The usefulness and quality of Luca information is such that he alone gives as much information and experience as a hundred videos from “Mix with the Masters" cannot give. I don't want to offend anyone, but it really is. And I am also incredibly pleased to realize that I am moving and thinking correctly all the time, looking at you guys, I am convinced of this and I carry this word to my colleagues. I recommend Luca courses and your channel to everyone, man, you really share knowledge, and don't pour nonsense ❤
Mixing can be creative and there are no hard rules. It all depends on what the song needs. Sometimes the phase shift can improve the record, as long as you have control over it. The issue for most amateurs is that they don't have optimal monitoring environments for mixing and that is why they should use professionals. to mix imo ideally in person.
Thanks for this….I think some people don’t appreciate that you used to have to spend years making coffee and coiling cables for no money to get close to getting this kind of advice…❤
I highly recommend the "Saturday shootout". I do this whenever I'm off and have time. On occasion, a new plugin beats something I've been using for years or I find out I already own something else better.
@@panorama_mastering Haha, that I totally understand!! I'm also glad you both touched on the bad info on the web. It's ruining recording and young minds.
This interview was absolutely fantastic. I learnt so much from it and really appreciate this. You are fast beoming my main source on youtube for learning, the lessons are insiteful and detailed, yet easy to understand. Please keep it to tis level and don't cave into sponserships, I've appreciate more classes even one on ones.
This is exactly why I spent years learning how to, and am still learning how to, design my own drum hits digitally in a synth. I used to have sooooo many phase issues using samples and layering like I've seen a bunch of tuts on YT about back in the day, I got sick of it sounding so whack, so really spent a lot of effort in being able to get the sound I want from scratch, so I have control of all the variables from the very beginning and I know exactly what that kick or snare ect. is doing and why at every point of the post processing, and no weird issues pop up later on because of low level information that gets brought up in the mix. I don't have to coax a certain transient response out of the thing, it's already exactly how I want it from day 1, and all I have to do now is make sure it plays nice with everything else. TBH, I've gradually been taking this approach to everything, and am moving towards sound designing as much as I can. It started with bass (ofc), then moved to lead synth and a bunch of pads, moved to drum hits, and I'd probably even try to recreate vox using a synth now if I thought it would sound good! xD
Thanks for a great live session and a lot of inspiring talks about mindset & mixing from both of you. I myself has been very inspired by Luca's workflow and is the main reason why I invested in the Dangerous Music system. Greetings from Stockholm, Sweden. Greets, Leo | Kiss the needle
I will dissagree on one thing despite my relative inexperience, you can use the phase shift on a parallel bus to your advantage **if** you spend time to tune it. It's a pain, and it takes time so i wouldt do it unless you need to fix something specific, but it is actually a really useful tecnique.
I'm new to mastering. I am confused why some people have freeware VSTs and the pros have analog gear that costs tens of thousands of dollars. What gives?
Hi! I understand phase pretty well, but I don't quite understand how to tell if an individual kick drum sample is in phase or out of phase. And if it's out of phase, how to get it in phase as an individual sample. Could you please elaborate on this? Thank you!
@panorama_mastering, i think this is a very important question indeed. To add up on @vancewells1020's question, are there tools we can use to verify that a sample is in its best possible phase position in order train our ears to recognise this phenomenon as the end goal? If I have a kick from splice, at times I will try flipping its phase just to see how it fits in the mix with the bass. I am also aware that if I have a base sample and a kick sample and I can see both their waveforms in the timeline of my DAW, I can make sure that both their wave peaks and troughs are in phase. In most cases I'm using a vst for bass and sample for kick so this method cannot be applied unless I freeze and flatten (Ableton) my bass track. My understanding at the moment is that: 1. A sound signal can only be out of phase if it's in relation to another sound signal. 2. If a kick sample is deemed "out of phase" when analysed in isolation, it means that the kick itself contains characteristics of 2 or more signals interacting in a destructive manner which leads to a "hollow", "thinned out", "in a weird box", "weird and contorted stereo field" like effect. This undesirable effect occurs because the kick sample under analysis would have been constructed using multiple other samples whose phase relationship was destructive. What we want is a constructive phase relationship which means the sum of the samples together is not acting in manner that leads to loss in tonal quality and loudness. 3. Multiple sounds playing together will always interact in a destructive and constructive manner, as sound designers and producers, it is our duty to make sure that our source material is coherent when it comes to phase relationships of the source material. It is a core part of professional and industry level production and it is a skill any professional dealing with sound product should always have in mind. Now we just need the right tools for quick and easy analysis. *Edit: Typo
Very interesting topic about the phase issues. But i am wondering how to check back on a mix if the phase is still right? For example you take a dry drum recording with 10+ mics and at the beginning you start phase alignment. But then the indiviual tracks get mixed and lots of plugins... how to reliably get a good result at the end of mixing the drums?
Use a buss. Blend in samples. If you absolutely must treat individual tracks of a live drum kit, then go Linear phase. That said, you have to be careful because linear phase can smear transients. Sometimes that sounds cool yet sometimes it sounds like ass.
Top down; big changes at the full signal and then smaller as you group down; keeps phase closer; Also using parallel channels for creative FX / processing!
@@panorama_mastering ok, thanks. But i dont really understand how it will change my approach. I mean for example on my kick drum inside mic there are 5 plugins (2 eq, comp, saturator, transient designer), how to keep the phase the same before and after these effects? Or how to check if it stays like it was before the plugins?
Avoid high pass filters on individual tracks and use low shelves instead. If you need to high pass do it on a whole drum bus. Other than that you're not going to destroy the phase too much using normal eq and compression/saturation on the individual tracks. So don't be afraid to do anything that needs to be done to make the drums sound good
I'm having a hard time wrapping up in my head the whole phase thing in relation to electronic music, any tool related to phase seems to be fixing multi-miked drums. Should you reference all your sounds to the phase of your kick? How do I know that a phase is correct for let's say kick sample?
Great interview (except for the occasional little monologue answering instead of him and the repeated wrong use of the term "stems" instead of "tracks" ⚠️🤦🏼♂️), lots of generous knowledge and driving energy here from Luca, as ever - an amazing engineer in his dance/electro genre! 👍🏻👍🏻
Can you please stop doing those useless videos? A pro level mix starts from the recording. Super professional studios records or receive stems that needs almost nothing in terms of work because the job is done well from the beginning. That's why making worldwide hits in your bedroom is just a myth. Stop doing this disinformation.
Hey Matteo, I'm sorry you feel this way. I think I'm missing something? What you've just said, is literally the message of this video. (Except the whole myth and misinformation part of your comment) Warmly, N.
![Felix "Unfair" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/Oswujxm2Ag0/mqdefault.jpg)
even as a rock/metal mixer, can't deny that Luca is a GOAT
And super a super kind dude!
The usefulness and quality of Luca information is such that he alone gives as much information and experience as a hundred videos from “Mix with the Masters" cannot give. I don't want to offend anyone, but it really is. And I am also incredibly pleased to realize that I am moving and thinking correctly all the time, looking at you guys, I am convinced of this and I carry this word to my colleagues. I recommend Luca courses and your channel to everyone, man, you really share knowledge, and don't pour nonsense ❤
Mixing can be creative and there are no hard rules. It all depends on what the song needs. Sometimes the phase shift can improve the record, as long as you have control over it. The issue for most amateurs is that they don't have optimal monitoring environments for mixing and that is why they should use professionals. to mix imo ideally in person.
Great interview!
Thanks m808
Grande 🇮🇹
Thanks mate! Glad you enjoyed!
Thanks for this….I think some people don’t appreciate that you used to have to spend years making coffee and coiling cables for no money to get close to getting this kind of advice…❤
Great episode!
You're welcome!
I highly recommend the "Saturday shootout". I do this whenever I'm off and have time. On occasion, a new plugin beats something I've been using for years or I find out I already own something else better.
Definitely! I have a list of pugins to go through this year for the channel... but too many sessions getting in the way :P
@@panorama_mastering Haha, that I totally understand!! I'm also glad you both touched on the bad info on the web. It's ruining recording and young minds.
This interview was absolutely fantastic. I learnt so much from it and really appreciate this. You are fast beoming my main source on youtube for learning, the lessons are insiteful and detailed, yet easy to understand. Please keep it to tis level and don't cave into sponserships, I've appreciate more classes even one on ones.
This is exactly why I spent years learning how to, and am still learning how to, design my own drum hits digitally in a synth. I used to have sooooo many phase issues using samples and layering like I've seen a bunch of tuts on YT about back in the day, I got sick of it sounding so whack, so really spent a lot of effort in being able to get the sound I want from scratch, so I have control of all the variables from the very beginning and I know exactly what that kick or snare ect. is doing and why at every point of the post processing, and no weird issues pop up later on because of low level information that gets brought up in the mix. I don't have to coax a certain transient response out of the thing, it's already exactly how I want it from day 1, and all I have to do now is make sure it plays nice with everything else.
TBH, I've gradually been taking this approach to everything, and am moving towards sound designing as much as I can. It started with bass (ofc), then moved to lead synth and a bunch of pads, moved to drum hits, and I'd probably even try to recreate vox using a synth now if I thought it would sound good! xD
Appreciate the interview. Thanks for sharing this video. 😁🤓
Our pleasure! Glad you enjoyed it!
every second is worth it, thank you both guys for this great live session.
Thanks man
Great discussion!
Thanks man!
You guys make some great points: Get it right from the source and be intentional about your moves. Thanks!
Our pleasure! Intention matters :)
super
Thanks mate!
good too see the collab
Our pleasure!
Thanks for a great live session and a lot of inspiring talks about mindset & mixing from both of you. I myself has been very inspired by Luca's workflow and is the main reason why I invested in the Dangerous Music system. Greetings from Stockholm, Sweden. Greets, Leo | Kiss the needle
Thanks for watching, it was a super fun chat!
Sweden. Such an amazing place. Greetings from Florida. 🍊
I will dissagree on one thing despite my relative inexperience, you can use the phase shift on a parallel bus to your advantage **if** you spend time to tune it. It's a pain, and it takes time so i wouldt do it unless you need to fix something specific, but it is actually a really useful tecnique.
Great video dude! 👍
Glad you liked it
Maaaaan.....you are killing it. Thanks forr the great informations. Gold!
Thank you
You're welcome
I'm new to mastering. I am confused why some people have freeware VSTs and the pros have analog gear that costs tens of thousands of dollars. What gives?
Top 👍🏾 Great info 😮
this was great!
My plaeasure!
Awesome!!!!
Thank you!
Brilliant interview thank you 🙏
Thank you! Glad you enjoyed!
I just got out of plugin rehab. I'm not allowed to go near a DAW for a while. I'll just watch this one video............
GOOD
Hi! I understand phase pretty well, but I don't quite understand how to tell if an individual kick drum sample is in phase or out of phase. And if it's out of phase, how to get it in phase as an individual sample. Could you please elaborate on this? Thank you!
@panorama_mastering, i think this is a very important question indeed. To add up on @vancewells1020's question, are there tools we can use to verify that a sample is in its best possible phase position in order train our ears to recognise this phenomenon as the end goal? If I have a kick from splice, at times I will try flipping its phase just to see how it fits in the mix with the bass. I am also aware that if I have a base sample and a kick sample and I can see both their waveforms in the timeline of my DAW, I can make sure that both their wave peaks and troughs are in phase. In most cases I'm using a vst for bass and sample for kick so this method cannot be applied unless I freeze and flatten (Ableton) my bass track.
My understanding at the moment is that:
1. A sound signal can only be out of phase if it's in relation to another sound signal.
2. If a kick sample is deemed "out of phase" when analysed in isolation, it means that the kick itself contains characteristics of 2 or more signals interacting in a destructive manner which leads to a "hollow", "thinned out", "in a weird box", "weird and contorted stereo field" like effect.
This undesirable effect occurs because the kick sample under analysis would have been constructed using multiple other samples whose phase relationship was destructive. What we want is a constructive phase relationship which means the sum of the samples together is not acting in manner that leads to loss in tonal quality and loudness.
3. Multiple sounds playing together will always interact in a destructive and constructive manner, as sound designers and producers, it is our duty to make sure that our source material is coherent when it comes to phase relationships of the source material. It is a core part of professional and industry level production and it is a skill any professional dealing with sound product should always have in mind.
Now we just need the right tools for quick and easy analysis.
*Edit: Typo
Waitinnnggg
Very interesting topic about the phase issues. But i am wondering how to check back on a mix if the phase is still right? For example you take a dry drum recording with 10+ mics and at the beginning you start phase alignment. But then the indiviual tracks get mixed and lots of plugins... how to reliably get a good result at the end of mixing the drums?
You mix with top down approach 😊
Use a buss. Blend in samples. If you absolutely must treat individual tracks of a live drum kit, then go Linear phase. That said, you have to be careful because linear phase can smear transients. Sometimes that sounds cool yet sometimes it sounds like ass.
Top down; big changes at the full signal and then smaller as you group down; keeps phase closer;
Also using parallel channels for creative FX / processing!
@@panorama_mastering ok, thanks. But i dont really understand how it will change my approach. I mean for example on my kick drum inside mic there are 5 plugins (2 eq, comp, saturator, transient designer), how to keep the phase the same before and after these effects? Or how to check if it stays like it was before the plugins?
Avoid high pass filters on individual tracks and use low shelves instead. If you need to high pass do it on a whole drum bus. Other than that you're not going to destroy the phase too much using normal eq and compression/saturation on the individual tracks. So don't be afraid to do anything that needs to be done to make the drums sound good
Does anyone know his diamond lift plugin alternatives?
I don't ! Sorry :(
I'm having a hard time wrapping up in my head the whole phase thing in relation to electronic music, any tool related to phase seems to be fixing multi-miked drums. Should you reference all your sounds to the phase of your kick? How do I know that a phase is correct for let's say kick sample?
Great interview (except for the occasional little monologue answering instead of him and the repeated wrong use of the term "stems" instead of "tracks" ⚠️🤦🏼♂️), lots of generous knowledge and driving energy here from Luca, as ever - an amazing engineer in his dance/electro genre!
👍🏻👍🏻
👏🏼👏🏼👏🏼
"Get familiar with the limitations of your plug-in"
Spot on!
That's a gem for real !!!!!
Pucker up bro, he's coming in.
Calm down brother.
@@panorama_mastering you gotta admit, that's a good one brotha.
@Panorama try not to answer your questions before Luca answers.
I know! Bad habit of mine! I appreciate the feedback!
hey! you got this! @@panorama_mastering
Big Scalp
Thanks for your effort & willingness to share,but i think you really wasted these 44minutes,you could've give us so much important tips from him
What would have you hoped to learn from an interaction like this?
I'm all ears for some feedback :)
What Grammys did he win?
Idk
He just won this year for his work with Skrillex and Fred Again.
Don’t worry if you can’t do any of this fellow musicians, AI is about to do it all for us!
also too many trends and the abuse of them, Parallel everything, too much saturation, Transient plugins, Soothe, Clippers. expanders, limiting...etc
Can you please stop doing those useless videos? A pro level mix starts from the recording. Super professional studios records or receive stems that needs almost nothing in terms of work because the job is done well from the beginning. That's why making worldwide hits in your bedroom is just a myth. Stop doing this disinformation.
Hey Matteo,
I'm sorry you feel this way.
I think I'm missing something? What you've just said, is literally the message of this video. (Except the whole myth and misinformation part of your comment)
Warmly,
N.