That's a terribly simplistic view of mixing. Every adjustment to amplitude is also an adjustment to the timbre and EQ. The synergistic interplay between EQ and compression needs to be dealt with by our listening, not by the adoption of a sledgehammer technique like the one you advocate here. Your advice might apply to a certain kind of high energy music, like dance or EDM or WTF that stuff is called these days, but there is much more to the skill of balancing the mix elements than applying this kind of bonsai effect to everything. In the example you gave of getting from here to there, the second mix is boomy and the kick drum is way too prominent. The first mix is thin and weedy, and the kick drum is also too prominent. Solution - whatever you do to that mix make sure you control the kick!
Loudness in not about limiting and compression. It's about sound selection and good midrange. You cam make horrible muddy mix at -4 LUFS or get -6 LUFS with crystal mids and punchy bass that will be louder.
(shave the peaks + tighten the dynamic) + take care of transients = mix louder, punchier especially on single tracks before mixing search for "clipping to zero technique" and you can reach -6 lufs easily however it takes several years to master it and to achieve a good sound i know it is good for techno, edm, metal, but maybe not for other genres who need more dynamic ranges like jazz etc..
Mixes that are mastered louder still sound louder on Spotify compared to mixes with less aggressive compression/limiting though, even though Spotify is supposed to normalise the volume.
@@Clap_Codex not true at all. A squashed mix sounds just like that, a squashed mix. "loudness" has a lot more to do with sound design than with squashed dynamics.
Yea, but like I always say, the big knob on your sound system is called a volume knob. Just turn that up and voila your mix sounds magically louder. I say that in all humility, because what I like most is very dynamic tracks and instruments a lot more than I like loudness. Most of my track imagine are at around -14 LUFS
Listened to this on iPhone 14. In first 15 seconds when you said “getting the mix from here… to there…” and demonstrated the two possible dynamic ranges, honest to God, not only did the first one sound better, but it was perceivably louder.
That's a terribly simplistic view of mixing. Every adjustment to amplitude is also an adjustment to the timbre and EQ. The synergistic interplay between EQ and compression needs to be dealt with by our listening, not by the adoption of a sledgehammer technique like the one you advocate here.
Your advice might apply to a certain kind of high energy music, like dance or EDM or WTF that stuff is called these days, but there is much more to the skill of balancing the mix elements than applying this kind of bonsai effect to everything.
In the example you gave of getting from here to there, the second mix is boomy and the kick drum is way too prominent. The first mix is thin and weedy, and the kick drum is also too prominent. Solution - whatever you do to that mix make sure you control the kick!
IT S DOESNT WORK nothing change when i apllied the saturator before the L2
Loudness in not about limiting and compression. It's about sound selection and good midrange. You cam make horrible muddy mix at -4 LUFS or get -6 LUFS with crystal mids and punchy bass that will be louder.
how you make a good midrange?
All the people hating in these comments saying “this isn’t a proper technique” would cry if they saw Skrillex’s project files lol
Cool tip! Nice analogy of the tree and then the branches!
Pro L in true peak? Naaa
Great video! Can I use Ableton Standard for your courses , or is Suite mandatory?
But in the intro the first example sounded better and louder than the second one :/
Nice Video! Thanks for the great and easy explanation.
i use a clipper or limiter and that works too
but not for all genres I guess
wish there was a pml discord
Amazing tip
Lets go 🤩
Nice Yannek, thanks :)
nice video!!
Nice
Great tip
👍🏼👍🏼
Anyone can explain this in simple terms?
(shave the peaks + tighten the dynamic) + take care of transients = mix louder, punchier
especially on single tracks before mixing
search for "clipping to zero technique" and you can reach -6 lufs easily
however it takes several years to master it and to achieve a good sound
i know it is good for techno, edm, metal, but maybe not for other genres who need more dynamic ranges like jazz etc..
and all this just to make spotify turn the track volume down
I’ve noticed this, too.
Mixes that are mastered louder still sound louder on Spotify compared to mixes with less aggressive compression/limiting though, even though Spotify is supposed to normalise the volume.
@@Clap_Codex not true at all. A squashed mix sounds just like that, a squashed mix. "loudness" has a lot more to do with sound design than with squashed dynamics.
@@gt4032 "fatness" is a scientific term I suppose
@@ChristianBoragine wait till you find out about the "normalize volume" radio button in spotify settings
Yea, but like I always say, the big knob on your sound system is called a volume knob. Just turn that up and voila your mix sounds magically louder.
I say that in all humility, because what I like most is very dynamic tracks and instruments a lot more than I like loudness. Most of my track imagine are at around -14 LUFS
Listened to this on iPhone 14. In first 15 seconds when you said “getting the mix from here… to there…” and demonstrated the two possible dynamic ranges, honest to God, not only did the first one sound better, but it was perceivably louder.
Exactly. The same happened when I listened to this on my tv