Excellent… yes us humans like to over complicate things 👍

If you’re unable to get a third-party “pro” level limiter, you can get by with running multiple Ableton limiters in series, and just pushing each individual instance of Ableton Limiter slightly. The limiting compounds and you can get a half decent results until you settle on a VST or hardware limiter

Also worth noting that Ableton’s Multiband Dynamics plugin is not transparent. This isn’t necessarily a bad thing but if you’re looking for a multiband compressor that won’t impart its own color to your project, it’s best to look elsewhere.

@@RileyGein You're totally right! If anyone can't invest in a better limiter, stacking limiters, and glue comp with the clipper activated before the limiters will get the job done up as far as a hobby one dosent want to invest in goes! The multiband on top not being transparent has a terrible Ui, Ableton should forsure update it

BG music made your useful tutorial a bit cringe 😟

Totally agree! But fantastic tutorial

@@bubz75 it s not BG Music - what u hear it s what he does as a educated mastering engineer, if u wouldn t hear anything how could you trust what he s teaching… that was a cucumbercomment IMHO

Just dropped down to leave this exact comment

@@milmar_echoes I dont agree

Cruxa customs

Soz…some people dose off otherwise 😂

I’m not a professional engineer and don’t work with music where I get a mastered beat and need to fit a vocal topline, so anyone that does work in this space please feel free to correct any of my thoughts and assumptions which are wrong. If I had to mix and master a track of two composite parts like this, I’d route the mastered beat to one bus (the “beat master” bus), and keep the vocal recording and processing chain on its own bus. After tracking, processing, and mixing the vocals to fit with the beat, I’d route the vocal bus to a “vocal master” bus and give it a gentle mastering to match the beat’s overall loudness and dynamic range. This is mostly a case of “use your ears” but spectrum analyzers and such would be useful to ensure the vocals and beat aren’t clashing in a way you aren’t able to hear. No need for a perfect recreation of every aspect of mastering done to the beat, but enough effort spent on making the vocals and beat sound as if they were recorded as part of the same project. Last step for me would be to route the “vocal master” l and “beat master” busses to the master bus and focus on gluing the track together with compression, saturation, dynamics, etc. and loudness -depending on the loudness you’re going for. Just the $0.02 of someone who admittedly has limited experience with this topic. Here’s hoping someone more knowledgeable comments and teaches us both something :)

yeah don't listen to these 2 - that's not good sound. It' s ok. But not top.

Multi-million selling pop songs are mixed and mastered better than whatever else you're listening to. The top engineers get paid big bucks for making the records that actually sell, obviously. If they were mixed and mastered badly, no one would listen to them.

@@AutPen38 Yes, I listen to the top songs to see how they sound since that's often done by the best mixers and mastering engineers.

@@AutPen38 idk about that - they can be top selling, doesn't mean it's good..it sells "despite" being non good... Even so, their talent is the size of their ears, and mix decisions, they could do it on a laptop I am sure. And probably did, during the 2 year pandemic, they just don't tell it to people... Like Elon Musk probably came up with the TEsla idea on the poopster, on a toilet paper roll,,,but tells people he designed it in his luxury office.....I totally made that up, but it's possible. I think the Engineer grand talking, is just to scare off the group ofpeople entering the market... Pro Tools, Pefect Room, Perfect Speakers, Analog Gear, is a wall to protect them - so they mention it a lot. In the meantime, some kid with Apple iPhones beat them already.

what about them? he clearly went through them all in the video

4.1 / slow attack / fast release

A solid monitoring setup is definitely important but the treated room is more important, imo. Unless you’ve been in an untreated monitoring room for long enough to learn the nuances of how audio from your monitors is being mangled by the untreated room, the best monitors in the world won’t save you.

Really😂

I’m not gonna make you 👍

No protools but I could it would make any difference

I think, aside from Mastering Engineers having experienced and trained ears, they have a monitoring set up that makes it much easier to hear those subtle changes.

If you don't hear any difference, apart from volume, then it is a good mastering. Mastering is not to make a mix sound better. If the mix is bad, there's no magic for it. Mastering is just to make it sound more clear, and more punchy, also to make the tracks more suitable for many environments, speakers, platforms, etc.

@@JuanJacinto if it’s only louder, it’s good mixing.

I've got some sympathy with the underlying idea (gear itself won't turn an unskilled person into a pro), but the top sportspeople (and artists) do indeed use the best equipment. Messi has the latest footwear and football, trains in a state of the art gym, and plays on a pristine pitch. He wouldn't be able to dribble so easily or score such beautiful goals if he had to wear a pair of old shoes and a misshapen tracksuit on a muddy waterlogged pitch down the local park.

@@AutPen38 true, but they never talk about it - it' snot the focus of their day-to-day... I feel certain producers, instead of talking about music, all tal;k about is what they bought.... If a millionaire superstar doesn't do it ...I'd think we shouldn't either. Also, anybody can afford Messi's shoes.... Instead of paying 100, you'd pay 180, big deal...

Indeed. Sounds terrible.