For transparent compression: Kotelnikov (Tokyo Down Labs); or Magenta (acustica) if I want something more colorful. For harmonic distortion: Jam (acustica) or Oxford Inflator, and for clip/limiter: Standard Clip + FG-x2 or ozone limiter, sometimes stacked with L2 for a little bit of midrange presence
I use Reaper's Event Horizon and Master Limiter then Mojo by air windows. Works like a treat and can go as loud as I want while retaining reasonable dynamics.
Flatline 2 Hybrid Mode - Definitely a game changer. 💯 My current Mastering chain consists of Pro Q3 (Fabfilter) into Kotelnikov Mastering Compressor (Tokyo Dawn) into Flatline 2 in Hybrid Mode (Submission Audio) into Pro L2 (Fabfilter) (Serial limiting) - Such incredible tools, hand-crafted by professionals for cavemen like us to use. 😅
Nice vid Kris… Now I’m curious about what LUFS target that you usually aim when you master tracks in real world? From this video I saw at the Flatline 2 momentary or short term tab around -9 LUFS. Thanks before 🔥
TBH, I don't really care about the numbers. I just go to the point where it's loud and still sounds punchy. I still use an RMS measurement and aim for roughly -8dB max.
@@KohleAudioKult Thanks for your response. And I wanna know your opinion about big mastering engineers mastered their tracks at -6 or -5 LUFS. I have several friend that master their song in Sterling sound and other big names, when they gave their mastered wav tracks to me, I measured it and average level are either -6 or -5 LUFS. What’s your opinion about it?
This is great knowledge @Kristian Kohle thanks this is where I loose the power of my mixes trying to push the limit of volume lol Gotta find that killer balance with clipping and limiting
My chain for loudness is Flatline 2 > Oxford Inflator > FF Pro L2 > Weiss MM-1. Flatline 2 doing the heavy lifting, Inflator for character, L2 for 0.5-1.0db boost then Weiss in transparent mode to add the last 1-2db.
Iv been trying to think of it like a lens like the louder the mix is closer to you but its kind of blurry the more dynamic is further away but its not detailed and what you want is for it to be in focus not to far away but not to close so its not to loud but still detailed
Great video as always man! Based on what I'm hearing here I really like the Flatline. I don't do my own mastering but would you suggest getting the plugin regardless? The hybrid feature seems great.
What is the plugin / method used to stay at high volume when you have only 1 guitar or just vocal AT a moment in a song ? Like "pictures in the gold room" intro of Chimaira
What do you think about the bottom up mixing method where you get each individual track closer to peak loudness more so instead of doing the whole mix?
if the mix is good, its not necessary to have a m,astering chain all youll need is a saturator. but since were talking about clippers/limiters ide say : Inflator, StandardClip, Newfangled Saturate & Pro L2. Dangerous Bax EQ & Mixconsole v3 brainworx are good for shaping before you clip into a limiter 🤘
You mentioned MD4 but that one does not have auto-gain so you cant push into it by increasing ratio etc like you can with MD3. Flatline is my current favourite limiter too, ill try the 20% channel-linking 🤘
Initial clipper is a great free plug in for getting stuff loud whilst keeping dynamics if anyone wants to give it a try uts also extremely simple to use
So the long and short, limiting is more like compression and clipping is more like a saturation. Listening to the toms portion, made me realize that bands didn't use different size snares as toms. To be fair, that could also be an artistic decision.
I'm a crappy mixer and i just use the match eq,no doubleing guitars most of the time and throw a ezmix master and use my mac speakers to mix and they have been better for me then using monitors. When i do double guitars they come out thick ...don't knock it till you try it.
Personally i prefer the cleaner limiter even of has his disadvantages. Clipper Is good for some distorted drums but not on cymbals they sound harsher fizzy
Do you ever do one thing thinking another. I do, then I'd hate when other would pretend to know what I was doing mixing the samples rates. What Mike Patton and Paul Anka could had in common with Michael Anthony and Tony Maserati?! I don't know. I'm not really a Diesel guy. Namastè.
@@KohleAudioKult wow, now I found it, thanks. On PC there were like 10 dead links to websites where I should buy the plugin and none of them still did... On good old Kleinanzeigen hardware finalizers seem to be pretty inexpensive. But I'm not sure how different all the versions are. Definitely something I got to look into
"The platform will automatically compensate" Smashes mix anyway. "Don't do anything that makes the mix sound worse, only louder" Does things that destroys the mix. I honestly don't understand the way you think, man.
I thought I explained it. Let me try again: We're used to a certain amount of limiting these days and consider that pleasing. Nothing wrong about that. Just don't go beyond the point where it sounds good to your ears. In this example I go a little too far to demonstrate the difference between the plugins.
Don't take this the wrong way, but damn, it makes me anxious and hot just seeing you always wearing the hat. If you are wearing short sleeves it is because it is warm enough to wear a hat that covers your ears.
@@KohleAudioKult Ok I understand, but surely there are other options that don't cover the ears, a cap, I don't know. Another thing, have you tried bugera 6262? It's a cheap amp based on the 6505 plus, but it lacks the resonance control, and I wonder how I could compensate for it, could an EQ in the effects loop compensate for it?
Said it before and I will say it again, you do not need plugins of any description to get loud mixes. Learn to mix first. Everything else is a crutch for bad technique. I can easily hit -6 or even higher with no limiting or compression what so ever on master busses or groups. Learn to mix, 'density' is in the mix and arrangement and choice of sounds. No where else.
This is the most tonedeaf comment I've seen in a while. Sure, you can get to a "decent" point by adjusting the levels of your tracks; but let's get one thing straight: that is not mixing. You do, in fact, need basics such as compression, eq, limit/clip, reverb, delay, etc to *mix* and especially to get anything towards a modern mix.
Say8ng you can turn your tracks up in order to hit -6 is not only an incredibly weird flex, it's also not impressive or difficult. Hitting -6 does not mean everything sounds good. 😂
@@jamisondebolt5590 You completely missed the point. *slow clap* imagine sounding this smug and completely not getting the point of the post. Who said anything about any of those others tools? My point was LOUDNESS is created via levels, choice of sound and arrangment. Which you turned into hurr durr you need reverb and eq. The topic at hand is plugins that explicitly get you loud mixes. So it is those I am saying you do not need. Because loudness is created via these other areas. But hey you know better right. Confidently incorrect 101. All these loudness plugins are the complete opposite of what most people crave which is punch and a feeling of weight and power. Which all come from dynamics. Something every one of these plugins destroys. They all add distortion as well. And the net result is nothing but mix after mix of loud, harsh and flat sounding mixes with no excitement, dynamics or punch. Modern mixes mostly sound like complete arse as a result. But hey if you like your music sounding flat, overly distorted and harsh with no real low end. You do you. Loudness is the antithesis of good mixes.
@ferociousmullet9287 my point stands - it's pretty standard practice to hit -6 or above without any effects on the master bus BEFORE mastering. This video is obviously about making that "louder" (perceived loudness, lufs, etc). I still stand by my previous statement that getting your mixes to the volume standard at which it is commonly stated you should be at before mastering "with no plug-ins on the master bus" sounds pretty dense, considering that, as previously stated multiple times, is the *commonly practiced standard* to get your mix to *before applying anything to the master bus* 😘
The other day, i used my loop back function to record a Lifehouse song playing from Spotify. It was coming in at --5 LUFS. So there really is no volume matching/leveling going on with Spotify. Loudness Wars are still going strong.
@@KohleAudioKult The point is the average person isn't looking through settings on Spotify. The only people who care about that stuff are mixers. Most people are unaware.
Which ones are YOUR go-to LOUDNESS PLUGINS?
Flatline
Brainwork Townhouse on the master bus and Waves L1 on the post-master bus
Straight up just turn up Master and Output on Gojira X, also higher eq settings
A combination of the Molot compressor on the Master track into Realimit.
For transparent compression: Kotelnikov (Tokyo Down Labs); or Magenta (acustica) if I want something more colorful. For harmonic distortion: Jam (acustica) or Oxford Inflator, and for clip/limiter: Standard Clip + FG-x2 or ozone limiter, sometimes stacked with L2 for a little bit of midrange presence
I use Reaper's Event Horizon and Master Limiter then Mojo by air windows. Works like a treat and can go as loud as I want while retaining reasonable dynamics.
I've been using your mastering template for years.
@@RolandDeschain1 thanks dude! Glad it helps.
Same as you, thank you so much ! @resington
@@Vegapoint cheers!
Have you gor a video about this that I can watch?
Flatline 2 Hybrid Mode - Definitely a game changer. 💯
My current Mastering chain consists of Pro Q3 (Fabfilter) into Kotelnikov Mastering Compressor (Tokyo Dawn) into Flatline 2 in Hybrid Mode (Submission Audio) into Pro L2 (Fabfilter) (Serial limiting) - Such incredible tools, hand-crafted by professionals for cavemen like us to use. 😅
Fragments of Unbecoming!♥♥♥♥♥
I'm glad you're talking about this loudness madness! I've been loving Flatline 2 and now I'm definitely curious of that MD3!
Give it a try!
I compress with an UnFairchild (UTA) and limit with the Safari Pedals Lion Master
Love these how-to’s! Nice Kristian-thnx!!
Would love to see you give Newfangled Elevate a go. It uses similar multiband processing but has transient emphasis controls too.
Nice vid Kris… Now I’m curious about what LUFS target that you usually aim when you master tracks in real world? From this video I saw at the Flatline 2 momentary or short term tab around -9 LUFS. Thanks before 🔥
TBH, I don't really care about the numbers. I just go to the point where it's loud and still sounds punchy. I still use an RMS measurement and aim for roughly -8dB max.
@@KohleAudioKult Thanks for your response. And I wanna know your opinion about big mastering engineers mastered their tracks at -6 or -5 LUFS. I have several friend that master their song in Sterling sound and other big names, when they gave their mastered wav tracks to me, I measured it and average level are either -6 or -5 LUFS. What’s your opinion about it?
This is great knowledge @Kristian Kohle thanks this is where I loose the power of my mixes trying to push the limit of volume lol Gotta find that killer balance with clipping and limiting
My chain for loudness is Flatline 2 > Oxford Inflator > FF Pro L2 > Weiss MM-1.
Flatline 2 doing the heavy lifting, Inflator for character, L2 for 0.5-1.0db boost then Weiss in transparent mode to add the last 1-2db.
Iv been trying to think of it like a lens like the louder the mix is closer to you but its kind of blurry the more dynamic is further away but its not detailed and what you want is for it to be in focus not to far away but not to close so its not to loud but still detailed
Great video as always man! Based on what I'm hearing here I really like the Flatline. I don't do my own mastering but would you suggest getting the plugin regardless? The hybrid feature seems great.
What is the plugin / method used to stay at high volume when you have only 1 guitar or just vocal AT a moment in a song ?
Like "pictures in the gold room" intro of Chimaira
There's no difference really.
I use Flatline 2 into a FabFilter Pro L2
What do you think about the bottom up mixing method where you get each individual track closer to peak loudness more so instead of doing the whole mix?
That has never worked for me, no additional loudness from limiting groups and stems. And I did quite some testing.
You're an inspiration, bro🤘
🤘❤️
if the mix is good, its not necessary to have a m,astering chain all youll need is a saturator. but since were talking about clippers/limiters ide say : Inflator, StandardClip, Newfangled Saturate & Pro L2. Dangerous Bax EQ & Mixconsole v3 brainworx are good for shaping before you clip into a limiter 🤘
Hello, sir Kohle, what chair is that you’re using?
Topstar X-Pander
You mentioned MD4 but that one does not have auto-gain so you cant push into it by increasing ratio etc like you can with MD3. Flatline is my current favourite limiter too, ill try the 20% channel-linking 🤘
Oh really? Interesting
I thought it was the modernized version including all the basic MD3 features.
Initial clipper is a great free plug in for getting stuff loud whilst keeping dynamics if anyone wants to give it a try uts also extremely simple to use
for me the best clipper are the Sir audio (the best one) and the TDR Limiter 6 GE Clipper Module
I'm only using the normalize function on reapers export/rendering, is that a bad idea, should I rather use some plugins for that?
You need limiting to chop of the peaks so you can normalize again. That will make it appear louder to or ears without having a higher peak level.
So the long and short, limiting is more like compression and clipping is more like a saturation.
Listening to the toms portion, made me realize that bands didn't use different size snares as toms. To be fair, that could also be an artistic decision.
I'm a crappy mixer and i just use the match eq,no doubleing guitars most of the time and throw a ezmix master and use my mac speakers to mix and they have been better for me then using monitors.
When i do double guitars they come out thick ...don't knock it till you try it.
Personally i prefer the cleaner limiter even of has his disadvantages. Clipper Is good for some distorted drums but not on cymbals they sound harsher fizzy
Interesting stuff.
I'm using reapers Event Horizon clipper ... sounds way better than trying to get the same loudness with a limiter.
I still buy CDs. I don't use streaming, only files on physical media.
New Fragments Of Unbecoming?! 😮😮😮
Indeed! 😎
Never loud enough! Unfortunately! Man I have flatline in every mix! It's great!
After attending baphometrix's school... I need to pull back my volume levels out of the clippers for extra them... "dynamics" 😅
🔥
Neutron 4 is free right now and ik multimedia's master match works really good
🍺🐐
lol
Flatlines thrashold is set to -4.20
The incoming input signal is at -1bBFS max. That means we have only 3dB of gain reduction.
@@KohleAudioKult yeah. I just thought about the 420 thing lol. yeah dumb joke. sorry :D
Umm, saturation? 🤷♂️ limiter+saturation+compressor+subtractive EQ+boost EQ
Do you ever do one thing thinking another. I do, then I'd hate when other would pretend to know what I was doing mixing the samples rates. What Mike Patton and Paul Anka could had in common with Michael Anthony and Tony Maserati?! I don't know. I'm not really a Diesel guy. Namastè.
Venn Audio Free Clip
Sadly you can't buy MD3 anymore :(
Yes, you can! 🤩
Just scroll down to "buy native" and there you go!
www.tcelectronic.com/tcelectronic/product?modelCode=0815-ACI
@@KohleAudioKult wow, now I found it, thanks. On PC there were like 10 dead links to websites where I should buy the plugin and none of them still did...
On good old Kleinanzeigen hardware finalizers seem to be pretty inexpensive. But I'm not sure how different all the versions are. Definitely something I got to look into
"The platform will automatically compensate"
Smashes mix anyway.
"Don't do anything that makes the mix sound worse, only louder"
Does things that destroys the mix.
I honestly don't understand the way you think, man.
I thought I explained it. Let me try again:
We're used to a certain amount of limiting these days and consider that pleasing. Nothing wrong about that. Just don't go beyond the point where it sounds good to your ears.
In this example I go a little too far to demonstrate the difference between the plugins.
Don't take this the wrong way, but damn, it makes me anxious and hot just seeing you always wearing the hat. If you are wearing short sleeves it is because it is warm enough to wear a hat that covers your ears.
Easy! Other people just have hair instead, you know 😎
@@KohleAudioKult Ok I understand, but surely there are other options that don't cover the ears, a cap, I don't know.
Another thing, have you tried bugera 6262? It's a cheap amp based on the 6505 plus, but it lacks the resonance control, and I wonder how I could compensate for it, could an EQ in the effects loop compensate for it?
2nd. Booooo
Volume doesn't matter if it sounds like shit....fyi
Said it before and I will say it again, you do not need plugins of any description to get loud mixes. Learn to mix first. Everything else is a crutch for bad technique. I can easily hit -6 or even higher with no limiting or compression what so ever on master busses or groups. Learn to mix, 'density' is in the mix and arrangement and choice of sounds. No where else.
This is the most tonedeaf comment I've seen in a while.
Sure, you can get to a "decent" point by adjusting the levels of your tracks; but let's get one thing straight: that is not mixing. You do, in fact, need basics such as compression, eq, limit/clip, reverb, delay, etc to *mix* and especially to get anything towards a modern mix.
Say8ng you can turn your tracks up in order to hit -6 is not only an incredibly weird flex, it's also not impressive or difficult. Hitting -6 does not mean everything sounds good. 😂
@@jamisondebolt5590 You completely missed the point. *slow clap* imagine sounding this smug and completely not getting the point of the post. Who said anything about any of those others tools? My point was LOUDNESS is created via levels, choice of sound and arrangment. Which you turned into hurr durr you need reverb and eq. The topic at hand is plugins that explicitly get you loud mixes. So it is those I am saying you do not need. Because loudness is created via these other areas. But hey you know better right. Confidently incorrect 101. All these loudness plugins are the complete opposite of what most people crave which is punch and a feeling of weight and power. Which all come from dynamics. Something every one of these plugins destroys. They all add distortion as well. And the net result is nothing but mix after mix of loud, harsh and flat sounding mixes with no excitement, dynamics or punch. Modern mixes mostly sound like complete arse as a result. But hey if you like your music sounding flat, overly distorted and harsh with no real low end. You do you. Loudness is the antithesis of good mixes.
@ferociousmullet9287 when I say "modern mixes" I mean like 2000s and forward. I'd agree, much of what comes out these days is far too sterile.
@ferociousmullet9287 my point stands - it's pretty standard practice to hit -6 or above without any effects on the master bus BEFORE mastering. This video is obviously about making that "louder" (perceived loudness, lufs, etc). I still stand by my previous statement that getting your mixes to the volume standard at which it is commonly stated you should be at before mastering "with no plug-ins on the master bus" sounds pretty dense, considering that, as previously stated multiple times, is the *commonly practiced standard* to get your mix to *before applying anything to the master bus*
😘
Urgh… painful, this sounds horrible, no intent to offend, but this does not sound like music
The other day, i used my loop back function to record a Lifehouse song playing from Spotify. It was coming in at --5 LUFS. So there really is no volume matching/leveling going on with Spotify. Loudness Wars are still going strong.
Then you have that feature bypassed. Look it up in your settings
@@KohleAudioKult The point is the average person isn't looking through settings on Spotify. The only people who care about that stuff are mixers. Most people are unaware.
@@KohleAudioKult I just opened settings in Spotify. There's no such function that i can see.
@@KohleAudioKult That function is on mobile app, but not for PC/desktop
@daystrainsandtracks1246 It is everywhere. Also on Desktop.