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what are your thoughts on compressing the mids on the master bus so they sit above everything else like Luca Polesti?

In using this approach, would you suggest having the clipper as the last plugin in the chain? Or is there some type of plugin that you would use after the clipper?

Why soft clip classic and not hard clipping???

ridiculous quality of info. i should get the course. its only 100 bucks. why not.

I remeber when I first found out about multi layered clipping ... as you know I make D+B sometimes and I used to struggle getting competative loudness (as you noticed in my old track I sent for that vid). When I realised people were clipping in their mixes at multiple stages it changed everything lol. Wish this kind of info was as readily avalible back then, but happy it is now for people!

man that Diamond saturator will live one every single masterbus I do...best Pop music saturation online.......!!!

Great video! I have definitely put the filters and clipper in the wrong order before!

6:58 THANK YOU! Finally someone talks about the problem with using EQ after clipping generating tilt, especially low pass and high pass filtering. In my experience, even the AC coupling filter on an interface input is enough high pass filtering to introduce it.

Great info on clipping. It's far more useful than i originally thought it would be.

A simple low pass on the bass will hit that transient that's stacking when summed with the drum bus. High frequency is typically only in the transient of most traditional and synth basses, so this is a way to lessen the impact of the transient. Also, as it’s a high pass you’re not going to interfere with the phase rotation of the fundamental or low harmonics that might interfere with the kick. Clippers are great, but sometimes just adding a volume envelope to some stacked percussive elements is a more deterministic way to remedy excessive drum-based percussive transients stacking. For example, I often layer snares, claps, and hats to give a richer percussive sound. But if all those transients fall at the same time… and at same time as other transients of the kick or bass it becomes. Simply add an attack envelope to some elements and hey presto, solved. This is, obviously, more a production tip than a mastering tip though. edit: fixed phone typos

Hey Nicholas & audio community. I studied audio engineering and took a lot of course’s in the last 20 years. If I could turn back the time this is the Masterclass to invest in!

woooooow that last part is crazy

With the SWOT it could be that your strength is your personality and how you handle relationships. Most people want to be understood and if they can feel understood they are more likely to come back to you than anyone because they trust you more.

🔥🔥🔥 Great content!

That's super interesting thanks.

Good stuff!

Great video once again. Two questions: A) So would you save All clipping for the last stage of your process so that you’re unlikely to be doing any additional Filtering after you’ve clipped? B) In your example of the Bass pushing the Snare into clipping, would you not be better off using a Compressor, or Multiband Comp, or Dynamic EQ on the Bass, side-chained to the snare? You could filter off the sidechain to target Only the spectrum around the Snare that is clipping AND get more clarity around each hit? Thoughts?

I don't own RX... Which module was that, for looking at the peaks?

Would you happen to have a similar setup for Logic Pro X ? Your explanations of the concepts and science behind working in the audio spectrum is top class..!! I have not come across anyone else who has explained this topic in such detail... KUDOS !!

What the hell is crest factor

Awesome content! Always learn something new, thank you Nicholas ❤🙏🏻

Very nice video!! Would love to see more content like this. Especially with more ideas and opportunities and how to communicate with leads/potential clients to be able to get people into the studio. Like you said, it's the very un-sexy stuff. But VERY important. Especially for people that don't know anything about Social Media and are just getting started in creating a brand a business behind the name. Again, super great video!!

True. I tried the same on airpod max it stopped playing

I'm hoping you may put a site link, reference, to the Technical Documents you refer to 1:50-2:00; the AESTD references. The macro site would also be really handy-dandy if your OK to provide it. I am punting that this refers to an International Engineers Standards...

I like this side of your CZcams channel and you! Much appreciated

A SWOT is a very powerful tool. It not only identifies your market, it dictates your strategy. Do the threats allign with your weaknesses, pull back. Does a weakness correlate with an opportunity, improve. Etc. It's often overlooked in this creative world, but my marketing prof would kill me if I would start a business without one (done well!!).

Love this. I'm looking to grow a mastering (and at a certain point in the future mixing) business, now specifically for the feasability study I wonder how I could find other mastering businesses/engineers that target my specific "perfect clients". I have it layed out what my "perfect client" would be, to narrow down wich part of the market I'll target and put active efforts towards, but when it comes to taking a look at others that might have the same on mind I don't really know where to look. I hope the question is clear. How would you go about finding other mastering/mixing businesses in your specific niche? Cheers, loved the video!

Great information mate!

this was a great video. so lets say youre an artist who writes and produces his own material and want to run himself as a business. What would you say are the products/services that the artist as a a business can bring to the market? im having trouble identifying how to pinpoint this to write down in my business plan

I love that you deep dive into the buisness side of it. Unless you went to college and studied this stuff, or have run businesses before, it's something a lot of music and creative people struggle with!

How would you position yourself if you were starting out a mastering online service, and you were the first one in your country ? I'm in this particular case and have no way to judge the market since there is no competition. There isn't even a specialized mastering studio to attend to, production studios do the mixing and the mastering. Hard to put adequate pricing in this case :s

I like the videos where you tackle the business side of things a whole lot. I don't even intend to do mixing and mastering for a career, but it's always real insightful

There’s something incredibly ironic about toiling over 1db for hours on a song that will only be heard by people in fully inebriated state. No one at the club cares. And even if they were all trained audiophiles, club DJs overdrive speakers into distortion. I think these skills would be better appreciated more in film scoring and other genres. I like the video…not trying to be a dork.

Your TV prints, are they just removing any swears etc., or are you printing them at much diferant lufs measurements more inline with Tv standards (or both, and/or more than that)?

I just learned how to use limiters because of you, and I love using the soft clipper because it keeps that thump in the low end. I have a friend that was hounding me about how I was smashing my low end into my limiter, you definitely helped me out!