Which Unit Makes The Biggest Difference In Your Mastering Chain + Audio Examples
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- Опубликовано: 15 дек 2023
- In this video we take the time to run a song through our mastering chain in studio B to the point of the song being a finished master. We then go through the mastering chain bypassing each unit in the chain to show just how much difference each unit makes. Some units make a small difference others make a huge difference to the overall sound.
Online mastering is a process that allows you the client, to experience high quality professional mastering from the comfort of your own studio. We take your stereo mix and transform it into a beautiful piece of music that will translate well across all listening devices and streaming platforms. With the aid of knowledge and the industries best analogue mastering equipment we are able to achieve a master that is sonically superior to anything you will have heard before. Catering for musicians and producers from every corner of the globe. No matter where you live, online mastering has never been easier to outsource to a professional engineer.
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4x PMC Ci30
4x PMC Ci65
5x PMC Ci140
2x PMC Ci140 Sub
4 Foot Avid S4
2x Avid S4 Fader Modules
Avid S4 Master Module
Hum Audio LAAL
SPL Iron
Vertigo VSE-2
Goly 4 Band Dynamic EQ
Goly Porter Grinder EQ
AudioTales Designs 1951 ME EQ
AudioTales Designs 1954 EQ
SPL PQ
Buzz REQ 2.2
Elysia Nvelope
Rupert Neve MBT
Analog Design Black Box HG-2
SPL Gemini
Martin Logan MDA16
Martin Logan MDA8
Rupert Neve RNHP
Audeze LCD-X
Avid MTRX Studio
Rupert Neve RNHP
Burl B2 Bomber ADC
Burl B2 Bomber DAC
Trinnov MC-Pro Dante 16
Universal Audio Octo Satellite
Universal Audio Octo PCIe
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Man I didn’t think you were ACTUALLY going to do this. For those with the patience to listen to this whole thing, you have saved us so much time and money.
That's what I like to hear. It's a great way for people to hear and understand just how much a certain unit will make to their mastering chain.
Yeah I agree it will save a ton of money as I realize I dont need any of it, it might make a big difference in the studio with good speakers, but on my laptop tincan I couldnt tell much difference. While I wish I knew what others achieve with mega outboard gear. It might have saved tons of time about sweating over trying to perfect get the perfect SW mastering Chain. If it sounds good & your diggin it, it's enough...but it's hard to resist always altering something.
The whole thing. It’s only 8 mins (ish) long!
Definitely!
the man is a saint. for all of you who are not familiar with analog gear (and putting together a clean youtube video in the process) - this is a masterful presentation. Basically Sweetwater coming to you , setting up everything in your living room, and bringing you in for a blind test, while you wear your pajamas. Oh and they made you coffee too. What else you want....(forgive me guys , I'm just being silly today)...
Wow. I hope people don't take for granted all of the work and talent that went into putting this video together, editing it, and adding the "this unit is now turned off" grey-out effects. (Not to mention the actual mastering work itself.) I was surprised how subtly the HG-2 is being used, I almost expected more night/day difference from it since I already know how many dB it can transparently add to a track. I really like what the Goly 4-channel cross comp EQ adds here. Subtle but adds nice clarity. And yeah those new Audio Tales units are class. I've had a hard time picking my next EQ but you've got me leaning in that direction. I'm happy doing surgical EQ in the box so something like those with good color and powerful EQ capabilities is tempting. I recall Buzz has been your favorite EQ for some time -- is the 1951/4 combo creeping up on the Buzz, or maybe surpassing it? Obviously quite a different feature set but still curious... Thanks again, excellent vid.
Granted the mix wasn't that bad, so the HG-2 didn't need to be used in such a dramatic way. On a mix that totally lacks low end or is dull and lifeless the HG-2 is great for bring it back to life. This is why I position the HG-2 at the start of the chain. To set the tone of the mix that is then processed through the chain.
The Audiotales 1951 and 1954 are somewhat a luxury EQ as they aren't going to be an EQ like the Buzz or PQ that does any of the surgical EQing. What it is going to do is bring your track to life. I remember the day I got it. I will often plug an EQ in and say "yep that's an EQ, very similar to all my other EQ's and sounds great." this one however, my eyes lit up and I got very excited. 30 minutes later I ordered another one for Studio A. I would highly recommend it.
The 51/54 combo is now my favourite EQ by a long shot. The Buzz is just another brilliant EQ, like the maselec MEA-2 and SPL PQ. The 51/54 is special. It is totally unique in every way.
Perfect setup. Listening on my new Genelecs 8341. The Blackbox and the Audiotales are must haves.
The Blackbox on this track was being used quite subtle too as the mix was pretty good. Didn't need too much saturation.
Thank you very much for an extremely important video Paul.
Merry Christmas.
This is a great vid. Brilliant master. Those Audio Tales units are something else!
What a beautiful video, lots of effort making it but truly appreciated :)
Thank you. I could hear the difference listenning on my phones speakers (low volume of course). Also the efforts put in the video is much appreciated . . .
This was an excellent video, all the units together sounded like a superior master record, thanks for doing this really appreciate it 💯👍
Everything added its own vibe. But ya the 51/54 really transformed the track. I also really like what the Buzz, PQ and LAAL did.
I got asked recently why do you need 7 EQs in a mastering chain. This is why. Each of those EQs brings something to the chain. Sometimes subtle, sometimes dramatic. But always something.
@@AudioAnimalsStudio My first reaction was that this guy wants to use all of his toys going crazy with them but I had to withdraw that reaction coz the outcome was really good - didn’t notice any side effects having all those transformes in the chain. Nice job!
@jaykons1985 each unit in this chain has been carefully selected over a long period of time. Believe me some units in the past which have now been switched out have had that issue. You'll notice the LAAL limiter at the end of the chain has the transformers turned off because as brilliant as those transformers are at some point it just gets too much. The Buzz also has the option to output tranformerless. But those transformers sound amazing.
What nice one! Thx for that.. just every unit made it improve a tiny bit and the whole together sounds 👌🏻👌🏻👍🏻👍🏻👏🏻
WOW that took a lot of work. You’re a legend 🙏🏽 thanks for that!
It's worth the time taken. A great way to see and hear how much of an impact each unit makes to a mastering chain.
Great video!
This was very good video👌🏾
Thank you
What a great video - thanks so much for setting this up and putting it up on youtuble. The big takeaway for me (and I'm sure this is your intention) is how much of a difference a great mastering chain with an experienced engineer can make to an already good mix. Yes, it's the Audiotales 951/1954 which makes the biggest difference (although also sounded like this was making the biggest difference to perceived loudness) but pretty much every unit made it sound just a tiny bit better.
That's the thing is yes each unit makes a let's say 5% difference. That makes all the difference accumulated over a full chain. My take away after was just how much the transformers on certain units made. The Buzz transformers made a nice difference. Regarding the preveived loudness the 1951/1954 makes, on the left of the 1954 you have a loudness know. This is used to increase the preceived loudness of the master in the lows, highs or both. This is set to 50% which is making a big difference to preceived loudness. There's a lot of processing going on in 1951/1954.
For me EQ's as you said, and also the red unit - discrete gyrator EQ and the black box of course.
Lord what a chain! Unbelievable!
I've switched out various units over time as one makes another obsolete. But I feel I have this chain right where I want it.
@@AudioAnimalsStudio f#@! yeah you do
Wow you r so many 100,s of thousands of dollars ahead of me fantastic content I’ve been struggling for years ,absolutely Historiacal❤
51/54 combo on/off sounded like a mastering session on its own
I agree, which is why I use it as my finishing EQ. You can get the master up to the 1951/54 to where it sounds as you want it. Then using the 51/54 give it character and colour to finish it off. It's like 2 mastering sessions and two stages of the EQ section.
You need a DW Fearn vt5 eq. Huge game changer
Fantastic video - it would've taken sometime to make but it's great - thank you. I must admit the biggest difference was indeed the 1951 / 1954 - but then I am biased too! :) Rhodri
Thank you. Has your 1954 arrived?
@@AudioAnimalsStudio it's being shipped today 02 01 2024. Woo hoo! :)
@@rhodrimorgan3799 happy new year. And happy new gear.
@@AudioAnimalsStudio Thank you - HNY to you all too. :)
Wauw, this was the best pro-audio video of 2023! Biggest impact for my listening was the Buzzaudio and the 1951/1954. But they all have their add on to the sound. I was wondering how many gain reduction did you have on the LAAL? Did you updated/changed the Laal limiter dBu threshold point? I'm considering doing so.
I will usually not exceed more than -3db of limiting on the LAAL
@@AudioAnimalsStudio are you doing some final limiting /loudness in the box?
@gwsound yes much more subtle though as the majority of limiting is being applied using the LAAL
Love this! Do you think cables affect the sound in and out of each box? DId you try a few? Which ones did you settle on in the end? Thanks!
We wire our own cables. We've tried a few over the years and there's not much difference. I just find I can trust cables I make using good quality connectors and cables.
@@AudioAnimalsStudio Nice one.
Sounds great. Did you start with any specific units and then add as needed, or possibly start with everything in small amount (full chain) and make adjustments? Seems like you could make almost any of the eq's the focus by starting with it and using everything else to enhance that initial eq.
I always recommend and I started this chain with the SSL fusion then built from there. The Fusion gives you a little bit of everything that eventually each part gets replaced until it becomes redundant and is only used as a mid side encoder decoder.
how do you deal with gear surface noise? do you use any power conditioner and does it helps? thanks. great videos!
Power conditions can help but its quite minimal. Good quality A class equipment helps more. Good cables and clean power helps a lot. Power conditioners I see more as a way of keeping your gear safe from surges over removing surface noise. Surface noise is part and parcel of using analogue. For me it's a welcomed surface noise.
Curious why you put the Blackbox first in your chain?
On a master bus which would be more qualified for master duties? SSL Bus+ vs Wes Audio NG comp?
Both equally good. The Wes Audio would probably edge it. I had the choice of the two and went with the NG Bus Comp
@@AudioAnimalsStudio thank you so much for your speedy reply ❤️🙏
After the LAAL you do not use a Digital Limiter ? . The LAAL is the End of your Mastering Chain ? Thanks
This is phenomenal. I thought you had an Unfairchild in your chain?
The UnFairchild is in Studio A. Studio A equipment list below.
Elysia Alpha Compressor
UnFairchild 670M II (expanded)
Shadow Hills Optograph Compressor
Hum Audio LAAL
Elysia Nvelope
Maselec MLA-3
Maselec MPL-2
Bettermaker Darthlimiter
Buzz Audio REQ 2.2
Maselec MEA-2 EQ
Goly Porter Grinder EQ
Goly Dynamic Shelving EQ
Goly 4 Band Dynamic EQ
AudioTales Designs 1951 ME EQ
AudioTales Designs 1954 EQ
Dangerous Music BAX EQ
Whitestone Audio P331
Rupert Neve MBT
Vertigo VSM-2
SPL Gemini
SPL Hermes
If you have one analog EQ in your chain would you rather put it before or after your main compressor?
Before compression.
Good I’m doing it right ;)
The issue with this comparison is that the result depends on the original track and the specific processing it needs. You may have chosen a track that needs significant EQ but a different track may need work on the dynamics and you may not have even needed to use the EQ at all.
exactly. 'the biggest difference' is a very contextual question. another thing is the quality of the initial, unmastered recording.
Would you share how you get power to each rack? I don't see power strips or supplies. Also would be great to show the backs of racks to see your cable organization (mostly AC away from audio cables.) Many thanks if you can.
Watch this video. Talks about everything you want to know. Power goes in the tray at the bottom of the rack. ruclips.net/video/xXcBQuvJgrE/видео.htmlsi=2NLxLWr42z7a2EZK
For me: 51/54 combo on/off sounded like a mastering session on its own; SPL PQ y SPL Iron
Yeah I agree. The intention of this chain and the positioning of the 51/54 is just that. It is a finishing EQ. Using all the other EQ's and processing prior to the 51/54 I am creating the desired EQ for the master. Then when we hit the 51/54 with are like you say applying another mastering session of EQ that can be thought of as mastering the perfect frequency balance and enhancing that sound. So you could almost think of the processing before the 51/54 as correcting the mix and getting it ready for mastering, then into the second stage of mastering where we apply EQ, compression and limiting.
Nice chain dude. Wow, those Audiotales really are something special. I would have to second your estimation of their impact. Can I ask, do you typically use all of the chain on any given master?
Most of the time everything gets used. Sometimes an EQ might not be required or the HG2 just needs to be applied very subtly.
Very interesting. Thanks.
Awsome video, the mbt, not sure, but that did it worse in my ear. I have the Gyraf G21 , which are an multiband transformer thing, it's mental, took me least three month to fully understand it :)As you know, I'm looking for a mastering eq, but have you heard about the 51db EQ's? They make basically what you want and need, but the audio clips I have heard, sound incredible good! Also the price is steep.. but maybe it is the perfect match for my Alpha comp? Please test it, you are the few people I really trust, sure you may earn some money for talking about the gear, but you seem very honest in your reviews. Of coerce, it's matter of taste too.
I will see if I can get hold of one to test
The Audio tales units are great, not for everything though. It slows the transients quite a bit.
That's definitely not a footprint you always want, but that's with any piece of hardware.
They all excel in a certain area, suited for a certain genre. What most people don't seem to tell is that running true hardware is always a trade off.
Yes it mostly outwaits the downsides but its still a tradeoff somewhere in the signal.
Really interesting mastering chain...
I assume that you just tried and tested different things until you decided what you wanted and in what order. I'm much the same but in the digital realm right now.
I've been mastering professionally for around 5 years (15 years production and mixing before that) and I try amd try and try different plugins and if I hear just that 1-5% improvement, then I switch plugin and incrementally update my template name by 0.1.
Started at v1.0... now up to v3.2.
Tiny... tiny changes trying to improve the sound in increments.
I'm going to have to use some digital plugins as I cant afford an entire mastering studio's worth of gear right now. But top of my list this year are the Rupert Neve MBT and the Tube Tech multiband compressor. To my ear, they made the difference that I am personally after... Glue everything together, then add that silky analogue shine!
Actually, now that I think about it. One of the most important things I need is the ADC to get the delicious cream back in the box.
I was thinking of going with Benchmark ADC as I adore their DAC.
Not sure if you will see this question.. but what interface are you using for all of your boxes and are you using the ADC built into that?
We use Burl B2 DAC and ADC. If you are going to get outboard gear, remember your chain is only as good as your converters.
@@AudioAnimalsStudio Absolutely - that was top of my list.
I need an interface with a few ins and outs to create an external mastering chain. A UAD Apollo would be good enough, right? But I need something with a SPDIF digital in/out so I can use my own convertors for DAC and ADC.
HI Paul, just one thing regarding this chain. Which of the units replaced your Kush clariphonic eq? Was it the MBT and the Audio Tale Eqs which triggered the decision?
As always, big appreciation for your insights.
Feliks
It was the AudioTales 1951. That directly replaces it. The kush is brilliant and it does exactly what you want. It's quite a cheap build when you look inside. But it's also a pretty basic unit with one purpose. So it is somewhat expected. The 1951 is very special, as you hear in the audio demo. The clarity in the high end is unmatched. It made the kush feel cheap and a little brittle. Which it wasn't and isn't BTW. Just when comparing to the 1951, it made it sound that way due to how smooth the 1951 is. The MBT using silk red achieves some of what the kush does but doesn't directly replace the kush.
@@AudioAnimalsStudio Understand. Thanks Paul for the fast reply as always. Last question regarding the Audiotales Eq. Do you think both units 1954/1951 can replace an EQP-1 style Eq like a pultec or an gainlab empress? I now they are sonically different but regarding the lows and highs I questioning myself if that would be to much gear redundancy ;-)
Stay frosty. Best, Feliks
@feliksweber8566 I wouldn't say it would make it redundant but you would probably find it'll get less use.
Can you compare what the H-2 vs the vertigo vs the MBT do when it comes to saturation in your chain and if you could only pick one which one would it be? Obviously have all of them lol is better but if you had to start with one of the 3 which would it be and why?
The Vertigo is probably the best all round as it'll do everything you ever need to do including mid side processing. But the blackbox has a very sweet tone that is very much part of my sound. The MBT if we just focus on silk textures out of the 3 is the most let's say vanilla and plain. But that's why I like it after compression as I use it to apply subtle saturation to the compressed signal. They are all good in their own right.
@@AudioAnimalsStudio That was my experience when comparing the VSM-2 to Access Analog's Black Box and then comparing it with a Black Box I bought that showed up with broken parts and the alt tube and air band not working. I'd also say I prefer the Culture Vulture sound over the Black Box both in plugin form and the CV 15 at Access Analog. The CV and VSM are fuller and smoother than the Black Box.
Have u tested the terry audio ceq?? What u think of the unit?
I'll be 100% honest with you, I purposely haven't tried it because I don't want to like it. The look and design just stresses me out. I know this shouldn't matter but it does to me. I wish it didn't look like a mess and something my kids would have designed. I don't care how good it sounds, I have to look at it all day every day. And that just plays havoc with my brain. It's like an itch you can't reach.
Hey, how it’s going? I need help for my next big purchase for the mixbus. I work a hybrid setup, and also create great mixes with what I have. So far no complaints from clients. Currently, my setup: buzz audio eq, Lynx ad/da converters and I also use elysia xpressor for the mix bus. Right now , 😂 I’m eye balling a herchild 670 compressor and the cure bender eq. Which would you choose first, and why? I mainly mix pop music, hip hop, trap music and r&b music. I’m just stuck, I want something that’s gonna be versatile. Both are color boxes but which is more vital for mix bus. Thanks for the help…
The fact you already have a great EQ, the logical choice would be to get a great sounding compressor. A curve bender is going to sound great but you have a Buzz so it just makes sense to choose a compressor.
@@AudioAnimalsStudio i understand💪🏾. The xpressor compressor I do have, I like the sidechain filter it has, I can dial in what to cue in. Good for dynamic control, Not very good with recall but that’s what pictures are for. Also like how transparent it is. Besides the herchild I’m looking at, do you know of any tube compressor you were hands on with you would recommend?
@@tennactennacerobert7732 I love the SPL iron and UnFairchild 670m mk2. The Herchild is similar to the UnFairchild.
question 1: doesn't 'biggest difference' largely depend on the program material - genre, rec/mix quality, artist/producer's notes?
q2: so it's like 6 EQs working together, is it a common approach? I understand why three or four could be used, but six, all at the same time, in a pretty standard and very well recorded track... no wonder RNDMBT makes as much difference tonally as almost any other unit in the demo
Pretty obvious that Blackbox & Audiotales are essential.
the goodness
It's funny... not one thing I wouldn't say made it... each one in and out wasn't finished and then back to being finished.
It's very good how you can reserved yourself on each unit to make a combination that works as it does.
The EQ's I found the most interesting coming in and out... each one bringing this very needed bits being brought out but each one bring out something completely different.
Each time things that this mix could not do without that and each one the same.
This comes with years of working on the same EQ's and knowing where their sweet spots are. The SPL PQ is a prime example. It's great at processing the lows and enhancing the bass but sounds too resonant even with a wide Q in the high mids. The Buzz sounds great all over but it's best uses as smooth EQ that highlight certain frequencies, rather than a surgical EQ that boosts or cuts. The 1951/54 works more as a finishing EQ to add colour and sparkle to the polished sound. Not great for any precision EQ or pin point accurate boosts or cuts. More a blanket across the entire mix that shapes the entire frequency range. This is why I'm constantly switching EQ's, in the search to find lets say the 10 perfect bands that all work together across 5 EQ's. I feel after 2 years of building this chain I am finally there.
@@truecrimenightowl the SPL PQ is used as my surgical EQ.
Wow to the 1951 and 1954. Which one would you say makes the biggest difference for the people that could only ever afford one?
That's a tricky one as what makes them so great is how they control each other especially on the colour EQ. The 1951 is probably the more noticeable single unit. But the 1954 is more noticeable when paired with the 1951 because of the colour EQ and loudness controls.
@@AudioAnimalsStudio thanks mate. Is the loudness section a kind of saturation?
@lukeneptune3820 I won't claim to know the full ins and outs of how it works but from my understanding it is a passive loudness enhancer of the lows, highs or both. I don't think this is done through saturation but it does have a THD switch where you can engage the transformer and introduce Harmonic distortion. Which is sometimes pleasing on different sources.
@@AudioAnimalsStudio thank you mate. You’re great at responding to comments. That’s a really nice quality that a lot of folk that post on RUclips don’t have. Also I have an MBT here that I’m absolutely in love with and your video and again your replies to my questions on that video helped inform my decision to get one. Funnily enough I thought I’d sell my Fusion when my MBT arrived but I’ve found that they compliment each other quite nicely.
That's great to hear. The Fusion only removed from my chain because other units made it redundant. This would nessarryly be the case such other smaller chains.
Sound engineer is charging me $10 for dobly atmos mix/ master is it a good deal?
I wouldn't expect much for that price. Certainly won't be performed in an atmos studio. Most probably using a template in binaural using logic. Be prepared to have your song rejected at distribution. There are strict guidelines for releasing atmos.
can you discus mastering converters
Sure, what exactly would you like to discuss?
@AudioAnimalsStudio What mastering converters are you using and why? I know it's subjective, but people say they can hear the difference in converters? Some clean and some add color? Do you prefer color or transparent converters? Which have you used, falls into color and transparent? You're preference?
@@MMSMUZIK I use Burl converters for all my mastering chains. I use them because they suit my sound and what I want from a converter.
@@AudioAnimalsStudio thank you
I feel that there isn't sufficient information available about AD converters online, and many people remain uncertain about the importance of DACs. Additionally, certain premium converters, such as those from DangerousAD , include features like clip guards. While it's known that converters can clip, I've heard that some mastering engineers don't always require limiters in their setups. So many questions prahaphs this could be answered in a couple videos
1954 and 1951 have the most impact, The mix collapse when you bypass them in comparison to the other units
This is why I did the video in the way I did. It's all well and good me saying these are special EQ's but this has to be back up with audio proof.
The Holy cross comps have left the building?
Yes and been replaced by the new 4 band version. You'll see this under the LAAL
I wish that these tests included LEAD VOCALS. People buy music with VOCALS. It's not just this channel, either; the bulk of the "Pro Audio" RUclips channels use instrumental music. Sad really.
It's because you need to use royalty free or license music on RUclips or the video gets flagged. Instrumental music is a lot more likely to be royalty free and cheaper to license. It may be sad, but vocalist or session singers should be paid for songwriting and performing the vocals on their songs.
why dont you partner with one of these brands and design your own mastering unit and sell it?
This is in the pipeline. Currently in the protype stage. Can't really talk on it but I'm hoping early 2024 to have the finished product in my rack. Once I have it, I will do a review on it.
would be so sick to be the first in the US to have whatever it is you come up with@@AudioAnimalsStudio
I wouldn't say that running a song through 6 different eps is necessary. Also interesting to hear that the SPL Iron, Elysia Envelope made it sound worse imo. Overall it's too much saturation in the kids for me compared to the original track. Nevertheless a very interesting video, especially as I'm going to buy me a analog "touch" thing for my mixes in the next months.
The key is to understand how to use each EQ to the best of its ability. I can totally understand how someone who hasn't had the chance to use each of these EQs to draw this conclusion. Even more so if they are used to working ITB.
You’re either a professional or perfectionist artist who cares about their creation, or a bedroom wannabe producer/ engineer who’s never been in a real studio but has a lot to say in comments on the internet.
I think it’s a paid advertisement. He’s only had the parts for a few weeks Haha
The jealous ones always stick out like a sore thumb don't they
in that case - sign me up.....I am sure someone would send me 100K worth of gear just for fun.... this works with plugins buddy or if you;re Warren Huart maybe maybe- but companies aren't giving these out like that. Also he never said - hey buy this - it's for you. me, and everyone else to draw our own taste conclusions.
@massivebeatzz yeah exactly. I wish I was being given two £8000 EQs for free in exchange for shooting a youtube video. I built this channel on the basis of trust and honesty. To a fill a gap in the high end gear review market. So people who want to buy this gear have a place to get real world honest user feedback on if something is genuinely good or not.