Thanks for commenting! Glad you found it helpful.

You can just use any LUFS or RMS meter. Just try to find one with a slow response rate. The gear is not the magic here. The links below but I highly recommend that you do not buy it. I don't even use this meter anymore personally in favor of stock options for ease of use. www.maat.digital/drmeter/

@@dinosaurdogstudio ok that you I definitely comprehend

Thanks for watching!

Thanks for the feedback! I'll definitely try and include more A/B examples in both solo and context in the future. :)

Yes. This is just for elements that just need "reverb effect". In this case I didn't want to add anything to it, and wasn't the real point of this video, just habit to set it up at the same time. 🤷🏻‍♂️

Yep

Thanks! 🤘

Spotify wants people on their platform longer to feed more ads to listeners. Better music will keep them there longer to feed more ads to. Just like social media. It's in the same business.

@@dinosaurdogstudio spotify makes money from quantity not quality. Like every single corporation.

@@lovescandal2023 distributors don't pay Spotify to upload videos though- I agree with you - but it's quantity of consumers, not artists, on the platform that Spotify makes money from.

@@juniordunkley2751 glad you got hustle. I don't have a day job. I do not earn money as an artist. I'm a mixing/mastering engineer.

Yeah, this was based on the master I did that was a competition during the story at the beginning. 🤷🏻‍♂️

Of course! Thanks for watching

Thanks for commenting!

Thanks for the comment, lookahead and knee are inherently different things. Lookahead makes whatever settings you have more accurate - not lean into compression earlier. I'm going to make an entire video about this, because a lot of people don't understand knee or how to use it. Thanks for the idea!

Check out this video, this will help you get the proper overall balance between the top and low-end in your mix. kzfaq.info/get/bejne/id2biLmX0brapI0.html While this is important, it is also extremely important to have a good relationship between low-end instruments. Neither is more or less important, but rather equally essential to a studio-quality mix.

clipping would only focus on the transient - that wasn't really my goal. And no - 0ms doesn't introduce distortion unless you go too hard with the compression (but then again - it will ALWAYS introduce distortion when you go as hard as most). Also, all compression introduces some saturation/distortion/additional harmonics - it's part of the process.

@@dinosaurdogstudio god it, tnx bro

I had them both selected, so they were moving together. They weren't officially grouped or bussed, but effectively for the purposes of this context.

@@dinosaurdogstudiothanks man, was wondering that as well.

Thank you! I appreciate this feedback, and glad that it's helpful. :)

💯

Yes, it is actually the stock compressor in Logic, just one of the different model styles.

Yes, but you can use these techniques with any compressor from any manufacturer.

Side-Chain doesn't eliminate the reverb altogether, and pre-delay would still impact the signal and your perception of the reverb. Although I would use plate reverb as a vocal effect to avoid early-reflections entirely.

@@dinosaurdogstudio Thanks for your response Tyson. Maybe I am sidechaining too heavily? I usually sidechain so that reverb is only clearly heard between words/phrases (not during actual singing). As per your suggestion, I will compare plate reverbs vs other reverbs with pre-delay while still sidechaining. I am always experimenting to find ways to use reverb more effectively - like a lot of producers, I think I have spoiled mixes with misuse of reverb.

Thanks! I appreciate that.

Thanks for the kind comment! Glad you're finding it helpful. 🤘

For now, yes.

Depending on your kick and snare balance, along with your tonal balance of those - you're probably only triggering off the snare. It's fine if that's what your goal is.

Thanks for commenting.

Thanks! Glad you liked it.

Thanks! Glad it's helpful. 👍🤘

I didn't record this vocal, so I can say definitively, but no - to my knowledge it was not compressed before this stage.

You can hear early reflections as a "slap back" in a canyon: aka echo. It depends on the size of the space. These are inherently the same thing, we just say they are different due to the common use cases. Also, the logical discrepancy in your comment is that everything is anchored to the Early Reflection as the "timeline". Everything is anchored to the Direct Sound - then early reflections indicate the location in the room (aka: distance). Direct sound would hit you in less than 1ms if someone is making noise in your ear - but the early reflections would take longer to reach you.

@@dinosaurdogstudio i stand ny ground. The human ear will interpret any perceived 'direct' sound as an echo if its predelay exceeds 30 ms. To make my original point again, the closer the direct sound the shorter the predelay & the longer the predelay, the further away it appears to be. Canyon or not, with L to R location being much harder to discern over distance. But in a recording of a band, who would want to position the drummer a mile away, Lol! So I think we can safely stay within 30 ms of predelay & paint the sound canvas with volume, microtonal adjustments & panning. When creating sound effects for movies & surround sound we can push all boundaries. But for those of us recording songs, we only need to observe a 30 ms limit. The faux pas made in the presentation is that the closer the direct sound, ths less the predelay, not the longer.

Very few producers utilise Haas but the interesting thing is that you would leave the pan pot at the 12 o'clock default & then dial in up to - 30 ms (L) or +30 ms (R). There is no volume loss using Haas as opposed to panning. Observe the stereo buss output to see this.

Usually if a kick isn't translating on small speakers, then you're likely missing the top-end definition in the kick. Try boosting here and also ensure that it is dynamically stable & punchy (I have a new video coming up very soon to show you how to compress your kick.) Even on small speakers - masking matters more than anything in your mix - so make sure you're reducing masking as much as possible (masking: items are living in the same frequency range and muddying each other up.)

You could bring your bass drum fundamental up (in Hz) until it sounds better on your small speakers and if it competes with the bass guitar side chain the bass drum or guitar to duck with compression when the other is playing. Decide which one is more important and side chain compress the other one.

The real question is - why are you trying to mix FOR small speakers?

I use Logic Pro X as my DAW - if that's what you're asking. I also use Reaper, but this video is in Logic.

Glad it was helpful! 🤘

No problem! 🤘

Glad it was helpful! 🤘

I usually do serial compression, yes, but I use different types of compression, and not the same ones shown in this video for vocals. Thanks for watching!

Yep, you're right. All my new videos will contain minimal preamble.

Yep, you're right.

@@dinosaurdogstudio 2 days ago the page does not work, it remains blank and the user interface does not load, do you know something that has happened, I master all my projects there, now I don't know what to do

@@bonillajy I am not affiliated with this product nor service. I do not know. I can't say I actually recommend any AI mastering service - they all have their own critical errors (so far) in my opinion. If you're looking to get higher quality mastering than AI - you can contact me at www.nightowlmusicgroup.com for a mastering quote.

The objective part is like a target. You need to get on the target, but anywhere on the target will do. Most beginning mixers can't even get it on the target to begin with. There are factors that prevent automation - such as the unique arrangement of various songs that prevent "templatization", but there are still objective rules that we can follow to ensure these songs sound quality.

Great question. I generally EQ them separately (but do the same moves assuming they were recorded the same). This is the equivalent of doing bus EQ in dual-mono - but it just works better for my personal workflow. I'll make small, additional adjustments on the bus as needed for small tweaks when I'm fine-tuning the mix. Glad it was helpful! Thanks for commenting!

@@rasm0225 thanks!

Thanks for commenting! Glad it was helpful.