That's awesome thanks Cake Doge! I figured not every chapter would resonant with everyone, but so long as you found something of value that's great!

@@sageaudio No harm is done by more information. The tools we are using are designed for a purpose in mind but I think they are far more capable than what we think they are, so it is good to push the limits of these tools with creative implementations

Awesome! Glad it was helpful

Awesome! Glad you enjoyed it and thanks for leaving a comment!

Awesome thank you! Glad to hear you enjoyed it.

That's awesome! Glad it was helpful!

That's awesome! Thanks for watching

Thanks for watching and sharing the info about the ratios! That's definitely good to know when using it.

Thanks for watching!

Thanks for watching Bruce! Glad you enjoyed the video.

Thanks for watching Thamil!

Thanks for watching and it's great to hear that the video was helpful! I have seen that - it's definitely helpful when setting attack and release times to either smooth out the sibilance or make it as transparent as possible, really cool plugin.

Thanks for watching and leaving a comment!

Awesome thanks for subscribing! Cool to hear that the more in-depth videos we've been making are useful.

Thank you! Glad you enjoyed it!

Awesome! Thank you for watching!

Thank you for watching Uwimana!

Thanks for watching and great to hear this will help with your project! I haven't tried those plugins, but they look great!

@@sageaudio It's always a pleasure. You should check them out. Their Kelvin plugin is an interesting saturation plugin.

Glad you enjoyed it! Thanks for watching!

Thanks for watching!

Thanks for watching and leaving a comment! 1) I use whole note timing when trying to glue the sound together, and 1/16th note timing when trying to create quick and transparent compression. 2) Better not to set the attack time using this calculation. Instead, subtract the attack time from the release time. 3) I haven't used this plugin, but auto settings can be helpful! I'd try it out and see if you enjoy the sound, since that's what's most important.

then how do we set the attack time? you just explained how to set the release time but for that value you are telling me that you need to subtract the attack time , no explanation on how to set attack time bro@@sageaudio

I see what you're saying! In this instance I only wanted to show how each individual type of compression or compression technique affected the sound, but showing it in the context of a chain would be helpful too. Thanks for watching!

@@sageaudio ❤

Thanks for watching!

Thanks for watching! Here's an older video we made about that topic: kzfaq.info/get/bejne/bLV2jK6Bzq-RiI0.html Also, here's one on mastering a beat and vocals: kzfaq.info/get/bejne/gJp_hayHm8-9YXU.html

Its different for each song ahaha, you won't always have it at the same level depending on the beat

Shoot for balance when it comes to loudness. RMS/LUFS meters will help with that. Don't worry about loudness for Spotify. Worry more about how good your mix sounds.

Thanks for watching Eric!

Thanks for watching! You should subtract the attack in that instance as well if you choose a quarter note as the final setting - I think I was just going to end up using the whole note so I showed that info at that point. I usually use longer settings when try to get glue compression and shorter when I'm trying to create a more transparent or less noticeable change. I don't always rely on these settings! Using your ears is always best, but I like to offer this type of info regardless, since I think it offers a more objective way to introduce processing. Thanks!

Only Allah knows

I appreciate it! Thanks for watching DZA!

Thank you so much!

Haha thanks for watching!

What is the website?

Thanks for watching and leaving a comment!

Thanks for watching Egeto and for sharing your thoughts! I appreciate the feedback!

Thanks for watching Antti!

Thanks for watching Swg Itsyo! Also, I appreciate the suggestion - that is challenging for sure!

Thanks for watching! I hear you - they relied on rehearsing a lot before performing. One cool example is watching Frank Sinatra sing - he moves around the microphone to balance dynamics, reduce sibilance, etc.

@@sageaudio Exactly. Back in 'the day', real musicians were much more aware of their instruments and their effects on the overall performance. That's why we had outfits like "The Swampers", the "Wrecking Crew". the "Funk Brothers", etc., who were brought in to play the actual tracks on endless 'pop recordings from the Beach Boys to the Beatles.

Thanks for watching! I think this one should be helpful: kzfaq.info/get/bejne/gJp_hayHm8-9YXU.html

That would make a cool addition to a compression plugin!

I was thinking the same thing. Why not a sync button and note length. To be honest I’ve never seen or heard of this calculation before. I’ve watched countless videos on compression and mastering and none of them mention this. Does it only matter when compressing multiple sounds at once or the full mix, or does it matter when compressing one channel?

I'll check it out! Thanks!

True! The knee and ratio will affect when the majority of the compression occurs - that said, the timing between when compression starts and when it reaches the maximum amount of compression (when a soft-knee setting is being used) is minimal. For that reason, I'd still recommend this method, but I see what you're saying, and will look more into the time it takes for a soft-knee setting to cause the maximum amount of compression, and how that affects the timing. Thanks for watching and sharing your thoughts!

Thanks for watching!

Thanks for watching - to my knowledge most don't. Peak normalization might be done before processing, but if that's needed most engineers would just use clip gain to adjust the gain of the track.

Probably just do it by ear - at that point it would be too much of a hassle to be honest

i also wonder this. but i would assume so. (seems logical)

Thanks for watching! When working with EDM, it's best to use faster settings. So I'd use something around 50ms, since this is the quickest you can make the release without causing some distortion to the low frequencies.

Thanks for watching and sharing your thoughts!

Thanks for watching! I'm sorry but which C2 are you talking about? I can't find info on it. I'd say less than a whole note would be fine - try a half note and see how that sounds.

@@sageaudio Thank you! I'm talking about the FabFilter C2 - I'll try a half note!

It's from a band called 'The American Indie' so not Harry Styles, but I hear the similarities too!

You can use which ones you like!

I wouldn't recommend combining these steps - instead, pick and choose which compression type you'd like to apply when mastering. Thanks for watching!

The NY Parallel compression technique uses an auxiliary track. So the original channel is sent to the aux track. Then the original channel and the aux track combine at the stereo output.

@@sageaudio it's the same as using the percentage of mix in the fabfilter c2?

@@sageaudio like not using parallel but just percentage of the compressed signal to the original stream?

Thanks for watching! Very true, the ratio and knee will play a role, but the timing should be pretty consistent most of the time.

Thanks for watching Flavio! Just so I could get into the video quicker!

Thanks for watching! It doesn't matter - a WAV file with 48kHz sampling rate and 24-bit depth is a good file format to send over.

Thanks for watching and following us for a while! At the moment we don't have a video like that scheduled, but I'll work to create one with vocals recorded with a more entry level mic. For the time being, we have this video on mixing vocals with a 2-track beat: kzfaq.info/get/bejne/r7-KjZWHl5PXnqM.html

@@sageaudio ❤️❤️ Noted . Thanks for your reply .

Thanks for watching JD!

Usually an EQ, compressor, and saturator are good fundamental processors to have. Typically, your DAW will include stock versions, which will give you everything you need to get started.

thanks bro

Thanks for watching Randy and sharing your thoughts! I'll definitely take this into account when making future videos. All the best!

Thanks for watching Steven! I'm sorry this is outside my knowledge - I'm not sure what beatport is. Maybe reach out to them and ask if they could accept an alternative link or if you can come to an alternative solution

Thanks for watching! I typically master in stereo since 5.1 playback is a lot less common.

No worries! A lot of the examples are subtle, and KZfaq's compression makes it worse. The differences are still there though, so maybe try some headphones.

Thanks for watching!

Hi Ezekiel, Of course! Please go to www.SageAudio.com and create an account to upload your song for mastering.

@@sageaudio thanks 😊 let me do that now

Haha at least it's not super complicated math. Thanks for watching!

Yep! There are 60000 milliseconds in every minute - that's why the number is used.

Thanks for sharing your thoughts and watching! True, the timing will mean different things depending on the knee, but in most modern digital compressors, the attack and release are very close to the beginning and ending of attenuation.

​@@sageaudio I may be wrong, and happy to have some insight about this, but I think the time settings of a compressor have different meaning depending on who is making the compressor. The time settings mean concretly how much time it takes to achieve a certain amount of gain reduction : but which amount ? A fixed amount (1db ? 10db ?). Or an amount set as full gain reduction (determined by the ratio and knee) ? Or something else ? I think each time it differs depending on the dev, even if of course a specific time setting may have vaguely similar behavior on different compressors. Don't get me wrong, it may be interesting to set the time constants according to the tempo, but you can't expect to have a compressor set like that to work perfectly in rhythm like a delay setting...

Lol

Thanks for watching Harry and sharing your thoughts! 0.5dB - to 1.5dB on attenuation when compressing a master is good advice if I'm being upfront with you. You don't want to hear the compression when mastering, you want to control the peaks prior to subsequent limiting. This way you can increase the level without resorting to aggressive and more easily perceived limiting later in the chain. Thanks again for sharing your thoughts!