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Glad it worked out for you! 🥰

I have the same problem but there is no video

I’m sorry to hear about your lost project/files. That can be so frustrating! That exact scenario hasn’t happened to me but I’m guessing your project was damaged so badly it couldn’t recover your most recent work. What version are you using? We’re you able to open an older version that had the missing samples? I often import tracks and automation in from older versions of projects by dragging them in from previous saves. Might be worth a shot.

@@ElectronicMusicTips Thanks for your response. Yesterday I was able to open the project from a backup I had in an external HD and it recognized the samples. Couldn’t recover the work I was doing when my mac crashed but at least was able to recover a version prior to it. BTW, using Ableton Live 11 Standard. Cheers!

Thank you for your support, I’m happy to have helped!

Thanks for watching! I remember music from before loudness got out of hand and never once complained about a song being quieter than another. We were listening to albums more and streaming didn’t exist, so it’s also a byproduct of the way we listen to music now. Ultimately, I publish and release music at the level I feel conveys the energy and feeling I’m trying to convey… and let the chips fall where they may!

@@ElectronicMusicTips Aha, I'm not born yesterday either 😅 We would indeed put on an vinyl record or a CD and set the volume when the music started (and adjust whenever we felt like it). It might have been CD players were you could put in more than 1 CD and then hit shuffle / random mode that might have triggered that fear in some. But radio played / plays a big part as well. How backward that logic is though. But the "loudness war" has pretty much always existed as such. Record labels wanted to have the loudest vinyl and be loudest on the radio back in the day... i.e. Motown. So I think I disagree with you that it's "a byproduct of the way we listen to music now", by which I assume you mean more playlist (random) focused playing on streaming platforms. But I think that the fact that streaming services loudness normalise playback (for listeners) has actually helped to "scale down" some of the extremeness of the loudness war of the past decades. And that's a good thing... it gives us more freedom and some of that "compete" BS pressure is (at least partly) neutralised. And I agree with you on the approach! As a mastering engineer my goal is to find what I feel is the best / optimal loudness sweet spot for any given song that I work on. Because there is a sweetspot where everything feels right. In terms of energy and dynamic, frequency balance. Obviously a songs arrangement and mix always plays a big part in how easy (or not) it is to achieve that balance / sweetspot.

Thanks for checking out the post! I prefer balancing the individual tracks within the group starting at unity or 0dB gain reduction because I found myself lowering the track volume much more often than I’m adding level. For example, balancing percussive samples can sometimes lead to drastic reductions with hi-hats to create the right amount of energy without overpowering the mix when passing through several compressors and limiters, bringing the high end up each time). Additionally, I’ve found setting the group fader to -12db ensures I’m hitting the -6db goal that I have in mind. There are many people that say it’s not necessary to do this with digital but I can hear a big difference in clarity, balance, focus and energy in the right places with this workflow. Cheers!

Thanks for supporting the channel and I hope you’re able to put some of the info to use!

Thanks Bill! I’m happy you enjoyed it! Yeah Phil Spector was going more for an effect than the universal loudness . I really appreciate what he was going for. That was some amazing production!

Definitely! Especially for streaming.

Both are great, and add different flavours to the dish!

That’s a solid approach!

Thanks for your feedback, thank you found it helpful. Many more to come! Let me know if there’s anything you’d like covered in a future post And you stayed to the end for the bloopers!

Great workflow as well! Thanks for sharing your technique, I’ll give it a try

Thanks for your support!

The Yamaha’s have become so popular, and for good reason. Can you listen at a lower listening level on them, allowing you to continue mixing with them?

@@ElectronicMusicTips I do actually, but sometimes the high hats/shakers are hard to hear. That is more to do with my tinnitus through. 👂👂

@@redpeople2192 ahhh me too! There’s hope for us tho, most professionals in the audio sphere have tinnitus, and have learned how to manage and work through it! Check this podcast out for some great info podcasts.apple.com/ca/podcast/the-sonicscoop-podcast-music-production-audio/id1448330690?i=1000608052605

1979 4001… it’s a beast

@@ElectronicMusicTips love it, used to own similar.

Thanks for watching! I’m happy you enjoyed it and found it helpful.

Excellent question, some of its covered in my my next video! Briefly, clipping inside a DAW introduces harsh noise so it’s best to leave ample headroom. For analog tape, distortion is typically introduced at +8dB RMS (3%) above 0, unity gain, which is a lot more forgiving than digital. You can push tape harder before degrading the signal and introducing artifacts. You can record ‘hotter’ in some cases, with higher bias, low noise/high output analog tape. The same applies for summing boxes modelled after console mixers, tape machines and analog gear. Manufacturer specs will outline best practices for each piece of gear depending on their design. All this means nothing if you find the sound you’re after… it’s all about what you hear and what you’re trying to achieve.

Thanks, I’m happy you found it useful! Feel free to let me know if there’s any topics you’d like to see discussed here.

Hey, thanks! Glad you found it useful. There is a benefit to adjusting the gain on the way in and out of an effects plugin - it's to prevent overloading the next plugin before it goes back to the track fader. Let's say you add an EQ or compressor to your chain. You'll want to hit each plugin in it's sweet spot (-10dB to -15dB) so that they're all balanced. It saves you from having to adjust it later when you're setting up your final mix and scratching your head why one track is so much louder than the rest and then over compensating with crazy fader settings or reaching for a limiter (which could squash your sound completely if not used properly). Feel free to reach out by email if you want me to walk you through it chris@electronicmusictips.com

@@ElectronicMusicTips i see. makes totally sense now! thank you for your explanation. I appreciate it very much!

Thank you! I'm happy you found it helpful :)

Thanks, I'm happy you found this post helpful! Gain staging and headroom for live performances is the same as recording, with the importance on finding a good balance between minimum noise level and maximum peak volumes. Stay between -1dB to -5dB for peak volumes so that you're not clipping and introducing audible artifacts and distortion. Aim for your average level to be between -15dB to -10dB RMS. Your DAW might have an RMS setting to show you the average volume. I use a plugin called VUMT, made by Klanghelm. It's a great meter and I think there's a free version! Lastly, using light compression or limiting will ensure you're not going over unity gain (or Zero dB). I always set the threshold so that it's just 'kissing' the signal and roviding 1dB to 3 dB of reduction. Anything more is too heavy handed and will start to compress your sound too much for a live performance. There aren't any hard rules for using busses vs sends... use and abuse your system any way you can get it to work.... most of our favorite music was made using the tools that the artist had within reach. Feel free to contact me to let me know if this works for you or if you have any other questions! chris @ electronic Music Tips . com

@@ElectronicMusicTips Thank you for your reply Chris, really helpful tips! I will follow your advice and check out the RMS setting and VUMT, as well as light compression/limiting. I already tried your tips from the video on a track and it really clears up the composition, can't wait to try out these tricks in a jam session. Thank you again!

Many thanks, I'm glad you liked it! This one is yet to be released but I have it up on my site if you want to listen. It's called Digital Everything (Can't Stop) - Let me know what you think and thanks for your support! www.electronicmusictips.com/arkimidiz

I picked up a pair of Barefoot MicroMain35s about ten years ago... I love them. They allow me to make better mixing decisions, starting with how I designed layer sounds. Good monitors aren't cheap but they're worth every penny!

Thank you! I believe it’s in the Live 11 update. Look in Audio Effects>Pitch & Modulation>Shifter>Tape Malfunction. If you don’t have Live 11 and want something comparable, there’s a free plug-in from Caelum Audio called Tape Cassette 2 www.caelumaudio.com/CaelumAudio/?Page=TapeCassette2

@@ElectronicMusicTips really cool, thank you!

Hi Friend, thanks for your support! I’m glad to hear you got something from this post. I’m just getting started… let me know if there’s any areas of production you want to see more of, or feel free to send an email and I’ll hook you up with some free coaching.

​@@ElectronicMusicTips I'd love to sign up for free coaching! How do I go about doing so?

@@reznow3097 head to my website Electronicmusictips.com and subscribe, or download my free guide. I’ll send you a coupon and talk you through the next steps. Happy to hear you’re taking the offer!

Thank you for supporting my channel! Feel free to drop me a line on my website if you have any specific questions... chris@ Electronic Music Tips . com

Thank you! I appreciate our conversation and it was fun walking through the technique. I'm into your music... keep it up!

Wicked! Let me know if you find it useful.

Sorry to hear this Friend! What method do you use for preventing lost tracks now?