law problem as far as I can tell.
For headphones I’d probably add a 2nd panner that pans the summed mono to the center to check.
@@emrahalpat Yep. MAAT also makes a free plugin called "2BusControl" that has a mono button that I'm pretty sure ignores pan law. I'm also pretty sure that built in "Mono" button in Bitwig that you see me using ignores Bitwig's pan law as well. And I'm fairly certain that the Mono button in MetricAB also ignores pan law. It all just depends, I guess, and I've been using Bitwig for so long that I started to take mono-checking for granted. Thanks for bringing this up.
This was good , every time have problem with this when i make it wide ( im fan of wide mix) has some problems . I watched full video for Wide proccess u can do it with Ozone Imager which has multiband frequency for widening but for side Limiter i work with studio one 5 which u can do it that u can put every plugin u want on side od mid . Thank u Baphometrix Bro (Y)
My favorite music production channel on UA-cam! Thank you for your content
serious channel
How are you BAPHY
i want to know too.
Is this the last episode? :(
Question Teach??? When limiting the side information, what release time sounds best? And should I lower JUST the ceiling, or mess around with the threshold as well? Because I noticed when I bring the threshold AND ceiling down to the same db level, low end information is being brought up which alters the tone of whatever instrument I'm limiting. Due to that, I stopped messing with the threshold parameter and have just been lowering the ceiling. Any suggestions?
When I saw the far away rack I remembered Mr Bill talking about this rack from Ill Gates many years ago ahah. Anyway, I really enjoyed these informations. I never thought of limiting the side channel of a sound. Makes me want to experiment with side treatment. Thank you so much
Would love a video on how your workflow with VSX, someday :) I have it and have been enjoying it but always interested in your insight. Thanks for all the labor!
Finally finished all 24 episodes. Amazing educational series.
Thanks for making the tutorial with this new song, Your videos are awesome !
What are your thoughts on using EQ for loudness? I saw a video of "sebb" and he said you could remove frequencies to make those around them sound louder for example
Whhere are you
I imagine you could make a pretty ok version of space control using kilohearts snapheap
for the parraell feature or am I barking up the wrong tree?
excelent video, very informative as usual. noisia was explaining how they create a "stereo cone" from the low to the high
Which tutorial was this? Tia! 🙏🏻
@@DnbNinety hey, they weren't showing how to, but they explained that they used mid side eq to create cone from low to high,
@@rd-cv4vm ah true say! Thanks for the reply! I used to be signed up to their patreon, was wondering where this was.
Bro whats your thoughts on neutron 4 i tend to use the sculptor on the master in add fullness mode at like 30 to 35 % really cleans up your mix wanna hear your thoughts on neutron
Thank you for what you are doing. You're a great motivator and teacher.
Thankyou Baphy! Epic series!
I've been waiting for this one since the beginning! WOOHOO
i'm only half way through the video but to me the mix with the corrections sounds better even in stereo - more balanced, nice and wide without being ott
lol monophonic lack o' dynamics zeitgeist in music is hilarious. let our auditory cortices be great. also y tf we still using ghetto ass two channel systems when wavefield synthesis been here for two decades.
Automatic like haaa. Best youtube tutorial
I've done abit of research but I just want your opinion: is there any problems that can come from frequency band splitting?
Sometimes yes, sometimes no. The "safest" rule of thumb is that "anything goes" when it comes to crazy sound design processing on ONE sound. But you are more likely to run into to trouble with unwanted phase cancellation or crest factor issues when you do band splitting on more complex signals like the sum of tracks on any given bus.
Hi guys, sorry for asking. where do I need to start if I want to learn how to build the Far Away Rack or other useful tools in Bitwig? If its possible that someone can share or sell me the preset I am also intrested :)
You can pause the video at strategic points and copy the settings. Building a rack like that is a good learning experience. You can also join the Bitwig discord and PM me there and I'll share the preset.
Great videos man 👏🏻
This is really teaching me a lot, thanks.
So excited for this
That "Far Away" rack is a bloody gamechanger ! Amazing work with that ;)
You can thank ill.Gates for that one 😉
The "Far away rack" is awesome. Thanks!
So excited with this strategy
Ow brilliant... Great to see!
EP 24!!!!!!
great video once again! I would suggest looking into the leapwing plugins, StageOne is the most relevant for this specific topic discussed here.
Yep. StageOne is great too. I have it and use it, especially for adding width to a thing. I feel like its "Depth" slider often doesn't push things back _far_ enough, but it's great for very subtle depth changes.
@@Baphometrix running multiple instances in serial is interesting. Also putting CenterOne after it in the chain is helpful for controlling that mid (leapwing calls it center) space. Love the content keep it up!!
what a great explanation
Brilliant video
❤️❤️❤️💥💥💥
Thanks, Bapby, how can I contact you? :)
discord.gg/UtZsGtd5
Do you have any thoughts about using gating to clean up sounds in CTZ? Since you're pushing sounds to have a low crest factor, you might also be bringing up the noise floor or the sustain on certain sounds also, so it might be pertinent to control these sounds pre loudness treatment with gating in cases where this is happening. I know when processing old breakbeat samples, they benefit from multi band gating to prevent them getting muddy or midrange heavy when you give them the modern squish treatment
The level of noise that snuck in on old recorded material is quite a bit different from the level of noise in modern in-the-box sound design and production. If anything, some people complain that digital in-the-box production is "too clean sounding, and too sterile/dry". As a result, it's common to find ways to literally ADD noise and foley sounds at the limit of perception to "dirty up" a production and make it more like "that vintage sound".
That said, sure, gates can be useful in a variety of ways in sound design, so if you bring some sound way up in level (and transparently clip it) to fit into the framework of a loud, dense mix, and you _hear_ that some lower level content in that sound is annoying in some way, sure, you can use a variety of techniques in your sound design and post processing to control that. Gating, downward expansion, dynamic EQ dips, etc.
damn man that track is so tightly mixed and mastered
Except - NO mastering! No mastering limiter; no mastering chain, nothing. That's all in the raw mix itself. It can be done. CTZ is the way it can be done.
@@Baphometrix awesome will try it man
@@01Decapitator CTZ is a game changer if you are willing to put the time in to learn.
Hi there! In my opinion Lowsub frequency nothing to.do with side treatment ( diff between left e right) to get depth in that area cut the sub in the side e make it sound in the mid to get widht play with sides in other freq areas but not in.the sub area wich u can make it sounds wider still using mono signal but without pushing it to the sides as it would.work for.other type.of.sounds
Fletcher Munson curves. Physics. Psychoacoustics. Volume drops off with the square of distance (physics). If you increase both the sub/bass region and the high region, relative to the mids, it sounds "louder" than before (Fletcher Munson, psychoacoustics). This was the basic trick behind "Loudness" buttons on audio component consoles in the 70s. So now flip that around. If you _reduce_ those regions relative to the mids, it sounds "less loud" than before. Which, (because volume drops off with the square of the distance), makes your brain think its now further away. Finally, in any ambient space, sound-emitting objects with more direct signals and less reflected signals sounds "closer" to your brain.
@@Baphometrix I know all of tht all very true but to have a clear sounding mix sub freq have to be cutted out from the side theres a correct way to spread sub if you wanna a sub sounding width and depth and its all about routing the mid signal across the mid field not across the side. midside its always dealing with a mono signal wich is the resulting m/s decoded signal the point is how routing mono and wich situation requires using just the sum, or the diff or both to spread it into the stereo field left and right channels resulting in a correct binaural listening
@@dmstudio.sicksoundz What
@@drinkinouttacups2665 what what?
@@drinkinouttacups2665 if you wanna find out what sub my channel
I don't think I've ever been more frustrated by someone who's clearly extremely knowledgeable yet is so bad at teaching/explaining a subject its mind blowing.
Actually excellent explanations, extremely easy to understand. Just because you don’t understand, doesn’t mean that someone is a bad teacher.
Totally agree. Think this is so clever. Love these tutorials
you could just be slow my g
@@blackbooksHA💯
I think his explanations are detailed and thorough but well needed with the plethora of beginner only UA-cam content. You could also skip ahead. I’d hate for him to change his style
Wished this chapter had came out before I handed in the final .wav 🥲 especially the multiband limiter on then sides consideration 👌