Equations Mixers and Producers MUST know to understand AUDIO BETTER
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- Опубликовано: 24 июл 2022
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Hello, I'm Nicholas Di Lorenzo, Studio Owner, Mixing and Mastering engineer at Panorama Studios.
I'm an Italian-Australian born and raised in Melbourne. I've been a creative professional for 10 years managing some pretty awesome projects for artists, labels and producers all around the globe.
What motivates and drives me?
My family,
Good food,
Great coffee.
You can find me on many platforms:
Instagram: / panorama_mastering
Facebook: / panoramamastering
Twitter: / panoramamasters
Kit: kit.co/Panorama_Mastering
quick note, there's 60,000 milliseconds per minute but only 1000 per second. Obviously just a slip of the tongue since the rest was correct, but just wanted to clear up any confusion.
Haha yes! I noticed that this morning **face palm**
I work super fast getting these videos shot and edited it always bums me when I make sips like this…
Thanks for watching though!!
My dude... you have changed my life with your content. 👊 Thank you so much for every single second you have spent sharing your insight. Much respect! 🙏
🙌
Older video, I know, but still valid. Nicholas, I think you should have a look at equation #2 again. The formula looks correct, given the parameters, but pre-delay doesn't change the room size; it changes the perceived distance to the sound source. Let's say we are in a large room and you are standing in front of me. You clap your hands. I hear the clap immediately, then 30ms later, I hear the early reflection. That's my auditory cue that you are close. Now - same room, but you are far away against the back wall. You clap your hands. I hear your original clap and the early reflections at about the same time. More pre-delay brings you closer; less pre-delay moves you away. Room size is more a function of the decay, the early/late balance, and the pre-delay limits.
Magnifico! me encanta la exposición... Muchísimas gracias!
I'm not easily impressed and your vids are first class. And I dig that you truly love sound and sharing and learning. Thanks man.
Glad you like them! Thanks for watching!
First time I've been interested in math in my entire life. You, fine sir, achieved what I thought was impossible. Thank for the videos!
The attack and release comparison on the bass blew my mind. I was in my car that has a very good stereo system and It was night and day. Can you do a video explaining the mathematics on limiter settings where both a kick and 808 is present ? Getting a track smooth with both of those elements coexisting is probably the biggest challenge in all of the projects I work on
That's great to hear!!
Limiters are a greater beast in tackling all together; a good start is my last 2 videos on the topic; one regarding cielings; the other regarding true peaks!!
Hi Nicholas,
Firstly as a fellow Aussie I am proud to say that your informational videos are of a world class standard. Your deep knowledge of mixing / mastering mathematics and physics (sound wave) fundamentals is top shelf. Your humble but passionate character is very refreshing in this oversaturated market of Mix / Mastering Engineering RUclipsrs. So thanks heaps mate, I've learnt more on your channel in the last few months than I have in the 3 years of beginning my journey into mixing music. This video has really helped my understanding of using reverb, delays and compression etc in relation to time and fundamental frequencies and I am adopted these mathematical fundamentals into my mixing.
Truly appreciate all of your time and energy into these videos. Thanks again mate, Az
Thanks m808! Appreciate the love!
Thank you! I've been preaching these to my peers!!!
My pleasure! Great to hear;
crystal clear knowledge ! Thanks a lot
You are welcome!
Love the video and explanation very helpful!
Glad it was helpful! Thank you for watching!
Great video. I use predelay not to indicate room size but in combination with decay time and ER to indicate how close or far a subject is to me in a room. With no to short delay it’s similar to the subject being across the room from me, longer predelay makes them sound closer. Of course, careful setting of decay time and reverb amount is important in this equation.
Agreed - Equation 2 makes sense for calculating predelay for room size (given his parameters), but not for determining the listener's distance from the source material. Changing predelay doesn't change room size.
thank you so much🤩
a very informative video thankyou
I hope you make a 6hour mastering course 😂😂 from beginning to end , everything you know
Thank You...
quality content. thank you
Glad you enjoyed it
Man one night I was high af and was trying to solve the BPM->ms problem and it took me way longer than it needed to.
You've got a good video right here homie.
Thanks man; appreciate you watching and also glad to know this equation will help others!
Hey Panorama. The first explanation threw me off a bit. :) 1s has 1000ms, but when translated to BPM it's 60.000ms :)
I do use these, sometimes, to calculate my delays and reverb tails. I've never thought of calculating Freq to ms, when setting my compressor, but I've used the same BPM formula for setting my release time (the attack for me would be a bit higher), and of course this would vary depending on the music material, and the elements I'm compressing.
Nice video, thanks a lot!!!
Hey Andrei; That's on me! I was meant to write; 60,000ms = 1 minute!
Wow you have explained well and I now understand the challenges I've been having when I mix and master.
Please do more videos on audio mathematics or direct me to any literature on this topic, thank you.
You got yourself a subscriber 😁
Thanks for watching man!
This video was actually inspired by me having read a bunch of books many times over and wanting to look for new literature;
Go check out; The Audio Expert by Ethan Winer!
Much appreciated 🙏🏾 😁
Great content! Got me thinking about the reverb pre-delay times. There is also going to be a small amount of delay time just for the direct sound to hit the listener right? So if you want a sound with the same reverb to sound further away than another, maybe lower the pre-delay time by a few milliseconds, since the direct sound will take longer to reach the listener, therefore the reflected sound will actually be a bit closer in time to the direct sound?
3rd trick is awesome 😃
Thanks for watching!
Love this explanation man! Great overview! From a video standpoint, I would love to see a bit more of you in frame haha just so it feels more conversational and natural! Having half of the top of your head chopped off feels a bit claustrophobic to me. At the end of the day though, your video skills are great quality and all the additional elements are nice! Well done🙌🏽
Thanks mate; I appreciate the support;
I KNOW! It kills me when I realise my framing is off in post... sorry for that; sometimes I move so fast to get these video's shot and onto editing that I stumble on simple but silly things like this;
@@panorama_mastering All good man! The video itself was awesome! Loved the integration between you writing out the equations/doing them on screen and explaining it! Felt like my 6th grade maths class haha - super cool!
Haha a pleasure!
Hey! I been lurking a while but this is totally unrelated, the tablet/drawing over the video you did here - is this something that your iPad does or is there an app you use to capture the stylus without the background? or do you do the edit manually.
Hey I’ve been loving your videos, each one I pick up something fun.
One question regarding attack/release times on compressors-
I’ve read that the detection circuits on compressors vary greatly, and therefore the way in which compressors measure attack time is not uniform. My own experience with a hw 2500 confirms this, as to my ear the slowest attack (labeled 30ms) sounds much longer in practice. Perhaps digital detection circuits behave more universally? Any insight on that would be great, thanks!
You're correct; they do vary greatly; and I feel like I owe that topic a great deal more depth and discussion!
In regards to the last equation, Would you say that the same parameters apply when the compression is being used to sidechain something (run of the mill like a kick at 120)? Wouldn't the retrigger time be much slower than the release time making it a non issue for distortion? Sorry if this is lame q or been asked.
No worries about the question, certainly valid; not certain what you're asking here could you reword/redetail your question?
Hey Panorama, love your videos, thanks a lot! I do have some questions about ATT & RLS setting based on frequency. Why the calculation is different from this video compare to your other video : Advanced Time Domain Calculations for CLEAN tone. Thanks again ***(excuse my English, I speak French) :)
Hello, Benjamin;
Thanks for the pick-up this is something I have on my to-do list is to make a correction/update to that video and pin the update in the comments of that last one;
My calculations for charge and discharge times of capacitors was CORRECT; however my calculation for frequency time was INCORRECT, and an oversight on my behalf I only realised afterwards; admitting I'm wrong is the first step to improvement ;)
Good pick up; I appreciate your attention and correction of detail!
@@panorama_mastering Thanks for responding quickly! So just to make sure, the calculation is wrong in this video and fine on the other video ? Or the other way around ? Thanks again :)
@@benjamincaron9442 It's CORRECT in THIS VIDEO HERE!
Does all this apply when this is hard panned track? So hard panned bcking vocals? So trying to get this straight in my head, and straight up the middle is the size of the the space she is sining in. But if the singer was stood hard right of the room like if she was panned. She would be closer to one wall that the other. So would that be a bigger pre delay sent to and aux for left and short on right, would a stereo send still work in terms of plcement and distance?
You know I hadn't given it that much thought! Definitely worthwhile exploring;
Where can we find the video you have on advanced time domain calculations? would love to learn more on that!
Here you go; ruclips.net/video/TDixctLOhnM/видео.html
Please note the equation for frequency / time is incorrect on the linked video;
Great video, thanks. BTW every equation is "Equation #01" in description. Also there is only 3 equations, so the last timestamp could be deleted.
Thanks mate, and great pick up I'll fix that now!
I want to watch this… but my head is hurting 🤯🥴
My question does the pre delay change the decay time? So if your pre delay is 48ms do you minus 48ms from the decay as the whole reverb is now being delayed by 48ms?
You could if you wanted to; remember these are all approximations and the equations are to help you understand how these tools interact with sound. different reverbs will have different curves and structure; so I wouldn't get into being SO precise to compensate decay against pre-delay; but
@@panorama_mastering I use to calculate reverb predelay and decay times, but I stopped that and just go by how does it make me feel which I feel works best for me.
Completely unrelated, what mouse do you use and do you like it and think it’s the best? Great videos by the way.
Logitech MX master 3 !
Thanks for the love mate
bruh I started music to get away from maths, and now you're telling me I need equations?! ;-;
Audio Engineering... ha :P
make some other mathematics videos very helpfull !
Predelay is more about distance to the sound source and then about size of the room. At least it’s the way I think about it. Even in a very large room we can hear hardly noticeable predelay if sound source is as far as the walls are. And longest predelay we hear when standing just in front of the sound source.
Hey mate; in terms of setting up speaker arrays and PA's in live settings; that equation make sense for what you're saying; but in terms of reverb units; the predelay places the node for the first early reflection point from the sound source; so it's a good indicator or auditory cue for space;
Did seriously no one got the mistake in the first equation? There is 1.000ms in one second and 60.000ms in one minute bro
I know! That was a bad one! I corrected/updated myself in a future video on this boo-boo
😂great observation 😸, Did seriously no one seems incredibly incorrect as well!! 😭 No one seriously caught on definitely! Again great awareness, bad literature.. W😂e make mistakes because we subconsciously assume we are in 🖼️ frame, you were so surprised by your conclusion you forgot to re -read before posting😂 I'm a nerd 🤓 sorry.
i don't know when you get too scientific with music , then vibe is lost!
Yes! I agree, sometimes I take it too far!
You're good man, actually it's not a bad thing, cheers!
Equations are okay but they’re not holistically taking into account of the variables in terms of acoustics.
As first a producer and then mix/master engineer, and now a full time acoustics consulting engineer, I know a lot of what there is to know when it comes to the science of sound itself.
Now just as a basic example the speed of sound is dependant on things like humidity, temperature, wind speed etc… speed of sound also is different with different mediums and as such, different gasses. So whilst in one room you may have a speed of sound of 343 ms-1, in another it could be much lower or higher than that.
So whilst these equations are helpful - it’s often a little more convoluted than just using your ears and knowing your gear. And it’s not as though there’s much benefit to these equations as they aren’t really objectively making your decisions 100% accurate, again due to the multi-variable nature of the equations.
So whilst it’s cool to see the maths behind sound engineering for mixing/mastering, it is not entirely useful or should be wholly relied upon. Ultimately you as the engineer must decide if what sounds good, sounds good.
In the world of engineering it’s easy to over-engineer your way to the answer of a problem. But of course as always knowing these equations never hurts as you can then begin to identify how sound is working at a physics level. So I think my point really is that using these equations helps but your ears will probably still get you just as close!
Despite my comments above, this is a great video and I’m always amazed about how well you communicate over RUclips. Not least the fact that you’re just amazing at what you do and are always so excited to share your knowledge which despite me feeling like I know enough, I always find another perspective through your videos!
Keep it up, and wish you great success!
Yeah; I completely agree here especially when it comes to acoustics; it's very convoluted (pun intended)
Appreciate you dropping by and watching!
Warmly,
N.
Can’t imagine sitting in a session, worrying about the temperature, or the humidity of my space I’m emulating with my digital reverb plugin mixing in a digital domain….. just enjoy the video Matt
@@RaymondMaxwellMusic exactly my point. On balance, these equations don’t lend themselves too much with accuracy. They can get you in the ballpark - but if you understand and have a solid command of sound/signal processing - the same results can be achieved using your ears. (So other than using the equations once or twice to get the experience of seeing how these equations work, there is little point in faffing about to use them in every session).
What the video and equations show is more so the theory behind certain processing decisions - which is what one needs to be aware of to understand how things work a little more and consequently this will improve your own mixes/masters by having a deeper and better comprehensive understanding of the underlying processes/principles when mixing/mastering.
@0:19 🍑
Big but! Good pick-up!
Audio math = 48+48=98? xD (sorry I couldn't help myself).