from me knowledge the preringing duration a phase linear eq(or MB comp) introduces increases the lower the frequency band is(due to wavelength) and the more dB you attenuate. that is because phase shifts increase with intensity of attentation one achieves from using a filter stage( any shelv bell eq or hi/lo-pass filter) i kept my hands from phase linear, but my take away from this is if u use a high pass filter( or low pass in that respect) on high frequencies as in this video ( on side mix) it makes sense to have it phase linear, because low or high pass filter will introduce a big phase shift. the linear eq compensates for this at the cost of a near inaudible amount of preringing while avoiding phase cancellation artifacts when the highpassed side bus and original mix bus merge together. i also want tto mention that higher order filters like 24db/oct or 48 db/oct introduce more audible phase artifacts ( mostly at cut off frequency) due to crazy phase shifting. its a confusing topic but i remember for myself that normal eq's / filters always create a delay(which is phase shift), and linear eqs compensate the delay by adding preringing the sound,

@Undertoness and how’s that

If I may ask, where would you put yourself on a scale of beginner to professional?

@@Incognigro. From 0 to 10 i would put myself on a 5, where 0 is a person who has never touched anything related to music before (from a creative point of view) and professional starts from 8. I ve begun my journey 2/3 years ago, i can definitely hear some changes from mixing videos, but when it comes to mastering itself It s often too subtle for me to really hear a concrete difference. When i try to master a track by myself I usually try some compression, eq and saturation but I end up scratching any fancy technique I try to use Usually my mastering chain looks like this: Equalizer Imager (Sometimes clipper) Limiter Also I want to Say that everytime I try to apply compression on the master, I cant make It sounding good. It destroys the groove and rhythm that I had created during the creation of the track

@@algorix8420 okay, thank you for the info! So, at least from what I know, mixing and mastering are in a way, two completely different stages. In the professional world there are strictly mix engineers, and mastering engineers. I believe a big part of it may just be your ears aren’t as tuned to the mastering side of things. Similar with mixing and hearing the effect of compression, the difference in distortion, EQ, etc. We have to train our ears to those things over time, referencing, practicing, etc. Because the two require a different perspective (micro vs macro), your ears might just be accustomed to things from a mixing standpoint, focusing on tweaking individual elements to make them cohesive as one, but not as in tune to the overall picture and subtle tweaks across the board that work for all. I might not be 100% right about that, as I am still getting more accustomed to the mastering side as well.

@@Incognigro. but wait why should i do this mastering stuff if the average listener doesnt hear the difference?

@@vdzmhm Thats the tricky part about both mixing and mastering. Majority of the moves you make, the average listener won’t be able to hear the individual specific moves. But, as cheesy as it may be, they’ll be able to feel it. There’s more to someone going back to a song because of the lyrics or the instruments. The mastering process contains very tiny, minimal adjustments that can shape and polish a track drastically. That polish can result in more clarity in vocals, more excitement in drums, and other things that if you A/B’d each edit, wouldn’t tell the difference. But altogether can add so much life.

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