I appreciate not just listing the gear but why and when you use each thing. I like how you have analog processing and then ADC and use a digital plugin limiter.
I'm using a portable pre-amp with phantom power on this; and the battery was at end of life; so bummed only realised after I exported because I have all my audio for CZcams batched for processing in AudioEditor... rookie error;
I caught that you mentioned pushing boundaries at the start. Do you have examples of that by chance? That would be a great video to see. Everyone talks about pushing boundaries but that feels like a really restrictive thing to do with mastering. It's something that really only advances in inches not miles per year. Extending trends rather than making new ones. Would be great to see you cover this.
Love your videos bro! I was wondering if you are going to do a video on how to get an 808 and kick sit together when you don't want to sidechain? I only ask, cause a lot of the time people say "pick a better kick and 808 combo", but the kick sounds good, and the 808 too, and I want to keep all that punch from the kick without losing out on the energy of the 808 (I think out of everything, this is the biggest struggle). I do EQ, and polarity flip so the phase isn't an issue, but I'm always lacking that real punch
Do manual volume aka manual sidechain, but you have very detailed control! You cut that very first attack of the 808 to leave the attack for the kick to make the punch you’re asking for! You can “draw” the volume envelope as you hear them playing together! This will not only give you more punch, but also a lot headroom! Check Baphometrix channel explaining this with exceptional detail that pros don’t like to share! Good luck!
Hey! Thank you as always for the content. Been making music for a while but started mixing about 6 months ago. I’ve gotten really good at achieving the sound I want (mostly thanks to your videos) But I find myself struggling to mix 2 track beats. Now I know its not recommended to mix a two track if you can get your hands on the stems, but sometimes I have no access to the stems and have to workaround with the dynamics. And most of the two track beats I’ve mixed with vocals are really compressed and limited, or just not mixed at all. If you found yourself in this situation with no stems, how would you mix a two track with vocals? Thanks again 🙏
Great video - super articulate and to the point. When your monitoring normally are you monitoring through Dangerous AD+ since that's what you will print through or is it just direct from the Antelope?
Good point; I'm going to hold my horses for later on in the year to drop this; as I'm beta-ing some software which I'm using daily that I'd love to drop;
Are you soft clipping in Standard Clip or Hard Clipping? What about its Saturatior, using that? I know hard clipping would be bad for subs but soft clipping starts altering the waveform sooner so I never know which is the least of two evils in this context.
Nice chain and thanks for the video. I didn't see you had anything in your chain for dedicated saturation or stereo imaging, and you didn't get into any Mid/Side processing at all. Curious if you use strictly plugins for saturation like FabFilter Satellite or any hardware units like the Black Box HG-2 / Vertigo VSM-2 and didn't see anything like the Ozone Imager or a Neve Portico II for editing the stereo field so much. I also didn't see a hyped up SSL Fusion in your chain, which I also don't have and really don't care for that unit or plugin in my chain. Are you doing any MultiBand compression either? I've got various tools in my chain, usually I'll go into something like the BaX or Kush Clariphonic M/S then into the SPL PQ, from there into Thermionic Phoenix to glue everything, then start boosting a bit with the Maselec MEA-2, possibly taming or shaping a bit with the Maselec MLA-4 and Elysia Nvelope, then into the Portico II MBP for some stereo imaging, into either the Shadow Hills Mastering Comp or SPL Iron and into the Bettermaker Darth Limiter to finish the analog chain out into FabFilter L2 to kinda finish things off. Been experimenting with Gulfoss near the end of the chain also lately, or sometimes I'll add in the Ozone Imager if I need ti widen things up before my final limiters. Cheers.
@@kodakeller6353 Yea, maybe I overlooked those capabilities of the bx plugin. Not sure it was spoken about in the workflow though specifically, but will go back to the video when I get a chance.
Hey! Thanks for watching and also sharing your process and chain!! For stereo Imaging the M-S matrix in digital_v3 offers me more than enough flexibility/power to manage the stereo information. The Dynone which I discuss is a myltiband dynamics processor; As for saturation I only use saturation/harmonic distortion specifically for 1 in every 10 sessions, so I only mentioned the transformers I switch in on the Dangerous AD+ which i can drive/saturate. Otherwise I am using Kelvin tone shaper in the box!
Thanks for watching mate; here's a link to a short with the settings; czcams.com/users/shortsUN436I-HXRE?feature=share Mode: Allround Lookahead: 0ms Att: 10,000ms Release: 0ms Link for both transient and release: 0% Oversampling 2 or 4x ;) Enjoy
Will Borza told me a few years back; I shelved it and then there is a video called attack time decoded fabfilter pro-l2 I did which solidified it for me
Thanks for the great videos and sharing your knowledge and expertise. I'm learning so much. If I understand correctly you are going into your analog chain after -1db digital clipping. Is that not too hot for analog or do you gain stage down before? I thought it was best to go in at -18db.
It's pretty damn hot; however; I've run a bunch of line tests through my gear using plugin doctor to plot the wave forms; linear response and harmonics introduced and I've found between -3 to -1dB peak before going out to the gear produces the best results for what i'm after;
I have a question, i saw a couple of your videos and in one of them you showed how dangerous it could be adding a HPF on masters because of phase issues, how about in mixing, is it okay to use them or should i refrain from doing that on kicks and 808 unless necessary?
Now that's advice that needs more CONTEXTUALISATION; because it's not that it's "dangerous" it's that in the context of mastering there's better ways to achieve the end goal that is set out with the advice to "Cut the low end out"... I have a slew of videos on a range of topics coming over the year; this will definitely be one of them I will explore MUCH further; Warmly, N.
so the signal comes really hot to you analog setup? and your final limiter is used just to do brick wall or does it is used to bring more volume? (and usually to how many dbs of gaining do you go)
Hey Nova Chance, yeah; 2 reasons I am hitting it hot and know you mention it; it would have been worth sharing the harmonic plot’s here; 1. Leaving the D-A at -1dBTP means my I work with the greatest distance between the signal of the mix and my noise floor. (Even though the noise floor of my analog chain is < -100dB. 2. My analog units have more than enough headroom to manage this hot a signal coming in; I’ve done harmonic analysis plots running my chain this hot and no harmonics are introduced throughout until I either begin to push the GR circuit on the vari-mu or use the transformersmm no on the AD+
your voice this video sounds like it has some distortion on it (like asymmetrical soft clipping). Kinda distracting, I would check your signal path and levels after video export.
I am happy to take constructive critism and equally learn from other peoples point of view, what exactly are you criticizing here? Can you point to any specific instances?
my mind is gonna explode
I appreciate not just listing the gear but why and when you use each thing. I like how you have analog processing and then ADC and use a digital plugin limiter.
Thanks mate!
I love the slow fade out at the end 🤣classic outro!
I'm using a portable pre-amp with phantom power on this; and the battery was at end of life; so bummed only realised after I exported because I have all my audio for CZcams batched for processing in AudioEditor... rookie error;
@@panorama_mastering all good man, love your content! I thought it was funny will a slow fade out like the end of a good album
I caught that you mentioned pushing boundaries at the start. Do you have examples of that by chance? That would be a great video to see. Everyone talks about pushing boundaries but that feels like a really restrictive thing to do with mastering. It's something that really only advances in inches not miles per year. Extending trends rather than making new ones. Would be great to see you cover this.
Definitely this is a good sumarry / example of a few things
czcams.com/video/20zEttzpeO4/video.html
Great channel, just found
Welcome aboard!
Thank you for making this excellent content!
My pleasure!
Love your videos bro! I was wondering if you are going to do a video on how to get an 808 and kick sit together when you don't want to sidechain? I only ask, cause a lot of the time people say "pick a better kick and 808 combo", but the kick sounds good, and the 808 too, and I want to keep all that punch from the kick without losing out on the energy of the 808 (I think out of everything, this is the biggest struggle). I do EQ, and polarity flip so the phase isn't an issue, but I'm always lacking that real punch
Thanks for watching man; email me the stems to nicholas@panoramamastering.com.au; happy to do a deep dive at some point on the topic for you;
Do manual volume aka manual sidechain, but you have very detailed control! You cut that very first attack of the 808 to leave the attack for the kick to make the punch you’re asking for! You can “draw” the volume envelope as you hear them playing together! This will not only give you more punch, but also a lot headroom! Check Baphometrix channel explaining this with exceptional detail that pros don’t like to share! Good luck!
Hey! Thank you as always for the content. Been making music for a while but started mixing about 6 months ago. I’ve gotten really good at achieving the sound I want (mostly thanks to your videos) But I find myself struggling to mix 2 track beats. Now I know its not recommended to mix a two track if you can get your hands on the stems, but sometimes I have no access to the stems and have to workaround with the dynamics. And most of the two track beats I’ve mixed with vocals are really compressed and limited, or just not mixed at all. If you found yourself in this situation with no stems, how would you mix a two track with vocals? Thanks again 🙏
Great video - super articulate and to the point. When your monitoring normally are you monitoring through Dangerous AD+ since that's what you will print through or is it just direct from the Antelope?
Thanks for watching! I have a pair of DA from the antelope which go out for my monitoring.
Bravo!!!!
Thanks for watching!
@@panorama_mastering you are welcome!
Great Vid, So whats the 2023 template?
Good point; I'm going to hold my horses for later on in the year to drop this; as I'm beta-ing some software which I'm using daily that I'd love to drop;
@@panorama_mastering looking forward to this!
you still got the dangerous convert 2 ?
Are you soft clipping in Standard Clip or Hard Clipping? What about its Saturatior, using that? I know hard clipping would be bad for subs but soft clipping starts altering the waveform sooner so I never know which is the least of two evils in this context.
Different workflow these days; I'm hard clipping though to answer; check my latest video on 6 major changes to my mastering workflow;
Nice chain and thanks for the video. I didn't see you had anything in your chain for dedicated saturation or stereo imaging, and you didn't get into any Mid/Side processing at all. Curious if you use strictly plugins for saturation like FabFilter Satellite or any hardware units like the Black Box HG-2 / Vertigo VSM-2 and didn't see anything like the Ozone Imager or a Neve Portico II for editing the stereo field so much. I also didn't see a hyped up SSL Fusion in your chain, which I also don't have and really don't care for that unit or plugin in my chain. Are you doing any MultiBand compression either? I've got various tools in my chain, usually I'll go into something like the BaX or Kush Clariphonic M/S then into the SPL PQ, from there into Thermionic Phoenix to glue everything, then start boosting a bit with the Maselec MEA-2, possibly taming or shaping a bit with the Maselec MLA-4 and Elysia Nvelope, then into the Portico II MBP for some stereo imaging, into either the Shadow Hills Mastering Comp or SPL Iron and into the Bettermaker Darth Limiter to finish the analog chain out into FabFilter L2 to kinda finish things off. Been experimenting with Gulfoss near the end of the chain also lately, or sometimes I'll add in the Ozone Imager if I need ti widen things up before my final limiters. Cheers.
Didn’t he talk about the bx digital v3 which is literally a mid side equalizer? I don’t think you’d need any more than that for mid side processing.
@@kodakeller6353 Yea, maybe I overlooked those capabilities of the bx plugin. Not sure it was spoken about in the workflow though specifically, but will go back to the video when I get a chance.
Hey! Thanks for watching and also sharing your process and chain!!
For stereo Imaging the M-S matrix in digital_v3 offers me more than enough flexibility/power to manage the stereo information.
The Dynone which I discuss is a myltiband dynamics processor;
As for saturation I only use saturation/harmonic distortion specifically for 1 in every 10 sessions, so I only mentioned the transformers I switch in on the Dangerous AD+ which i can drive/saturate. Otherwise I am using Kelvin tone shaper in the box!
Another banger my man! Question: How do you use Pro L as a clipper?
Thanks for watching mate; here's a link to a short with the settings; czcams.com/users/shortsUN436I-HXRE?feature=share
Mode: Allround
Lookahead: 0ms
Att: 10,000ms
Release: 0ms
Link for both transient and release: 0%
Oversampling 2 or 4x
;) Enjoy
@@panorama_mastering do you know this because of that deep dive you did on the Pro L2? Or is this in the manual or something?
Will Borza told me a few years back; I shelved it and then there is a video called attack time decoded fabfilter pro-l2 I did which solidified it for me
Thanks for the great videos and sharing your knowledge and expertise. I'm learning so much. If I understand correctly you are going into your analog chain after -1db digital clipping. Is that not too hot for analog or do you gain stage down before? I thought it was best to go in at -18db.
It's pretty damn hot; however; I've run a bunch of line tests through my gear using plugin doctor to plot the wave forms; linear response and harmonics introduced and I've found between -3 to -1dB peak before going out to the gear produces the best results for what i'm after;
@@panorama_mastering Ok thanks for clarifying.
I have a question, i saw a couple of your videos and in one of them you showed how dangerous it could be adding a HPF on masters because of phase issues, how about in mixing, is it okay to use them or should i refrain from doing that on kicks and 808 unless necessary?
Now that's advice that needs more CONTEXTUALISATION; because it's not that it's "dangerous" it's that in the context of mastering there's better ways to achieve the end goal that is set out with the advice to "Cut the low end out"...
I have a slew of videos on a range of topics coming over the year; this will definitely be one of them I will explore MUCH further;
Warmly,
N.
so the signal comes really hot to you analog setup? and your final limiter is used just to do brick wall or does it is used to bring more volume? (and usually to how many dbs of gaining do you go)
Yeah, this seems a bit weird, just like the keyboard that are wrapped in plastic. I won’t go out any hotter than -12dBfs to my outboard gear.
Hey Nova Chance, yeah; 2 reasons I am hitting it hot and know you mention it; it would have been worth sharing the harmonic plot’s here;
1. Leaving the D-A at -1dBTP means my I work with the greatest distance between the signal of the mix and my noise floor. (Even though the noise floor of my analog chain is < -100dB.
2. My analog units have more than enough headroom to manage this hot a signal coming in; I’ve done harmonic analysis plots running my chain this hot and no harmonics are introduced throughout until I either begin to push the GR circuit on the vari-mu or use the transformersmm no on the AD+
Don’t knock the plastic; that’s a running gag for the past 7 years…
That said, I am happy for you to share; why wouldn’t you go hotter than -12dBfs?
@@panorama_mastering thanks!!!
your voice this video sounds like it has some distortion on it (like asymmetrical soft clipping). Kinda distracting, I would check your signal path and levels after video export.
ｐｒｏｍｏｓｍ
T r a s h info ℹ️ nothing useful to real world scenario
I am happy to take constructive critism and equally learn from other peoples point of view, what exactly are you criticizing here? Can you point to any specific instances?