the plugin that ruined music
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- čas přidán 26. 12. 2023
- lalals.com/ref/370/
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In todays video I take a look at the wave l2 limiter a plugin used by many pro mixers like dave pensado, jaycen joshua, manny marroquin , and so many more. I go over the controversial reputation that pertains to this plugin and how it has evolved into the plugin that it is today.
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The recording Industry: "CDs will allow you to hear ALL of the dynamics of music, from the loudest cymbal crash, to the quietest note on a flute"
Also the Recording Industry: "USE L2 AND AND MAKE EVERYTHING A SQUARE WAVE"
I remember when labels went out of their way to deliver the most fidelity in their cds. It really was treated like a high-end format until we get into the mid-90s.
@@viciousblissvideos Yes, especially the labels that covered Classical, Baroque, Orchestral music etc
@@bulkvanderhuge9006 I’ve heard that even some of those have gotten affected by the loudness mentality. Movie scores definitely have. What blew my mind was that the latest Aeternus album from 2018 was a DR11. Guns N Roses Perhaps is a DR9 but the rest of the recently released songs are DR4-5..ugh. Alae Noctis is a band that puts out high dynamic range stuff. Slasher is an album that’s like a mix of Alice Cooper Constrictor, British Steel, and elements of the first three Maiden albums. The vinyl versions of the latest BOC and Megadeth albums are high DR. There are also a couple of other modern Megadeth albums that have high DR releases.
@@viciousblissvideoson the movie side: so many directors want the sounds and soundtrack as loud as possible at all times that its making dialogue hard to hear. Lol. Its such a stupid thing.
@@billyj.causeyvideoguy7361 You’re right. A lot of the time I do feel like dialogue gets drowned out and that loud sounds are way too loud. Luckily this isn’t the norm. I feel like the use of plugins and tighter deadlines are probably the bigger problems based on what I’ve been told about post work.
What’s ruining music is not the tools!! Lmaooo it’s the people operating the tools.
Its the artists writing music to fit in and be popular n' trendy, instead of just writing what they think sounds beautiful.
More people are able to produce than ever, so with this abundance of technology will be people that don't follow the industry standard
Shhhh... don't give out the real secret.
@@stormie909 "Industry standard" is basic science. It's not a preference.
@@houdinididiit What secret? Everybody knows that by now. Ego its the real assasin here . Home studio owners that think they know more than anybody and not opened to learn not even from their own mistakes regarding the feedback given on social media on their crap. `
For years I've been in the habit of putting L2 as the final plugin on my mixes. "Just in case". It seemed the most reliable limiter for stopping any clipping while pulling the levels up just to the point of loudness without distorting. What other plugins would you recommend to fit this role
FL Studio Maximus.
Someone already mentioned it but FabFilter's Pro-L 2 (not L2) is my go-to cherry on top limiter, handles anything you throw at it from tiny to large amounts of gain-reduction with enough control to taper it to get any sound you desire, from transient destroying to near-full (perceived) dynamic preservation
'stopping any clipping'
platinum records deliberately clip the master both before & after any dynamics processing.
i usually use ProL Limiter because its relatively transparent. the transients sound better with true peak limiting off, just something to bare in mind
WEISS limiter
These guys are genius hypocrites, every song I hear from then is super heavy on the limiter.
Could be the artist/record label, telling them to do it like that. Or the mastering process.
Recording , mixing, and mastering. 3 different steps in the process and they are most likely in charge of mixing and then the mix is sent off to mastering where the mix is most likely getting squashed.
Fax there 3 different step theres recording engineer and then there might be two mixing engineer meaning one mixes and gives a blueprint of how the song should go and one touches up the mistakes of the other engineer then sent off to another mastering engineer who does his thing and sometimes there might be two master engineer so yea it goes
And every song then were limited corrected but what u forget is that back then everything was done manully meaning h had to listen and do the limited or make the automation yourself. Now we have plug in that do it with ease but the thing is they don’t hit like back then
like the irony of doing a video like that and then promote Ai stuff for your "creativity" xd
When I was an assistant engineer at a famous studio in Miami, I was unfortunately taught some bad habits with slapping an L2 on every mix (on some world famous songs) and they would always just ruin all the work that big time engineers put into their songs. Also, master engineers hated it!
a ton of top mastering engineers have the hardware L2 in their mastering chains. It isn't the plugin, it's how you use it.
Nah it’s ass I’ve tried everything with that plug in I just don’t use it
Mad distortion lol
You're right the L2 and L3 can ruin your music but if you use it sparingly it sound really really good. I really don't like super loud mixes I like the moderately loud but I want the Dynamics to be there
The L1 is less invasive to my ears, if used properly, that means just the peaks that are shaven. And the mix buses has the Townhouse buss compressor on them, mostly ratio from 2:1 to 4:1 max, and depending on how good the artists are the individual tracks don't have compression on them. Except for vocals, vocals are the most dynamic "instruments" in the pack. But mostly EQ and filtering, if necessary. My philosophy with music is, less is more. I just try to make it as simple as I can get.
I was ruining my stuff with L2 as well. Now that I understand a bit more, I spend way more time with sound selection and serial compression (a little, invisible compression each plugin adding up) and actual clipping. Now instead of sweating to keep the percussion audible, I need to turn down the kick and snare, which never happened before.
Same .. crazy how less is more ..
We’ve been lied too 😂
Side chaining bass tracks etc. changed my mixes so much the L2 wasn't even needed. kick cuts through, vocals seated but sounding on top. oh and a Sure SM 57 is a killer dynamic mic don't underestimate it. God Bless
Yes, my story too. Side chain is a bliss.
this is a good video but i think it's pretty lame that you completely avoid saying you've been sponsored by/have an affiliate link for lalals. i also wonder whether it's a good look to be promoting an AI service that rips off famous singers' voices on a video about "the plugin that ruined music". regardless of your opinions on ai it's clear the service you're promoting mostly exists to rip off other people's voices without their consent.
So true. A lot of irony here
Was thinking the exact same thing 🤥
I think you have a valid argument, but it’s not completely sound. I don’t know if you’re newer to CZcams, but his “ad” for lalals was blatant. Yes people should probably disclose when something is an advertisement, but anyone with an iq above 70 would infer it’s an ad. And the people who can’t tell it is are probably not capable enough to even make a song ripping off popular singer’s livelihood. And ai music/stems aren’t even destroying music. If AI was larger it would be as if I created a video and my sponsor was North Korea. But right now it’s still becoming commonplace. Ultimately, it is kind of ironic with the title and the ad. But we don’t have to lead a crusade against him for probably forgetting to disclose an obvious ad.
i still USE L2 as the last kiss of ur master
just 1 or 1.5 db of reduction
Why?
I use to like to use the Waves Limiters (I forgot the names I only use l1 now lol) for the dithering option and just a bit of making the sound nice and loud not aggressive loud. I mostly use the l1 on busses and I use Plugin Alliance bx limiter for mastering. I don't look for loudness I depend on my mixes having a good volume on everything and just allowing the limiter to catch the spikes if any within the mastering stage.
Imma put you on something try good hertz dither plugin
Used to use L2 a lot, nowadays only use L1’s within the mix and my new fav limiter is 100% the Fg-x 2 by Slate
I used to use the L2 a lot, well I still do but I used to, too
@@TommyWashowLMAO
Absolutely agree with the L1 on lots of busses. The FG-X is definitely at the end of my 2 buss chain with just a bit of the dynamic knob added. There’s some great subtle distortion happening under the hood of that plugin as you can see your peaks start to tighten up as your pushing towards the ceiling. Still very smooth yet transparent as well
@@TommyWashowfellow Mitch Herberg fan spotted
The funny thing is that he used money provided by ai music merchants to criticize the last era of music technology.
That's the embodiment of claptrap to me.
The irony!
You missed the point . The critique here is against misuse of the technology , not the technology itself.
@@AudioReplica2023I love reading comment replies like this that if you read them alone would look smart, but then you read the comment they are responding to and realize they are almost completely meaningless.
@@AudioReplica2023 If we are talking about the misuse of technology, does it mean that electronic music technology does not need to exist?
I mean, I think the "abuse" is the creation itself.
The fact is that no kind of music in the world today has emerged without abuse.
I don't have a problem with "human" abuse of tools.
In fact what I fear is that if the future of the world is further controlled by artificial intelligence and capitalized corporations, then congratulations my friend.
Then congratulations my friend the disappearance of this "abuse" is the disappearance of freedom.
And the tools will become us.
I'm not tit for tat, I'm just voicing my opinion. So love and freedom friends
@@AudioReplica2023 the misuse of AI is to build and sell programs that make your voice sound like a popular singer.. It can be creative to use deep learning tools for weird things but that limits you so you have to cause tech by deep faking
Speaking as an engineer myself (and yes, I am actually an engineer - not just a producer), I submitted very early to the loudness war with my music and others ive worked on. While the older generation of engineers to include many teachers of mine just couldn't stand it? I knew that was just the new era we were entering. Im predominantly in dance music so loud is exactly what you need. Record Labels will not even sign your track if it's not loud to an oblivion. The problem alot of Dance Music producers had was getting their music loud and not actually distorting that crap out of it. I was one of them. Now its just the sound of Dance Music. In my early days before I caved into the loudness war people would tell me, ESPECIALLY Djs "Dude your song is not as loud as everything on my thumb drive!" and I would just tell them "Um...you know CDJs have a gain knob above the EQs, right? Just make it louder than. Are you not gain matching all your tracks?" But I realized "Hey, this is what people want". You go to a music festival all you hear is nothing but super compressed tracks with virtually zero dynamics to any track..but thats the sound of the genre and people like it. I know engineers develop a very much acquired taste for how they feel music should sound, but let's not forget that how music should sound is very subjective to each and every single person. The amount of times ive submitted to record labels to change how my songs sounded just for them started to bother me a shit ton...but it's what people wanted. Theres very little producers and engineers and theres ALOOOOT of listeners. Theyre the ones we have to cater to, not ourselves. IF you want to cater to yourself, make music for you and only you and never let it see the light of day
the irony is that dance music is actually music that doesn't need to be "loud" because it's supposed to be played in places with good and loud sound systems. You can play it loud with the system without pushing it absurdly.
@@mttlsa686 he's probably referring to broadcast ...
When did anyone survey the listeners? CD sales have gone down the louder music gets. A lot of DJs used vinyl. I can’t recall any complaints about the music not being loud enough at events or clubs in the 90s whether it was 1991 or 1999. No one was wishing for louder cds or complimenting a cd for its loudness.
The people who want the loudness are the label guys who think it’s a way to get people to pay attention to their product instead of someone else’s. Then there are artists who are worried about how they’ll be perceived if the next track is louder.
Nowadays all the clubs from the Dennis Rodman era are gone from Chicagoland. Instead we’re getting retirement homes built all over. Maybe dance music and clubs are being built up elsewhere.
A lot of 90s Eurodance still had dynamics. DR9-11 cds. Even Jlo Waiting For Tonight is a DR10, which is the same loudness as Eternal Flame on the original Bangles cds. When a new song or album somehow slips through with a DR9-11 range, no one complains.
So, I’m really scratching my head on where to find any evidence that the public asked for louder music.
@@mttlsa686 yea, but at some point the transients become too loud. I don't like dance music at all but I kind of hear what they are hearing. contrary to traditional music they don't really hear/like percusive beats, but more of wall of sound doing a wave. some tracks out there the beat is basicly presented by interruptions in the synth sound....no percusive elements left at all
for my beats ill get a sub master mix so I can get the whole song at -6. Ill do parallel compression and other things to get the dynamic range tight with punch still present control the peaks with a limiter. Then I get the l2 on the master chain at the very end and put the threshold down to -6 so its really just kissing it. and brings it back to zero.
Parallel Compression and Saturation in the mix! especially the low end which usually is eating up the head room while not being as present on most speakers.
does anyone have the sources of each of the clips in this vid (specifically the dude at 4:09 he seems like a nice guy id like to see the rest of the interview)
Gently lower the gain and engage the limiter at the same time using the middle button. Toggle this setting on and off to compare the sound variations at the same dB volume. The suitability of heavy limiting varies with each track - it's a matter of how deep and rich you prefer your bass to be in the mix.
this is a great great comment
You either compress to control volume or to create rhythm/glue. I rarely use it to contain volume peaks because it just ruins everything. It's far better to just look at your waveforms and make adjustments there!
Amen
Amen
Oh yeah - it's SO much simpler just to edit the waveform in the sampler if it's a little bit peaky or w/e than just slam the f*** out of it most of the time.
Yeah and then put another limiter on it 😊
That’s what I do now but I will say I still use compression but only as a glue and I try not to use to much but yea adjust the wave form is the way to go that’s what I do majority of the time is just fix the wave form and another thing is artist don’t want to take multiple takes because I notice a lot of professional artist and big names even rappers take multiple takes for one word so it comes out right because what people fail to realize is performance and takes also affect the vocal in mixes and this is hard to explain but ifykyk
soo it's L1 and L2 just limiters? what diference are with other limiters?
does a L2 sound as good as the fabfilter limiter? i'm not familiar with waves plug ins. im curious because fabfilter limiter gets my mixes very loud if need be.
Both sound shitty when not used correct - both sound great if used correct - as with almost every tool that we have
The L2 is a classic
I used to put the L2 on every mix bus of every session I worked on. One day, I did an A/B comparison with Fab Filter Pro-L, and after hearing the difference, I never used the L2 again.
What songs represent the smashed brick-wall limited sound of the legendary l2?
With most streaming services normalising to around -14dB LUFS, are we now able to reintroduce some more dynamic range? Squashing to -6dB is pointless when you're losing 8dB on Spotify or Apple etc.
it's more about the density now. they will still target higher levels only to achieve this. and if you don't your track want fit any playlist even after -14 normalization.
Stop the loudness war and make consumer devices with a decent amplification to hear music loud but CLEAN and DYNAMIC. (Apart from the genres that require it as a sound choice)
This… the cheap amps in everything these days, especially smart phones is imo, one of the main if not the main reason so many producers want/need their stuff at -1 LUFS, lol.
Thankfully with Dolby Atmos for Music, it'll have space and dynamic due to their own loudness spec.
@@ghfjfghjasdfasdf I've found myself doing mixes that almost didn't need mastering to sound loud and punchy, even if the LUFS were around -11. If i push them to get -8/-6 the mix lose emotion and the carefully crafted balance that i've done in the mixing process. Moreover, noticing that if i play my mix thru devices with good amplification it sound perfect, but being forced to make it sound loud on consumer device, i have to sacrifice balance and emotion in favor of loudness and this makes me mad. (Not native speaker, sorry if there's some language mistake)
Copy that. Do you mix to -6 when you’re mixing down? I just started producing with Live 11 this year and I find that mixing to -1 gets a mix pretty hot on its own without any limiting on the master bus.
@@ghfjfghjasdfasdf no, recently i've found a way which gives me pretty good results. I mainly work with headphones so i mix exceeding the 0 reaching around + 3 and considering that working at 32bit float doesn't necessarily introduce distortion if you balance the low frequencies properly i can hear it loud almost like it will be when mastered. When the mix is finished i check the value of the highest peak on the master bus and then i put an eq and 2 comp in series with different behavior to bring the peaks down, containing them below the zero and a limiter at the very end with 0.5 gain reduction maximum. At this point i pull the master fader down to -6 and it's ready for mastering but it sounds as it should already. The mastering process will be more a tasteful "polishing" than an invasive work where you actually make "the sound" and the character of the song. I "discovered" this technique because of the necessity to have a decent volume with hp and no proper amp or studio speakers, even if i have them.
I really never use maximizer and limiter, I use the standard clip by Sir Audio and its the best to me.
Sir Audio is the bomb. Marc D. Nelson uses it. Shhhhh...
I don’t know why but the ableton stock limiter is my favorite. It just sounds so clean and gets straight to the point with the L2 I find that I have to drive it a lot more.
I used to use the sir audio standard clip. I started getting a buzzing sound whenever it was working though and switched to loudmax
EDIT: I use both now actually. Standard clip to check the dynamics on the master track and a combo of loudmax and standard clip to alter individual sounds
My mixes are always too crowded and just loud I’m learning to dial back gains and chill lol
That's the spirit man, chill out & skin up and sit back a bit ha ha
@@MrCheswickMusic yehhhh make a good balanced mix that's quiet
I've never liked any waves limiter including the l2 because they changed the tone my mix drastically.
L2 is a very colorful limiter. It's a useful tool and still golden. One tip is to use it as dual mono.
That's actually really smart, similar to parallel compression to a mix?
Hi. I think that's the key, all of them are just tools, they are not the magic key, they are not the ultimate solution, they were meant to be a single tool which must be used in conjunction with other tools, and the creativity and musicality must stand over all.
How is this actually done can you elaborate?
@@incognegro100 in Pro Tools there's an option to insert the plugins in "multi-mono mode" which means the instance will work as 2 separate mono instances which can be linked or unlinked. This is helpful when you need to compress independently each side. I'm pretty sure this is possible in other DAWs also.
And experiment with Dither options, lots going on there tone-wise!
L2 Shmel 2 lol.
I'm REALLY surprised no one is talking about the R Comp in limit mode.
That thing is AWESOME! And it isn't even close to being about loudness. It's about taming dynamics!
I ad a liiiiitle bit of L1 to a vocal, just because it has a sound! It makes it stand out and sound more strident. But in a good way. Paired with a 1176...There it is!
It's a tool, how people use it is their choice....
I think the amount of master compression depends on genre. Like we can't sit here nd say that we'd rather here shotta flow in a more spatial way
Cool vid, but it really needed some examples! I still have no idea what this L2 sounds like
The hardware L2 preceded the software L2. This issue is, sure it can kill attack and snare drums and that's "a sound", but it basically punches holes in the track (ie: in the music) at every peak while also creating aliasing distortion.
L2: I ruined music
Autotune: hold my pitch
So was it the plugin that ruined the music, or was it how people were using it....?
*OTT enters the chat*
The TC Finalizer had a similar impact.
I've been using WAVES plug-ins since the late 90's, Zero complaints. The L3 Multimaximer/Limiter is a great tool for mastering if used tastefully. I NEVER have used it on individual tracks....
I knew that was CLA in the beginning. Absolute legend..
Roger alwayz readz my mind w the L2ed mix verb explanation!
Def heard many overly L2ed mixez!!!
The L1 or L2 should only ever be used a smidge, but to be honest, I don’t EVER use a limiter when mixing. My mixbuss is an SSL G-Series Bus Compressor plugin, and that’s all there really is to it.
Limiters on vocals is sometimes key
@@MG-jy5qx it's called gates sta level
only for mastering or sound design
you have the best audio videos on CZcams
Thanks. I'm about to put this on the master 2 bus right now
Gear culture is 100% visual but production, engineering, mixing are 90% ear and 10% instinct. The influencers rarely go beyond gear culture because they pay their bills selling ads for new gear.
L2, and even L1 to a lesser extent is best used to tame issues like a snare that is overpowering your overhead tracks, to the point where you have to over process and mangle your overheads just to fix bleed alone. Provided of course you are still recording a live kit. Put it first in the chain and you can kill 6 to 12db on just the snare transient giving you issues, without even touching your actual overhead sound. If you *need* a louder mix, instead of just smacking an L1 on every track, focus on utilizing clipping tastefully, EQ, saturation, proper side chaining of necessary elements, and above all balance, and then just tickle a limiter at the mastering phase. You can get a lot done in a mix by simply balancing early, and effectively.
That would be the job of the API 2500
Guys i can trust you opinion. 32gb of ram good enough for mixing all in the box? Thinking of getting Mac studio with 32gb of ram and 1tb of storage
Enough to mix an orchestra tbh, cpu is more important
32 is plenty for mixing
This is the content we soooo desperately need folk! Blame the tools!
What's next to blame? My mix suck because my mouse and keyboard are cheap?
And then sponsors by AI voice lmfao, irony af.
The key is not to use it for the leveling, but to use it for the audio matrix; it changes the stereo image. Plugins didn't kill it. Most producers don't know how to make their own matrix,transients, eq-compression, and other tricks. Waves puts those tricks in many of the things like C4, L2 that emulate hardware. Most engineers don't know about polarities and panning; that's the lost art for most engineers. Only the studious and gifted (hearing) engineers know. I was never taught, but I could hear it and I code it. Its the same way with video or any other science sampling tool.
how can an engineer not knowing about panning?
I put L2 in my mixes and it sounds great!
Ozone 9 Element + SSL Native Bus comp has always done well for me on my Master. Or J37 Emulation + Drawmer Stereo Buss .... Those have always worked for me. I've never used an L2 Before
Maybe you could have supplied a demo track to illustrate the L2?
Loudness normalization didn't stop the mixes getting louder since it only works if the individual listeners have it turned on on their apps.
and in fact it is turned on by default on mobile devices.
@@ChristianBoragine then when it's turned off you hear just how much quieter your mix is vs what's out there and your client gets back to you and asks why you made it so quiet. Funny thing is, even with the loudness penalty, a lot of those label releases still sound louder than those that followed the -14 LUFS. But sure, believe what you want.
the -14 Lufs is for Noobs, nobody cares, one rule only: loud AF @@lisan_al-ghaib
@@lisan_al-ghaib i'm not sure, but i think it's because of "crest factor" i.e. peak level and rms level, so basically when two releases have same LUFS volume (because of normalization, ordinary crest factor doesn't differentiate much between releases with same lufs), but different crest factor, the one that has lower, will sound louder than the other one.
by squashing with limiter, you are reducing crest factor, you are bringing rms level up, and peak remain the same (in numbers, technically it goes down).
so if peak is basically drum peaks, and rms is basically music, by higher rms we will have louder music, so in lower crest factor we will have louder music
if we have less limiting, we have same peak (probably), but lower rms, so we have more of crest factor, so we have quieter mix.
so:
-6 lufs track with crest factor say i don't know, -6
will be louder, than
-8 lufs track with crest factor say i don't know, -8
if you are bringing level down (normalization) of both tracks to -14, you will not change crest factor, since both tracks just got lower volume, it got peak and rms lower.
and because of it, -6 crest factor track will still sound louder, but less dynamic, because of difference between peak and music (rms) level is less.
probably you can write it in far less words, but english is not native language, so sorry for long text :) and again i'm not sure, but it is probably this way.
@@lisan_al-ghaib the avarage user does not know about normalization nor that there is the possibility to turn it off. So you basically are producing for the minority instead of the majority of users. Seems legit bro. By the way, surprise surprise, users have volume too and they can operate it. If it sounds quiet they can turn it up, if it sounds shitty there is no loudness that can save the song.
I used a lot of limiters, but ended up using the l2 limiter again.
Dude makes a video about crush limiting and the loudness wars being a nail in recorded music's coffin yet advertises an AI service that has the potential to seriously hurt the artistic integrity of music forever.
Is this any better than Pro-L-2?
Absolutely not
i think its funny that a video about "ruining music" is sponsored by an AI celebrity voice site lol
This video is clickbait in order to pocket the ad money. No relevant information of any kind was provided. This is a waste of server space.
Awesome vid - please more like this!
I'm only a hobbyist in audio, but in the industry I'm working in when a client buys a service and they want to use it for something it wasn't really designed for, I take my time to explain the downsides. Heavy ear fatigue, loss of musical detail, potentially damaged speaker cones. Why are all these 3 worth it having your sh*t a little louder? I think producers do a poor job explaining the risks involved and just devolve into a "yes man" mentality. Really hope I'm wrong here... but how many times have I heard from old mixers that few hours later they showed the same mix to the client and all of a sudden it was perfect, just because their ears weren't tired...
first time hearing about this plugin lol
definitely can be tough not to fall into the "louder is better" trap, especially as someone who "engineers" my own stuff
great vid!
always a/b gain match
I’ve used waves over the years and I use to use this plugin to raise my vocals to a line level that starts to effects tonality and saturation, for it to sit better in the mix. I think they are referring to using it on the mastering. Something I don’t do, I use UAD spark and Slate Digital plugins for all my mixing now. They are amazing. Every song on my page was used with them.
L2 has been a mainstay in mastering studios, especially the hardware-ported rack version.
I really like Maxim from protools
Thats why I work in a rms mindset ,perceived loudness .
Any videos from Mwtm namm2024 coming?
Is it just me or does the L2 do something to the lower mids and make the kicks sound unnaturally hard?
Sounds like it saturates and boosts the lower frequencies, but I never liked that.
I will put 10 L2 on each track plus buses and master and send it to the engineer
Used sparingly on the master bus is the best statement of the 3 most experienced mixers on the video.
The "sound" I think it will always be controversial
There is a Beato interview of Lord Alge?!
if you use it right its solid, but for a master lim, not anymore, used to do 1.5 on the master because of the mid boost, but this usually goes on overheads to kill the snare to retain more detail in the cymbals
been insecure about master bus limiting for years... i have realized my gut was right and that the insecurity drove me further towards crushing it
i have ssl and fairchild on master before it, also just barely kissing
George T Music back with another banger
hard clipped master is the new wave, i hear always the 808 clipped saturation 0 db whetever u wanna called it always on underground trap or in music in general
Just started! Compression???
I knew it!!! Lol😂
Ironically, there's a wave of interest in the 90s right now as far as what's influencing electronic music and the dynamics of these tracks seem to be opening up as a result (as it matches the aesthetic to do so), while retaining the low-end density and power of the last 20 years.
got any example tracks?
@@romulus_ Bruno Mars' whole album in silk sonic lol
@@angurishudesu that album is mostly inspired by the 70s.
The best recordings feel as if they are within a space of air, giving just the perfect room for sound or sky above for sound, the sound should fill your heart at the same time. Sometimes too, silence is golden.
Didn’t know Norm Macdonald knew music production
Seems like some intense conclusions based on opinions and preference!
In my view, the L2 is in fact a very powerful limiter and has to be used with sensitivity. Getting mixes loud is good. And doing so while maintaining dynamics is the goal. So having a light touch on the L2 accomplishes that. But the same issue can be caused by any limited misused. It’s a typical “inherently good but misused by our nature” kinda things.
Records are not as loud as they were a few years ago. I see most pro masters hitting -9 to -8 LUFS with some parts hitting -7. A couple years ago I saw things hitting -6 -5 pretty regularly. That difference is big in allowing for more fidelity in the master.
4:25 4 L3s is wild lol
Awesome edits. Will be watching the rest of your catalog
Also,
I hate all waves plugins lol
Yo Facts 4 L3’s took me out! Lmaoo 💀
i hate them but not the puigchilds 🤤🤤
i never used it, but i should try itt after this video
I used to do some L2 on my parrarel vocal chain. Shit was poppin.
More videos like this please🙌
That’s a old mastering plug in by waves I had it on my old computer with windows 98 second edition I could use it with my multitrack program called saw 32 tracks I still have it yes windows 98 it still works
It's funny to see all these "high class" mixing engineers back then doing what would be now called a rookie mistake.
Thankfully, Dolby step up and create their own loudness spec for Music which is -18 LUFS and you can't exceed their spec or your mixes would get rejected.
Really? I can't find info on that anywhere, can you share? I'm all for less loud mixes and it would be great if things did move in that direction.
@@JoshWiniberg There's an question that provided in Dolby website.
"Is there a loudness target for music mixed in Dolby Atmos?
Yes.
- The integrated Dolby Atmos loudness measurement should be -18 LKFS or less.
- The True peak level should be -1 dBTP or less for the Dolby Atmos loudness measurement."
Thanks!
I don't even use and l'Inter anymore, Just compression and clipping 💯
L2 works great... in the right use case.. I would like to know the algorithms .... and teak some more if it would possible..
so why not show why they hated it? how does a newbie not do what ever IT is..that ppl are doing?!!
I would blame the TC Finalizer for starting the loudness wars, not the L2
Every dance record has the L2 or something to the same effect on the Master. It is what it is (-7RMS the standard).
Good video, i like the end and agree w that guy too, sometimez thatz what they want, so give it to em!
Nothing worse than working w a engineer or producer that wont do anything u ask or want!
The best way to record a song is using a 'Scrope Shovel' I use it all the time.
Look at all the best bands in history, Stones, Beatles, Floyd, Sabbath, Genesis, etc etc, think of the great pop of years gone by, 60s 70s 80s etc etc, and look at the gear they had & used, I'll say no more
But then again, it wasn’t so much a deliberate choice, but rather what was available. Granted, there was surely a craftsmanship to the tools being employed. But at the same time, it’s the artists and the work made who ultimately matter, not so much the tools.
“The plugin that ruined music”= the industry standard that ruined music.
Yes agree todays music pure garbage I don’t care how you mix it ,master it still sucks
When i hear heavy ccompressed-limited records, i usually hve no problem, but when i do it, and i have the oportunity to a-b the sound, i usually hate it, to me it sucks out the life of it. That been said, i hate that snobby position where they want to tell you how much compression or limiting is good or acceptable. Its just a matter of taste and aesthetics, you can't pretend to endorse some kind of purism, or better undesrstanding, for what it is merely a sound profile choice. If customer is happy, engineer is happy, listeners as happy, the wtf is wrong about that? I think some times us audio engineers get over our heads trying to point out do's and dont's in verey subjective terrains.
meanwhile I now switched on using Loudmax lol
Bottom line is, you want it loud? That’s what your volume knob is for.
Loud starts with sound selection and placement. You ain’t stacking two peaks without knowing about it.