iZotope | The Mastering Workflow Webcast
HTML-код
- Опубликовано: 7 фев 2025
- What is the mastering engineer thinking about while s/he masters a track? In this video, we'll see how all the skills of mastering a song come together. Check out this webcast to watch and listen to a real-time mastering session by iZotope Education Director Jonathan Wyner.
This live web event was originally aired on July 23, 2015 from iZotope Studios as part of Mastering Month 2015. Learn more about mixing and mastering at izo.to/2RKQAMx
This features the song "I Can't Get No Boy" by Shea Rose www.shearose.com
Produced by: Robie Rowland
About iZotope:
At iZotope, we’re obsessed with great sound. Our intelligent audio technology helps musicians, music producers, and audio post engineers focus on their craft rather than the tech behind it. We design award-winning software, plug-ins, hardware, and mobile apps powered by the highest quality audio processing, machine learning, and strikingly intuitive interfaces. iZotope: the shortest path from sound to emotion.
Founded in 2001, iZotope is based in Cambridge, Massachusetts. To learn more, visit us at www.izotope.com and connect with us on: Facebook: / izotopeinc
Twitter: / izotopeinc
Instagram: / izotopeinc
![I.N "HALLUCINATION" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/n5B5q1Hwt_U/mqdefault.jpg)
This guy is just amazing to listen to.. so clear and concise
So true
To all those who nothing but criticized the video. Mastering can't fix the bad song/mix. Good mastering comes with a good mixing. Good mixes come with a good recording. Good recordings come with a good idea.
ORLY
Hey i thank we are on the same side
Point well taken. From my perspective, the side stick is mixed to hot. You wont be bale to fix it here. Need to remix. Secondly, the vocal is to hot. Needs to be backed down some. Need to remix.
Thank you for existing!!! Greetings from Balkan and Europe!!!
Really, really cool video! Really like Claire Hollenbeck's hosting and interviewing style. And excellent insights and descriptions from Jonathan Wyner. Thanks so much for producing and posting this!!! Cheers!
Such a good video, even the questions from the dorks at the end. Great Job everyone.
+El Paco Machin "dorks at the end" hahaha
For the people saying they cant hear the difference, its because in mastering, you need to know what you are listening for. Mastering is to enhance the sound, not change the sound.
Jonathan in those glasses staring directly into the camera..beautiful.
Manchester Music 😂
Very helpful videos. Not a lot like this on RUclips. In fact, there is no other.
I loved your info. I have had my studio since 1983 and im real exicited about learning the art of mastering.
Thanks again. John Bass /Arctic Sound Studios
36:17 you can hear the difference if you have correctly set up monitors. the after is quieter when he a/b's but there's more clarity, which is crazy because louder things are usually more audible. the bass guitar and vocals are really what benefited from his eq and comp.
The Best Videos on RUclips. Fantastic
Thank you for the explanation. It helps me to focus on things I probably would have missed.
mastering different versions for streaming platforms and for cd, etc, is good advice
Great Video, very much needed nuggets, may be boring to some but thats because of the "I want it now syndrome" but its very important to listen to every detail so that when you have someones project in your hands, you are listening more than focusing on "Steps" you will be hired more because of quality than turn-around time.
Impressive Plugins. One of my faves. Reminiscing old school.
I appreciate the video and look forward to more!
I was, however, shocked when Jonathan Wyner chose to add another instance of a maximizer near the end, when doing an A/B comparison. He started off, in the beginning, explaining how a maximizer will color the track. Then, at the end, used a maximizer simply to add gain.
Why didn't he use the Auto-Match Gain feature (the little 'ear' symbol), in order match the level to A/B the differences between the original and the processed track?
the final a/b was like daaaaamn!!!
Awesome! way to go iZotope & John W.!...It is understood you ca't really go in detail otherwise too long!!
Master Wyner. learm from him in College. Great Professor
Also he mentioned he uses something to widen the stereo image, what plugin does he use to accomplish this? add the reverb?
I wonder why you don't use the bypass button with the ear button on, to get level matched comparisons. I think that is improved in Ozone 8.
So what DAW is just for mastering
Love it .. Thank you for the educative information.
Thanks for the info. What is the DAW that Jonathan Wyner uses in his studio? He mentioned he doesn't use pro tools...
I think Mastering engineers have access to specific mastering apps, but they cost a nice amount of money I've heard.
I'll wager 4c [2 cents US currency converted]meaning it possibly costs us 00:04c of our Aussie cents,to buy 2c US-man we get ripped off down here! Not naming every corporation,but Dell,Apple especially come to mind! He possibly uses NUENDO by Steinberg,since it's mainly for post,as in post production,but he also possibly get's AVID products for FREE? I do not know of course,but with many Daw,and NOW Plugin's becoming*Subscription based* it seems,a$ though instead of buying software/plugins to own,it's now become "yet Another F'in monthly bill"! to RENT them,NOT own them anymore!,he may just use a more expensive version of PT despite what he says?-or doesn't say.
Really great stuff and informative... I'll definitely be sharing this with my blog readers.
Very helpful! Thank you for this.
these questions are awesome
I really like this video, because I'm also learning to use izotop ozone 5, hopefully I can successfully use it ...
One of our Grammy winning tools.
3:00 "I'M GONNA STOP" lol😅😅
What i Would Like to Know is What Converters and Bit Rate and So on But Great Video
Such good information
Very informative, thanks!
Question: how did you know that you need 7db (or what you did at 6.5db) of threshold? Was it because you new from previewing the track beforehand and that's where the average peak was? Thanks.
Thanks alot for this!
@46:10 Linear Phase E.Q good at keeping transients sharp in the low end? I find Linear phase E.Q smears low end transients badly.
Can you explain about ISRC and if or how this can be done by an individual producer I.e for your self ?
I'd rather shove shards of glass in my ears than listen to that song for one second more.
We should test that
interesting choice to not use the spectral shaper to tame those esses (38 minute mark).
Bravos maestro 👈
I use soft sandle compression for that relaxing vibe ;)
Question: how do I maintain consistency for an album? Not only for mastering but also for mixing. I recently recorded a few songs for a release but the levels of instruments in those songs are DRASTICALLY different. It's only until I got into mixing an album did I found out how difficult this is.
Get one track how you want it, then use it as a reference for the others
I can't... get no.... satisfaction...with this video....
Hello ..we have nowadays a lots of players with a default 3d effect/filter plugin.. eg the KMP. I have noticed that in many great songs (soft rock to hard rock) as soon as the effect is turned on,the vocal getts killed to a high extent and becomes unclear. So what's your view on this? How this can b fixed through mastering without losing the loudness.? Thank you- zamini
+TheArrot What is the plugin? If the vocals are only in the mids(as in mid/side, not frequency) which is often standard they might get killed by it. Hard to say without knowing what it actually does. Maybe ensure its in the sides of the signal.
But its consumers perogative if they use these things. Mastering already accounts for speakers, headphones, and bad quality versions of the above, but not so bad quality versions of the above that the music sounds odd. For example, don't mix for it to sound good on laptop speakers with crazy stereo enhancers, get it right for true monitoring or OK consumer level equipment and not so much compromise otherwise the track won't shine on anything. I'd be inclined to just say: don't use the plugin, and tell KMP to do a better job.
What type of adjustments to your system/speaker volume levels do you do during mastering, and for what purpose? For instance, an engineer told me to (at some point) turn down my speakers or computer output levels to below 10% level for the purpose of listening to the hi-hats. What is the order that you generally do, when you listen on varying speaker types; and what are those speaker types? For example, the same engineer told me that when I feel like my first mastering session is done, I should render and listen in a car system with decent bass to treble levels... then go back to the studio monitors and make small adjustments if needed; and to listen in crappy (laptop) and headphone speakers & do the same. Also, club speakers and crappy portible stereo speakers have become a part of my over-all mastering work.
People think that mastering is magic..
Most important is quality of the recording artist and the musical equipments.. Ithen the recording it self, the recording room accoustics microphones and then you mix the track. If your equipments do not have good tones you can not get good tones while recording. If you do not have good recording you not going to get good mixing. If u do not have good mix.. mastering cannot do much..
The new hype of mastering started only after late 90's. Before that Mastering was simply fitting the tracks into dynamic range of media like CD, vinyl, Radio and tape.
If you have bad computer speakers in your mom's basement and u make a great track and thinking mastering going to fix it all.. It is not going to happen.
+ᏳᏫᏜᏡᎦᏈᏜᏫᏳ I have read mastering engineers by bob Kats, its a great book. I did not mean mastering is unnecessary, but It is best to fix in your recording and mixing stage.. thats all.
Bla bla bla ..For me When is a good tracking good mixing and good musician ,no need for a mastering ..mastering is't a myth and a good way to spend more money for nothing.....
Obviously what you said about a good mixing etc....but definitely dead in the Water what Mastering does and the reason they have better tools, speakers and studio environment than the mixing engineers and the knowledge that is takes to release to different mediums due to dynamic range/resolution transients.....etc etc....do some research your eyes will open....
USEFULL VIDEO!!!!!! Thank you :)
question. what standard is the audio for this video mastered to.....
Very slow moving vid. But some interesting little tidbits
I recommend watching at x1.25
Slow???
C'mon Nick...
...a turtle climbing a vertical surface is way faster then this video....
I almost started to sing "I can't get no..." looking for the clock...
*1.5 speed = gg.
you just blew my mind
i was bored to fuck.
haha wtf... much better thx
You should make a tutorial that goes into more differences in the streaming platforms. For example, Tidal streams with FLAC format, so 44.1 khz sample rate is needed (I may be mistaken). Most platforms want a 48k/24bit WAV to be uploaded. itunes radio wants -16 LUFS, but Spotify/Pandora/Tidal/Google Play Music/Amazon Prime/Deezer/Rdio/Rhapsody use -14 LUFS. Some platforms stream at lower bit rates. For example, soundcloud streams at 144 kbps quality, so a lot of the material above 16 kHz (especially on the sides) is lost... so I may find myself boosting the sides on the highs more, for soundcloud/bandcamp. Soundcloud also does not normalize, so -8 LUFS (or maybe sweet spot for loud is -9 LUFS) works fine. Tidal streams at 1.4 MBPS, while spotify is at 320 kbps and itunes radio is at 256 kbps. Perhaps, previewing at 256 kbps is best? What would you guess the best methods would be (for treating the sound on the sides, above 14 or 16 khz), if one is planning on using a distributor in order to send out one file to all of the streaming platforms? Would you go with -14 LUFS and let apple radio normalize it, or is apple radio greater than the sum of all of the platforms that stream at -14 LUFS? What do we think the future will hold, as far as platforms' meeting at fixed bit rates and average loudness?????
Hi i'm Francis from Ghana West Africa and am into audio engineering i want Jonathan to make a video on mastering with the Ozone 8..
excellent
for the multiband compression part, i noticed he was compressing in RMS mode....i def feel that RMS and PEAK mode have a very different sound. i have seen a lot of Mastering engineers master in peak mode. Is there a certain reason he chose to do it in RMS mode? Does it give more of a natural transparent sound which he preferred?
From what I've read peak is more abrupt and sudden usually with a very short attack while RMS is more loose and natural feeling so it all depends what you're trying to do.
between 100 and 125 on the release of a compressor....Good info
SUPERB --- WOW SO ARTICULATE --- WILL HEAR FROM ME SOON ---- WHERE CAN I CONTACT U ?
Parabens por este video, um dos melhores que ja vi, Muito bem explicado, muitas pessoas aqui pelo que li nos comentarios nao tem minima noçao do que falam. maximo respeito a voce (((brazillllll)))
Very helpful and informative ! But goddamn that song XD
can you master a deep techno track. would be a good lesson ... for us using Izotope !
show the guy in the audience with the port-royal shirt more!
For those wondering RUclips compresses the videos to -13 LUFS so I'm unsure that the differences we are supposed to be hearing translate in this video (or any mastering tutorial on the platform)
Okay here's a question:
I submit a lot of songs to a particular company that shops songs specifically to TV/Film/Advertising. Currently I have about five songs licensed for "Overhead" Streaming Music in Boutique Restaurants and shopping Malls. (i.e. Starbucks, and Large Shopping Malls.)
The clients for this company regularly check in to listen to my different playlists that are set up according to Genre. (Jazz, R&B, Indie Rock, etc.)
So for the purpose of their "Evaluation/Listening" do I need to submit my songs "Mastered in Ozone Elements" as "Streaming" or CD Quality?
I can attach as many different formats as I wish as secondary Mastering (CD, ITunes etc.) BUT for the sole purpose of the clients initial appraising of my songs (thumbs up thumbs down) do I need to upload the song in a format for streaming? Or CD Quality?
I'm assuming for the moment, that they are listening as a "Stream" as they are checking out the playlist on my web portal with this company.
After doing a lot of experimenting with Ozone Elements I can obviously hear the difference in Loudness and make adjustments accordingly, however...does it make a significant difference to the listener on the other end (client) as far as the quality of his or her's initial revue of my submission?
Ozone now has their nifty little Widening tool incorporated into Elements. How radically does judicious usage of this feature affect the Mastering Process. (I personally like to separate the different instruments a lot, so they are distinctly heard in the mix, but too much may be a bad thing.)
An S3L in the studio? nice!
He said "louder is better", but louder is only better if you master it the right way...
I think watching Jonathan do master with no one in the room would of been much more informative, the moderator just kept on interrupting as he was doing his processes.This webcast felt very incomplete, lots of unanswered questions.maybe one day we'll see him do from beginning to end. And how he incorporates outboard would have been cool.
soundeng1 I agree and would have been good to have Jonathan do his thing, but it was for educational purposes, i think the lady was knowledgeable enough to ask the right questions so as to understand the decision making process.
+soundeng1 It's true. But you could imagine it's nearly impossible for him to explain what he is doing even if it were just you and him in the room together. So much going through his head is instinct based on experience and years of listening in that particular unique environment. All that stuff that is instinct to him would blow your mind, but he wouldn't even think to bring it up... it's all so nuanced, and also (dare I say) subjective to preference.
Any chance of knowing what program it is Jonathan uses?
just wondering as I don't use pro-tools either
Diego Oliveira I'm not sure what's wrong with you but you are now blocked for your anger problem. If anyone does know, please let the community know. I feel like with a million programs out there that all do the same thing it's kinda cool just to know what people use compared to your own methods.
Happy mastering!
***** Mr. Wyner uses soundBlade and Sequoia for premastering and for mastering he uses Sonoris. He also has Logic and ProTools, which I presume he uses purely for importing and exporting those file formats.
He seems to be an excellent engineer. I will definitely consider employing him to premaster my debut album.
Reverend Eslam
Right on man, any insight is always helpful.
Good luck on ventures!
Lydell Storm He is using Pro Tools and Izotope. Best 2 combinations!!! I have them both and wouldn't ever change!!!!
Aaron A. Dubz Person You are incorrect sir. As I believe he mentioned in the video, he does NOT use Pro Fools for the actual pre-mastering editing work. See my previous comment.
I got the iZotope，but don't how to use it yet = =
cool stuff :)
Would you treat livestream mastering the same way?
Is it youtube's fault I cant hear a single difference when he's ABing or am I going deaf?
+RossHildick3D I don't hear it either. I think I need new headphones...
+RossHildick3D It is possible. I've heard someone mention to me that RUclips compresses their videos in a way that affects the quality(makes sense).
But it can be a ton of things. Your acoustics could be messing up the neutrality of your studio. Early reflections and all that. Also, the quality of your monitor speakers could be an issue too. They are listening on a superior system(I assume).
+RossHildick3D listening (even on really good head-cans) to RUclips is hilarious. This is one of the worst formats. Not only does RUclips compress, the producers of the video compressed the audio, then compressed the filetype, then if you're cans aren't plugged into a uDAC/interface and you're relying on your computer's output to do the D/A, you're totally sunk. That said, with repetition, critical listening training, and experience, it's not impossible to hear... just really subtle (almost placebo). The real test is if you can hear it when you're eyes are closed and you can't see when he A/Bs.
It would be great if this video contains subtitles, thanks anyway!!
Putting this at 1.25x speed was literally perfect. Omg SAY IT ALREADY lolol
What is audio ? :D
Artist-song title please?
55:29 yo is that guy Superman? ah nvm he has glasses on it's just Clark Kent
How much does it cost?
+Veruna Jessy Find out more info on Ozone here: www.izotope.com/en/products/mixing-mastering/ozone/
Think about something expensive...
***** Could you tell us, how?
Was a gift at your birthday?
***** Good for you.
***** Thanx for the tip, Octavio!
can you only export waves from Ozone 6?
+Rodolfo Troncoso - You mean you're using Ozone 6 standalone to master? lol
yes standalone mode
Rodolfo Troncoso - Well if you want to export to just about any file format, the best way to do it is to load your bounced mix back into your DAW to one track and add Ozone as a VST plugin. Once you're done, bounce it all down to what ever format you wan't to create your final product. You have way more control if you do it this way.
Yeah that is the way im doing it. Thank you for all your help
Hey do you know why Ozone wont play throuh
my Digi 003 interface? I can only get sound off of the computer output?
Why the sandals?
can anyone hear the differences when he bypasses the tools etc. ? don't get me wrong i respect this work and the tools are great but it is so subtle i am beginning to think i am going deaf....apart from that he made it louder...
i have FOCAL professional monitor headphones. i think the song perhaps didnt need a lot but also think my hearing is losing the real top end crispness..
+nordrecordsuk I have not professional speakers but I can hear differences... BUT somethimes all this is a bit psychological, differences are barely noticeable and brain does the rest... so... I don't know man, if it sounds good, is good :D
+nordrecordsuk I was wondering the same thing. Got pretty decent (ATH-900x LTD) headphones, but actually not hearing any difference. Maybe it has something to do with the loss of quality due to the videocompression(?)
possibly, i'm glad i am not the only one !
i could hear pretty clear the first eq move on the low range for controlling the resonance he talked about, the other moves I needed a lot of effort for trying to listen something, but I couldn't get it clear. However, I could feel the difference, not listen in a racional way, but feel, and I consider the track sounded better overall. One thing I think can also be happening is that when I'm working on my own track, or some track that I had time to get very familiar with, the smallest moves are much more noticeble.
20:25 EXTRA THICC
those students are looking so nerdy!
I never knew steven spielburg became an engineer
+kzraps jokes aside, youre a really smart engineer and damn you have some skill
I was gonna say Mel Gibson with those glasses haha XD
Really informative video, props iZotope. However, I've got to think this guy is living in a very unrealistic climate regarding "level". -0.5dbfs output ceiling as a standard and never exceeding -0.3dbfs? I'm only familiar with Jazz and classical albums going that conservative. He boosts 6.5db from -22lkfs, so the track is sitting at -15.5lkfs and barely 1db of limiting on the loudest peaks. Does he really think the limiter is sculpting the sound differently in that instance? This just feels like a case of extremities. I can hardly think of any client in the non-jazz/classical realm that would be satisfied with less than -12, though they'd likely be asking for somewhere in the realms of >-9 like any pop record. I don't know, I just always feel duped when mastering demonstrations showcase an unrealistically dynamic and low-level output and say "this is how you do it". That's rarely a liberty. Anyway, no hate on iZotope, mastering month is a good idea...
SocietySalvaged -0.3 is only three tenths of a db from digital clipping full scale. 0.0 is the top of the red line for digital meters. That's just a safety precaution to allow for slight bumps in format conversion. Otherwise you'll get clipping. The 6.5db of limiting is actually alot. He's raising the average level from -18 to -11. That means peaks in that mix are getting some serious limiting and a good portion of the punch of the record will be bumping right up against the -0.3. Also, listen to his comments about loudness normalizing in streaming and RUclips near the end of the webinar. Streaming providers and RUclips are becoming primary listening environments for people. These providers automatically put loudness normalizing on everything. Consequently, the more pegged the meters are on your song, the more likely it is that your track will be actually lowered by a loudness normalizer and sound flat and thin. It's another new change that is affecting how mastering engineers optimize music.
Aaron Doerr You are correct. Thx for sharing.
Hahahaha!!! that is why he is the Mastering engineer and you are not!!.....hahahaha!!....just educate yourself......there are programs/songs even at -0.2dBfs...do you know why?.....research....google it.....that is mastering..
dude in the back looks like he's wearing giant beans for shoes
I hope I'm not the only one who hears no difference whatsoever.
It might be due to lack of hearing skill or most likely it's the source of your sound, I watched half of the video last night before bed with my old recreational laptop and I was hearing no difference, but I knew it's because the speakers are trash, now I'm in my studio and of course I can notice the changes he's making.
The changes are small, but certain. I also recommend better speakers / headphones. A funny thing is that when you have better speakers, your brain also improves. I wish I'd got monitors when I was much younger. Seriously if you love music - really love it - just do it.
You need to throw on sausage fattener bro
With an adequate listening setup, changes seem to be pretty obvious
Maybe it would have been more interesting with a song which needs more mastering
You put out a video about mastering but neglected the volume of your own video. The volume is so low I can't hardly hear it in my car with the windows down. If you had put it at the proper volume I'd be able to hear it.
LOL wow i cant take this video serious after seeing the Chunk-a-dunk twins in the audience. Those guys are obviously actors who hated being there
14:36 noah levenstein
I’ll bet at some point throughout the video shoot the guy with the blue shorts let one go and they had to call “cut!”
The cast of 'Freaky Eaters' chillin in the Lab.
He got this stuck in his head and wanted to put other people through hell as well?
Haha
This guy's lip smacking drives me nuts! And with all the yammering these guys do, it becomes an issue. Should have used Stillwell's Spectro to remove it. iZotope's RX might have done the trick too. The point is - this presentation's audio needs better mastering, IMHO. :)
Good info, overall! I'd have brought the rhythm track up a bit with a little compression, and added just a hint of airy upper-mid reverb for a better gel and more life, and not much more. But I appreciate the lesson and love iZotope tools, especially Ozone!
hahaahahahahhah YES lol irritating!
Those kids in the back are not havin it
In his own studio he usages Logic Pro X for mastering.
Flashing the open toe sandles
the guy with the flip flops in the back...lmfao!! wtf!
Mr. Wyner said that 90% of mastering is EQ. But mastering engineers always say make subtle cuts. LoL!!! The lies that are told lol!!! I've always wondered how in the world do they get those records so clear and it's drastic. Maybe it's the outboard gear they never mention.
But... The clearness is from subtle cutting... with an EQ... like he did here bruh .. Outboard gear is arguably more " Musical " but in reality, just adds a different sound colour or ... texture if you will ... to the track or record. Just like the Plug-In's that you can buy for your D.A.W that are emulated after that " outboard gear they never mention. " They are very close to the outboard gear.. So much so, that companies that have been around for 45+ years and who built that very same outboard gear, put their names on it... and that is saying something in my opinion! People say " Ya they are just doing that for money so people will buy these Plug-Ins they are putting out in the market! " ..And my answer to that and question to everyone is.. Do you think these people who love the art of making music so much so that they built machines to make the art sound better... would put there name and life's work on the line if these new digital products sucked or sounded nothing alike?... Me neither.
You fundamentally misunderstand EQ, how it’s used, why it’s used, and the practical application of it during mastering.
Why do we make subtle cuts? To remove resonances.
What happens when we remove loud resonance? We achieve better clarity.
No one is lying to you, you just don’t understand what the things you’re saying mean. “Mostly EQ” does not mean “drastic eq curves” and I’m not sure why or how you came to that conclusion
@@V3rSeTYLE ok
@@peen2804 ok
same here, i didn't notice any drastic either.i think a lower class recorded stuffs should be use, i mean song s produced and recorded with cheaper an less efficient gear, then lets see the magic
We want dynamic range not loudness, my hifi has a volume control!,
I'm so confused. I hear absolutely no differences between the before and the after on RUclips even in 1080p... Oh, and honestly, if you reduce by -1.7dB the Threshold, I don't think that makes a huge difference especially for this kind of "song". The only difference is in your head, I think...