Yup! Clip gain is also a great tool, or even trying to re-add dynamics through some sort of expansion. I’ll have to do a video on the latter soon!!

Yup! That should work about the same as the multiband sidechain comp idea. Very similar processes afterall - as long as they sound good !!!

I use side chain to the f6.. is that wrong?

Makes sense! I will do the same if time permits, using a gate/expander or automating volumes. Solid tips my friend!!

@@5piece I used to use an expander but found there's often not enough dynamics left for it to work from and it lifts the wrong bits. Now I use a slowish attack on the compressors to enhance transients. Usually I have one compressor sidechained from the lows with a quarter note release time followed by one sidechained from the mids with an eighth note release. The ratios are about 1.5:1 or less and the threshold set to give gain reduction of about 1 dB on each compressor. Very subtle but I find it opens things out.

@@unclemick-synths interesting strategy there!!! I’m gunna have to try it out next time. Thanks for sharing my friend!!

What’s the method? Very mysterious comment here 😂

Yes, you should still master the mix. Mastering in particular will help glue the instrumental and vocal together better and help you entire mix translate onto other devices. I also do this on my own 2-track beat mixes that I get from clients. If you notice distortion on your beat (or master in general) after applying final mastering, it could be a number of things but what I'd first try to do is: 1) reduce the overall volume of the beat and create more headroom overall between your vocal and instrumental before applying limiting on your final master. Use the limiter to drive the volume more to makeup for what's being lost volume-wise. 2) alternatively, do the opposite. Drive (increase) the level of these tracks to reduce headroom BUT don't push your limiter at all. Make it so your limiter is barely working and moreso just containing excessive peaks. I say this because I find usually the distortion happens when your MASTER limiter is working aggressively due to the material being fed into it is too loud, or because the limiter itself is driven too aggressively. Both cause it to react in a noticeable way and creates that audible distortion you're hearing (usually). Theres also a chance the distortion was always there but just not noticeable until you added limiting, which increased the level. Again, tough to fully say without listening or seeing the session in front of me but these would be my first moves to correct it.

@@5piece thank u so much bro ill try these!

Yes it SHOULD be easier in that case. You’d likely end up adding your own limiting and mastering to that (and the vocal) afterward anyway to get a bit more level out of it but absolutely. The other tips here would still apply though (EQ + sidechain)

@@5piece Awesome thank you so much!

I use Trackspacer, even have videos on it. While it’s a great tool, sometimes it overdoes it. I like having more manual control. But for those who aren’t as particular and want a “quick fix” then yes, Trackspacer can work 🤙🏼

Step 2. Get Gullfoss.

​@@oliverquach9614 Step 3 get BB Tubes 🤣

step.4 Get Soothe 2 😂

Step 0. Use your ears bro!

Well, shorts are not made for massive information density, if you are at that stage of production full tutorials are the way to go. After building a good fundamental knowledge about compression and all the other plugins watching this short makes way more sense, trust me

Watch my full videos then, almost all of these shorts have a full video that explains it more in depth. I usually pin them on the comments of my shorts (like I did on this one). As much as I would like to explain/define every little thing, there’s no way I could in a 60 second short. Your expectations are not in line with reality lol Distilling these complicated concepts into such a short time is challenging enough. As for the music volume though, that I can work on for future ones 🤙🏼

@@5piece The question then would be, why even make shorts at all?

😂