Glad you liked it! My pleasure!

You're very welcome! Thanks for watching along!

You're so welcome!

Thanks mate; interesting on the sub-mixes; do you key them the same side-chain signal? or do they limit the actual sub mixes themselves? ~ if you're curious about what I'm talking about check out my Dolby atmos mixing set-up video;

@@panorama_mastering Hey hey. You can see my sub-mixing structure a bit here in this video: kzfaq.info/get/bejne/e6yBg62bzbzddGQ.html. No I'm not feeding them the same sidechain signal. I would if I was doing a stem master, but I'm talking about a regular mix that's going to be running through a common mastering chain for a stereo master release. My sub-mixing structure is pretty similar to Luca's as I've found his workflow very powerful. By working with the sub-mixes, I can treat each group differently. For example, my approach to saturation on the drum sub-mix (Ex: saturating the mid more than the sides) is very different to how I'd use saturation the synths. Layers of control. It's pretty typical for me to saturate at the beginning of most sub-mixes with the HG-2MS or Luca's DDS, then at the end of that chain I'll use K-Clip, DMG Track Limit, or Pro-L2. The Pro-L2 gives the advantage of using different stereo linking modes on various sub-mixes to control their sense of width before they hit the mastering clipper and limiter (which I typically have much more stereo linked than a sub-mix limiter would be). Sometimes I even use K-Clip and then Pro-L2 on a sub-mix. Then when things sum up to the mastering chain, everything is quite controlled and loud while still sounding clean and punchy, so the mastering chain is not working as hard. With this approach I can often keep the amount of GR in the mastering clipper and limiter much less than if I was working without the sub-mixing structure. Sounds like in your Atmos mixing you're taking the pre-master and using it as the sidechain source to drive the mastering chain on each sub-mix yeah? That's good workaround and a smart approach.

@@warpacademy Ok nice; I'll check it out; I actually struggle to mix with sub-mixes; and where I am summing sub-mixes it's always in parallel E.g Luca's low-perc, high-perc drum workflow; Correct; and it's never driving that much limiting because I'm always aiming for -18LUFS so it's just there as a safety net;

@@panorama_mastering Cool. Yeah it took a while to get used to that workflow, but it's really turning out great in my projects. I use similar drum sub-mixes to Luca with the low-perc, high-perc, but then also sum them into an all drums sub-mix so I can treat the entire drum group together before it routs out to the pre-master. You can customize the workflow to your liking too, it's all very flexible. I'm not doing any Atmos stuff myself, but I understand there's no traditional mastering chain, hence the stem master approach. Neat workaround. Cheers!

​@@panorama_mastering Do either of you have a video on using the pre-master as a sidechain source to drive a chain on each submix? I would love to know more about this concept or have it explained just a little more clearly. Are you using the same chain you use on the master on every single individual submix and then just driving it a little less than the final master?

You’re Spot on! both these artefacts are the result of different ballistics; one which produces them as a direct biproduct (clipping) and another indirectly (velocity/speed of gain reducion circuit)

@@panorama_mastering The same applies to compressor (odd harmonics) unless they are emulating valves. Btw, I mentioned that FFL2 shows even harmonics, but all the rest I tried do not (waves, weiss, ozones and some more). I am pretty you got more at your disposal. It might be an interesting comparison. To me the modern style was the more rounded-pleasant. Then I analysed it and pum! It is the one with more even harmonics. Its distribution is valve-like. How beautiful are the maths and physics in dsp, are not they? :)

Yeah; definitely; it's certainly interesting; because so much of the harmonics from pro-L2 come from that first attack stage; if you place it on 0 it removes the clipping stage; check out my video on the fabfilter attack times; it debunks the whole balistics of that unit;

@@panorama_mastering Yes, I watched your video and reached a similar conclusion a while back. I need to do more testing and analysis to confirm its behaviour and reach a conclusion. Btw, you covered the Waves L1 ultramaximizer in an old video, if you analyse its THD, it only generates harmonics in the low end, the same applies L1 limiter and waves L2 (look also at the hammerstein curve because using pure tones does not tell the whole history). Also their intermodulation are pretty decent. Maybe that is why L2 is still used today?

Clippers introduce harmonics. Am I missing something from your explanation?

No I don't! I have used and heard Sonarworks correction curve; I simply haven't been back on the road to work with the correction curve enough to give it my thumbs up or not;

@@panorama_mastering Have you listened to the LCD-5 vs the MM-500? I've been using the LCD-5s for a few years and like them, but I'm very curious about the MM-500 and how they compare to the LCD-5 sound, which is a touch dark in the very top end. Same chassis.

@@panorama_mastering i definitely did not like sonarworks and realphones curves... for me the oratory harmann curve did ''improve'' them for me.. even though they work great without.

@@warpacademy way more separation in the mm-500's.. they make so much more sense for mixing. lcd-5 for mastering.. but at the end of the day, the mm-500 for both

@@jzg7890 Are you using them for engineering or general listening?

Yeap; spot on; i've shown this in another video on where I did exactly that! Built a square wave; I wouldn't say it's a problem as much as it is the function in and of itself;

But you're right expensive and cheap clippers all hard-clip the same.

I find that clipping on the master can quickly lead to that squarified sound if you push it too hard. I end up doing the vast majority of my clipping in the mix, on nearly every individual sound, and then again on sub-mixes. Just small amounts. I usually don't clip vocals or subs though. Most often I'm only taking out a couple of ms of transients and you don't even hear it, but if you let those all sum up to the master they'll make your mastering clipper or limiter sound dirty. Kicks and sub-bass also don't lend themselves well to clipping, again because they easily get squared off, which is where getting into multi-band clipping can be very helpful. K-Clip is one of the few multi-band clippers out there, but unfortunately its crossovers cause phase rotation because the filters aren't linear phase.