Видео

Thank you for a real, short and sharp review on this plugin!

U are a genius 🙏🏿👏🏿this works perfectly for my genre music hip hop & r&b

My version of Logic doesn’t have that option at 2:30. Is there a reason? Can anyone help :/ I’m running Logic 11.01

Hmm. Did that and I converted them to arrangement markers but it still won’t let me drag whole sections around. It only will drag the marker itself

Aggregate device is a bust unless you have a 2nd pair of monitors for the second interface. The signal will show up in your DAW, but you can’t hear it without extra monitors. Should’ve known, honestly

Really helpful, thanks!

Hey, thanks for the video. I have the problem, that when I play a sample/loop in my untagged loops while the song is playing, there is lot of latency between playing and hearing the sample. sometimes the sample won't play at all. do u know how to fix the issue?

Isn't that the point of us using reference songs , to get in that tonal and volume range when they are balanced off with each other ?

FREE Alternatives to 10 LEGENDARY Plugins is what the video is called, my mistake. Keep up the good work.

Easy Sam. You mentioned that the Fabfilter Pro Q3 is free? Its only free for 30 days trial, and priced at £ 108.00, Hashtag.....Just Saying ;-)

I think you're right about the topic, do what you have to do to make it sound the best by any means necessary.

Any phase issues using two audio devices aggregated for 5.1 set up???

The same thing applies to mixing too. A lot of the “pros” give mix advice but they’re receiving a mix that’s already been over half completed by the producer that selected guitar, bass, kick and snare sounds, reverb lengths, maybe a complete vocal sound etc. so they are sweetening an already pretty balanced mix. We tend to get everything raw. Maybe just guitar DIs, drums tracked straight through the interface pres, so no decisions on sounds, no lush mic pres, EQs, or compression on the way in. We are essentially tasked with production decisions, all the mix decisions, and often they want a master on top of all that.

9 out of 10 times the problem with songs is not mixing or mastering.... It is bad composition that doesn't make for a great song to begin with.

Only one rule: Whatever sounds better.

Great video! Thanks for the sample pack.

a youtuber with a rational mind???

Having done many things but having mastered none I can say their all pretty damn close to 1 and a done🤨 Good points though music really has no rules which makes perfect sense to me so I would say to the mastering engineer, use your best judgement and hope I like it😅

This information is the answer thats held many back. When I started working with pro mixers/kmastering engineers I realised they were doing what it needs. They would compress the fuck out of some things- VISUALLY it would appear but it sounded right! When they say use your ears the reason I think it gets laughed at as I think people really don't know how to trust their ears probably becuase of the confusion of "just a db or so" comments. They doubt themselves. Just push the gear to its max, hear the destruction it can do, back it of and realise what it sounds like with a nice amount applied and does it help to resolve a feeling you have with an issue with what you are processing. Once you get past that stage, you stop monoing the tracks so much and just start carving and blending no matter the amount.

BEFORE THE RANT: I've said this many a time: mastering is and should be the optimisation of the final approved mix for your intended medium of distribution. Time was that records were the main medium and despite the continuing romanticisation of it, records are not immaculate and perfect (i.e. so many playable minutes per side, limited frequency response, limited dynamic range, high noise floor, etc.). So the goal was to make whatever that final mix work within that medium. Now that digital is the predominant medium, you work with those limits, which aren't the same as dealing records, but you certainly want to make sure nothing is clipping, you are taking advantage of what that medium has to offer. Another way of thinking of it is that it's "proofing" the mix. At this point, everything should be squared away and nothing should be radically changed from how it was composed, arranged, tracked and mixed. This is not where a metal song turns into a soft ballad or vice versa. Thus, it is expected that any processing done to create the master should be subtle. *That said* ... mastering *could* allow for *some* ways that could be seen as being radical. The obvious one is increasing volume, especially if the mix has a more conservative volume. Certain processes like compression are inherently wave- or tone-shapers and thus can introduce a characteristic that wasn't originally present in the mix. But this is where a discussion is to be had between the mastering engineer and the client (artist, producer, manager, label ... sometimes one, sometimes all, etc.). Most mastering engineers worth their salt will be more respectful of the source material and will more often than not err on the side of caution. One more point of comparison would be in filmmaking. The final step before distribution will be what was once called colour timing for film and now colour grading for digital. This is where the "look" of the film is finalised where the director and/or the cinematographer will go through the entire film and decide the colour emphasis, the contrast, the brightness, etc. While there is something of a "transformative process" that occurs as this is where the film takes final shape, it is not as if the film never existed leading up to it. Maybe I'm overexplaining it and thus making my own rant ... but I also feel very strongly about this ;) =] AFTER THE RANT Very fair points and I agree with them being raised. To clarify where I was coming from, I do think mastering is sometimes treated as if it were some transformative process where a recording suddenly becomes magically spectacular. Given what you raised, I think what I said about mastering being optimisation still stands. But also to be fair, you only have what you are able to work with. And if the aim is to make it the best sounding master possible - or again optimizing that final approve mix - and if it needs way more processing when compared to the pros, then that is what it will take. At the same time, the master can only be as good as everything else leading up to it. Even if you did everything you possibly could to make that master the best sounding it can be, it doesn't mean that the mix is suddenly good or the recording is suddenly good or even everything else is good. A badly written song or a poorly arranged song or a sub-par recorded tracks are still going to linger. And maybe that's the intent of it. I don't think every single album needs to be "Grammy winning" or "Billboard Hot 100" material. But in the end, intent should be clear and the execution should be at its best no matter at what stage and across all stages. Sorry you had to go through that nonsense ... and believe you me, I don't take kindly of being told what to do as I am already doing it and I'm prepared to take the consequences of such actions: right, wrong, indifferent. But all the same: you make your future like you make your music. Cheers and Godspeed =]

I agree 100%. most important is to get the best result, and do what it needs to do to sound amazing. Great video Sam, I like very much this mythbusting videos 😂. You are asking (and answering) great questiong and bring people to think about it

Some people are not aware of things but they learn with time like myself. I mention a million times because I was a former Pro Audio salesman and I'm an Engineer that things work different for everybody. People look to duplicate things for their recordings instead of taking a few key points and take what they've absorbed as a reference point to start. You have a lot of people saying oh such and such did such and such not knowing that it was a purpose but unique for that person work now do something to make your stuff unique!!!

Mureka claims you can release the song on platforms for sale but the cover photo cannot upload all the format PNG, jpeg and pdf are declined what format are they accepting?

If you get paid to master some music, and you don't consider trying everything (and anything) to make the best version of the tracks you can for commercial release, then you are not doing your job. A well balanced mix only requires subtle changes, a crappy mix might need the kitchen sink throwing at it, to make it sound good. The 1% mastering advice should be given to mix engineers instead 😀

ditto for everything you said. Very insightful. I would have put a little more emphasis on the mixer using reference tracks. Without that you could stray from your audio standards and lose your objectivity.

YES! 1000% TRUE! And when doing it just answer the "WHY?" and "WHY NOT?" not because you read it and watched it as a RULE. Theres NO rule! 😄

100% agree. If the song needs something, give it that something, whatever it is. I HATE when I hear folk saying Mastering only needs 1db here and there. I've always shouted at my screen - HOW THE FUCK DO YOU KNOW? I'm the idiot listening to it and I can assure you, this mix needs 4 snookers, 3 lawyers and divine intervention mate. NOT a single db!

Super helpful, thanks man!

So probably better to use a normal EQ with wide curves and don't care what is doing under the hood...

Will they have Black Friday sale ?

How does this interact with volume and pan automation? Can you automate volume and pan changes or does the whole song has to be static the way you set it up in the mix assistant?

how much do you charge for mixing a 4 mins Rock song?

would it work not for singing, just talking, etc? Meaning to change voices, like for dubbing?

Is that logic pro x or 11? I'm working with x on an intel mac pro. The izotope website says that neutron 5 is compatible only with Logic 11?

Yeah! I haven't named busses yet. That will help out to me mixer desk. Whoo Hoo! Cool. Thin q, Sam.

Very cool and great teaching. I have never heard anyone mention the drift correct. Fantastic. Also enjoyed your low latency video. Bravo. Thank you.

Thank you so much. It's crazy all that you can do in logic.

I do the same as you so that I don't bother my wife. I am very happy with the results

Thanks!

Reasons to get 3rd party plug-ins, starting simple and getting more into the weeds. 1. They offer something you're stock plug-in suite doesn't 2. They can save time by not having to set up a complex signal path of stock plug-ins when a 3rd party plug-in might have it ready with one click 3. Their visual layout might be more intuitive to the user 4. Its fun to mix it up from time to time, I don't like using the exact same pieces of equipment on every project, takes the creativity out of it for me. I like trying new things and experimenting. Sure, the outcome may be the same, but its important to keep the profess fun and engaging IMO. 4. It's fun to play with new gear, even gear that's just software 5. Curiosity, can you REALLY hear a difference between the 18 different compressors int he Mercury bundle? You'll never know until you compare them. 6. Support small businesses. Many of my favorite plug-ins are made by relatively small companies, and I like supporting that. 7. Legitimacy in parameter functionality and features like oversampling being done correctly. This is something you need to look at regardless of the source of your plug-in, but just because a plug-in says it has oversampling, doesn't mean it's doing it correctly. Biggest reason to use stock plug-ins. - They force you to learn how to use the equipment. Nothing in the list above can replace knowledge on how to use a specific type of plug-in. Plug-ins are tools, and its important to understand how your tools work on a fundamental level. Especially now with "AI" being incorporated into more and more plug-ins, I think the fundamental understanding of how these tools work will become less and less common. The stock plug-in suites in most DAWs (that I've seen) have all the essentials needed to make a good product, and I encourage anyone who I talk to about this to take a good long while and master how to use the basic selection of plug-ins your DAW comes with before you start getting lost int he 3rd party plug-in world. When you have that mastery, you not only know how to use the tools, but you will also have a sonic baseline of what everything sounds like, so when you do end up with 10 compressors in your collection, you will be able to compare them off of a similar reference point, and you'll be able to use that knowledge to know what compressor to choose for the project you're working on. There is no right or wrong when it comes to this, there is only the work flow that helps you stay creative during the process. To add to your comparison on the Waves bundle vs the Plugin Alliance bundle, you're 100% right. The fact that PA includes the Three Body Tech EQ, and Compressor now is insane. Those two plugins alone are worth the price of the bundle IMO.

If you consider what was used to make recordings way back in the 70s - and how brilliant some of those really are - it seems crazy to think anyone needs more than what the average DAW offers by comparison. As an experiment I made a recording, mixed it and 'mastered' it using nothing but separate set-ups from Guitar Rig 5. GR 5 has LA2A clones, 1176 clones. limiters, Quad delays, reverbs, EQs. My only gripe was I had to mess around quite a bit to get the sound I wanted whereas with my usual plugins I know exactly where to go to. I actually forget what plugins I have, to be honest. I saw a video the other day and someone mentioned SSL Channel Strip from Waves and I thought: '... Oh yeah - I must start using that again.' Crazy what we have available to us.

Mureka is not transparent I am totally disappointed with their service after subscribing for the basic plans, most of the packages which were in the basic plan, they shifted them to pro-plan, in the basic they don't give you wav files only mp3, I feel disappointed

I don't think making them as close as possible is a useful test. Because why would anyone do that in the real world? The real test is make each sound as good as possible then compare.

I bought this and use it, but it's inconvenient to use and I can't import English songs. I have to re-adjust the pitch, which means I can't use music made in Logic. I can't sing along with the performance, so more importantly, it's hard to find a solution to the problem of professional linkage or conflict. What about the RUclipsr's advertisement? Shouldn't the problem be solved first?

Cheers for this, Sam. Very entertaining to watch. You mention that Clipper doesn't cut off the transients in the way the in-built Limiter does; so Clipper uses a soft clipping algorithm? Oh, and thanks for a fantastic yet simple explanation of why you might opt to use Density over Compressor and for the heads-up on the inverted threshold behavior when using Density.

Just starting using Logic Pro, just come across your channel and I love how you explain things so quick and simple, absolute legend! From Southend near London!

it depends for me. I only purchase plugins that make my workflow faster. Logic Pro has most of what I want minus Arturia's synths. The only compressor plugin I've bought is the distressor because I love HP filter. I do use a UAD Pultec EQ's but those were free with my volt2. Other than that I don't really buy many mixing plugins. Instruments though? Man do I have too many of those.

I think the real winner here is that preamp. All the mics sound good on your vocals.

Sausage fattener is on my plugin bucket list, that bizarre has got to be good or at least fun. You can get by with stock plugins a DAW would be useless if it didn't have the basic tools needed

Learn ur daw and get a good template 😊 I’ve gone back to stock and learning all my plugs after wasting £££ on third party plugs. Logic has 90% of what you need .