Відео

Glad you've enjoyed this one Ryan. Thanks for being a part of the channel and for sharing a bit about your personal journey. All the best to you!

Hey Dallas. Thanks for the tip. In general I have a lot of respect for Voxengo and their tools. I use many of them and love them. I took a look at OVC-128. I can tell you right off the bat, I would never use it. The interface is really not well thought out and it's missing a huge amount of features that make working with a clipper fun and powerful. Look at plugins like Gold Clip or Orange Clip, even K-Clip. They show the transfer function, they have linkable inverted input and output gain, they have a waveform display showing peak information, they have A/B states so you can compare various settings, preset management etc. Clippers are simple devices, easy to make, so many companies make them. But it's so rare to see a company that actually puts a concerted effort into expanding the feature set, building a thoughtfully designed UI, and making the workflow truly professional caliber. Only a handful consider the workflow that an actual engineer would go through with them, and so they fall flat. Others try to look analog (such as the Acustica ones) and therefore they have all the bad drawbacks of limited analog interfaces. When you use a clipper day in and day out like I do, on hundreds of tracks, you need something that you can flick around fast and get results, plus enjoy looking at and using. The only 3 clippers that fit that bill for me are K-Clip, Orange Clip and Gold Clip. I've ditched everything else. They're all so clunky.

@@warpacademy I'll try them out. Thanks for the detailed response!

My pleasure!

Theory and reality don't always mesh. I was quoting some of the information in the same way a theoretical acoustician would, but certain assumptions are made, such as infinitely rigid and massive boundaries that are perfectly reflective. In situ, this is not the case. Theory predicts there will be constructive and destructive interference in the bass range, resulting in a large cancellation notch and a corresponding peak. That is clearly the case in pos 1 and 2. Theory also predicts that the frequencies of the interference will shift, and again, clearly that's demonstrated. Don't get caught up on the math. It breaks down because the acoustics formulas involved are not sophisticated enough to take into account all the variables, and also input data such as transmission, TL, absorption and reflection coefficients are never available for all your materials.

Glad you enjoyed this one. Thanks for the kind words and insights! Those ATCs are dreaming. I hope you're enjoying them in your room now that you've dialled it in. Cheers!

Hey Louie. Good question. It really depends on how it's implemented. Usually it's rubbish and I avoid it. Most of them will be using a minimum phase filter that will mangle the phase relationship between your side and mid channel, which is certainly a big NO with your bass. If they use a linear phase side filter, then it can work. I prefer to simply use a linear phase MSEQ like Pro-Q3. Or use a really well thought out tool like Basslane Pro from @toneprojects or Monofilter by @NuGenAudio. Cheers!

@warpacademy thanks for the reply. I have the plugins you mentioned and will give it a try. Have a wonderful day.

Excellent. Enjoy!

Hey hey. It's always good to evaluate the features you're using from a foundation of understanding what they do. And , at the same time, don't try to fix problems you can't hear. If you're not hearing aliasing, or you're not hearing it as bad, then why attempt to "correct" it? If you do, however, hear aliasing distortion, and don't want it in your signal, then 4X oversampling can work great.

I agree. You have stated the obvious. Frequency domain effects cannot fix a time domain issue, which is where room reflections affect the signal. However, EQ can do a lot to help tame speaker resonances, and assist in putting less energy into a room mode if you use it subtractively. It's certainly helpful in rooms that are as good as they can get already and need a final layer of adjustment.

@@warpacademy Still if the room is properly built - you don't need that. You can't control reverb time with correction eq so you just turn down mods levels bu if the room is reverberative EQ won't do a thing to it.

A single layer of this module won't do much at 30 Hz. But if you layer them, with air gaps, and use absorption of different densities, they can work wonders. They absolutely can control 30 hz and I have the acoustic results to back that up. My control room is made of very similar modules, layered, and using materials of different densities. I have zero issues at 30 Hz despite the fact that my Neumann KH420s cut off at 26 Hz, and the front back axial room mode is 28 Hz. Here's the design of the room: ua-cam.com/video/5VrG2K_E7qI/v-deo.html. No fancy pressure-based treatments, no PRDs, no QRDs, no active trapping. Just the strategic use of porous absorption to make a non-environment room.

@@warpacademy That's what you should mention right away))) layers of them with air gaps. I know what you're talking about. i design room with the same principle now. How good is absorption coefficient?

Thanks for the comment and the kind words. Nice to hear your insights too. All the best with your music!

Cheers!

Exactly. Most professional studios that are built around acoustics best practices, that is. Which is exactly what I did in my room. Here's the finished room: ua-cam.com/video/XfO_btDeXjc/v-deo.html

@@warpacademy Im right now also in the planning phase of my studio. Is it possible to get it touch with you per email, maybe you can give me some tips for my room and the dimensions. I'm planning to make drywall too and make the sound and dimensions as symmetric as possible. Until now I only finished the framework of one wall ( front wall) but it's still easy to change things. Can you help me to plan my room ? Im also willing to pay a tribute. That would be nice! I'm also planning to make some videos and I would mention your videos and erpertice and help in them. That would be awesome.

You can get in touch with me for a consult via my sites: vespers.ca or warpacademy.com Use the contact forms. Cheers!

Thanks!

Thanks very much! Here's my deep dive video about porous absorption: ua-cam.com/video/SSn8HEsG8ro/v-deo.html Watch it for a big discussion around density and depth. The acoustic performance of porous absorption depends on both depth and density. So whether it's reflective or absorbent will depend on how deep the treatment is. If you are considering using 48-60 kg/m3 rockwool, then perhaps only use it as a front layer (1-2") and then lower density behind it. Graduated density will typically perform better than a single density.

Glad you enjoyed it

I think there are versions for Ableton Live 10 and 11. I’m sorry but I’m not planning on making versions for earlier ones.

They are very different. I have both. I prefer Gold Clip on the master and busses. And then Orange Clip on tracks. I no longer use K Clip.

Yeah key tracking would be nice hey. It would need a MIDI sidechain.

Hey hey. I have an updated video that includes full details on the floating flooring. Building a Mixing & Mastering Studio - Part 2, Design Walkthrough ua-cam.com/video/5VrG2K_E7qI/v-deo.html

For sure. Thanks for watching!

Noted. Thanks for the feedback.

@@warpacademy of course!

Glad to help

Totally agree! I love Roar. I wish Spectre had a few more features like a spectrum, AB compare and undo.

Right on. Thanks for the comment. And totally, this video is meant to lead into the Science of Clipping. Cheers!

Weird recording chain issue. This was a new configuration for me and took some work to get the bugs out with the interface. I tried some de-noising on it, but it was too watery sounding and heavy handed, so I left it mostly intact in the video. Sorted it out in future ones.

Thank you! Cheers!

Glad you like it!

Not sure how you built it but usually it’ll sound different when you miss a key step or a parameter setting. Watch carefully and try again. Model all settings on the devices.

That's the plan! Thanks.

Thanks!

Ah yes. It's a big one to wrap your head around. I've got a pretty good handle on the advanced parameters at this point, but it took me quite a while. I'll note down your idea to do a dedicated Limitless video. Cheers and thanks for being a subscriber.

@@warpacademy thanks, there’s really no great deep dive videos on Limitless!

Okay, good to know. I'd be happy to do one sometime.

Sure thing. Here you go: ua-cam.com/video/Z8rxKv6FSYA/v-deo.html

Sure thing. Here's the 1 minute version: ua-cam.com/users/shortsPDeESCqv-K4?feature=share

Plugin Alliance FTW. They have all the Brainworx stuff and so many more quality and affordable plugins. Don't forget TDR, Sonible, FabFilter, Soundtoys too!

Totally hear you on this. Did you see the pinned comment where I addressed that? I misspoke in the video and corrected myself afterwards to say to adjust to perceived loudness and not peak level so you’re not experiencing a psychoacoustic loudness jump that would bias you. Good catch! Because in this example the peak level was significantly reduced while sounding louder.

@@warpacademy that was just a comment on my behalf, i did not read anything below the video prior to writing. you know what you do, and its normal to misspeak smtmes

Thanks for the comment! Not a dumb question at all. RX is intense. I’m not using the de clip for any processing. I’m just using it as a visual reference to draw out where I think my threshold should be. It’s just drawing down to show me what peaks may go over it. And then I manually gain them relative to that imaginary threshold.

I appreciate that! Thanks for visiting the channel. Stay in touch and all the best with your mixes.

Thanks for the kind words and those amazing workflow tips. Gotta get version 5 now. Those features sound epic. That “make quiet notes louder” feature you mention, where is that? I don’t recall seeing it in V4 but it sounds hella useful.

@@warpacademy I wish I could show you a screen shot..I think the past few versions have what's called the "Note Leveling Macro"..if you look at the top of the Melodyne "page" or "screen" at the top center, just above the timeline..all the macros, and effects are in that strip..the note leveling macro is the furthest to the right of center..the first one to the right is the "correct pitch macro", then to the right is the "quantize time macro", then the "note leveling macro". (They don't say what they are until you hover over them).You should have that feature in 4. 👍

Hey hey. I saw you got in touch with our support and sent in a screenshot. Thanks so much. I'm stoked to check out that feature.

@@warpacademy 🤘

That's terrible to hear mate. Yeah, that's their forced shadow subscription. I bet they haven't even introduced any new features or updated the GUI for that price either. They charge you just to maintain compatibility with new OS versions. Lame.

You got it! Coming soon.

Right on. Let me know how it turns out. Cheers!

Hey hey. Thanks for the question. I'll admit that tape stuff was way before my time, so I'm just theorizing. The concept is that anything that generates harmonics / distortion / saturation can intermodulate. The big question is, can you hear it, and if you can, does it sound bad to you? I'd run a test by playing 2 pure sine wave tones separately into a tape emulation effect, and then bussing them together and repeating the test. Listen for the intermodulation. A ton of records were made on tape, and recording tape onto tape onto tape, so I'm sure you can get away with it. It's just a matter of if you like the sound. Don't be afraid to try it, just be aware of what may potentially happen. Hope that helps. Cheers!

@@warpacademy thank you, great work you're doing on your channel!

My pleasure. And thanks for the visit!

Happy to help! Thanks for watching and commenting, and I hope you enjoy the template. Subscribe the channel and stay in touch.

You're most welcome! And that is a very good question. Those details matter. Seeing as this song is intended for streaming sites first, and it will be compressed into a lossy format (which increases amplitude) I left the final limiter margin at -1 dB. I then ran it through codec simulators to see how it was sounding on various systems. If this was a song for DJ play, I would have run it up to -0.1 dB.

​@@warpacademy Thanks for your quick reply… so then few questions 😜: - The -1db are you applying on your rended track thru the Limiter in your mastering fx chain? - For codec simulator, are you using Ozone f.e. or RX11? - How Is your workflow concerning the streaming LUFS levels? Are you mastering to have a LUFS close to your reference track and send that to the platform or are you mastering differently for platforms (or doing something special)? Maybe you mention that in another video but things/tools/rules/workflows change quickly 🙏🏼 - BTW, Great video about the streaming gain optimisation : « RX 11: Optimizing Billie Eilish and others for streaming with Dale Becker »

Hey hey. -For the final margin, I'm using the limiter output gain parameter. It's different on some limiters. Some call it "ceiling" and some call it "margin". For example, Pro-L2 calls it "Output" and DMG LImitless calls it "Ceiling", but in the Ableton Limiter, "ceiling" is actually the limiting threshold and decreasing ceiling will trigger more limiting. You have to be very aware of how your limiter works. Leaving 1 dB at the top or 2 dB at the top should create no change in the amount of limiting, only in the amount of post-limiting gain applied. -Codec sim: Ozone 11 or Streamliner. -LUFS: I don't master for any loudness target. LUFS can be fooled and heavily influenced by arrangement. I listen with my ears against reference tracks while working, but occasionally I'll look at the meters to see where I am. One of my mentors described it like driving a car. You look at the road and other cars on the road, and occasionally glance at the speedometer ;) -Thanks for the video link. Cheers!

@@warpacademy Thank you. I use FF Pro L-2 so no pb. Thanks!!!

Right on. That's a great limiter.

You're most welcome. Yeah M/S routings can be neat. One big point here is that side channel processing can only work with what's there. It cannot create side information. This technique is a different animal because it creates side information. If you wanted to, you could then process it with a M/S routing downstream, but in this case it's wide enough. Other things that create side information are chorus, Haas delay, stereoize plugins like NUGEN Stereoizer, Haaze, or iZotope Ozone Imager etc. All super fun stuff to play with. All the best with your music!

​@@warpacademy gotcha. another tool that isnt a hammer to add to my belt. i just snagged your template its similar to what i was using minus a few limiters haha but laid out way more intelligently. having the sidechain triggers right in the drum machine is a forehead slapping moment for me. still digging through it like a kid with a limitless credit card in a candy store

Right on. Yeah the template changes over time. I update it regularly as I find new and better ways of working. This is the current state and it's been a big evolution over the last 10 years or so. Enjoy!

@@warpacademy i appreciate how everything is summed. i was doing it from very generalized instrument groups into main and bass outputs then summing those and sending to premaster. having it all in one place for mixing down the line from the groups is a huge workflow speed increase and way smarter. i was using white noise on audio for sc triggers and just linking the channel to whatever myu kick was on for editing. now i just feel silly. . this is like the dif between a fingerpainting of a template and something youd see in a museum.

Glad you're enjoying it. A lot of this type of routing I learned from engineers like Luca Pretolesi. Having a flexible but powerful sub-mixing structure allows for layers of control. It also gives you the ability to do stem mixes easily if you don't want to, or can't, dig further into the mix. Cheers!

I think you didn't catch that I tuned the master file down a lot in level to loudness match it with the pre-master. The master file itself is way up closer to the top. In terms of loudness for a master, I would encourage you to go and analyze more music in this and related genres. To say a blanket statement like “all new songs are mastered to -7 LUFS” is just not true, and it'll immediately become apparent when you run a series of songs through loudness analysis. Loudness levels are all over the place. Some songs are mastered to -14 LUFS and others to -4 or beyond. -8 is actually typical of pop songs, but even in that genre you see variation. To say that a master is not a final unless it has a big waveform - by which I assume you mean super loud - again is something I would refute. The master is done when it sounds good, regardless of loudness level. This is not a genre where loudness maters anywhere near as much as with other styles of music, like EDM, pop, hip hop etc. As you can see from my other videos I’m able to push my mixes super loud if I want to but you have to ask yourself if that serves the song. -7 LUFS is completely unnecessary for a gentle song like this. It would ruin it.

@@warpacademy I mean I have checked commercial music new like Taylor Swift BillIe Eilish etc. Older songs were far better.

Right. Those artists are in a very different genre from this. Those are heavily produced pop songs where it's common to have much louder masters. Also, Taylor Swift's song Vigilante Sh!t is mastered to -10 LUFS integrated in the loudest section, not -7. Billie Eilish LUNCH (the single most streamed song) is mastered to -10.7 LUFS in the loudest sections. That's the trouble with making generalizations.

If you put Plato in front of a DAW, I bet he couldn't mix to save his life.

Good question! For a novice just ignore this totally. Go and create and have fun. Work with a mastering enginner for your stuff and let them handle this type of thing.

@@warpacademy okay... Thank you very much. But I would like to learn just enough. I will need to tell the Mastering engineer something.

Ah yes, it is good to learn a bit and be fluent enough to communicate with the engineer. Cheers Paula!

Thank you so much 😊