What a sensational explanation. I hope you have the opportunity to show more sophisticated details about other compressors and their unique character. I have been following you for years and I really enjoy the precise content you kindly provide. Thank you!
Ap mastering dude already recognized that he was not trolling digital compressor's developers as he did with eq developers ... His point seems to be more centered in 'learn to use your tools', don't be cheated by hype, and denoising marketing hype by people affected by PAS and GAS.
sage audio is my favorite channel in learning self-taught mixing, if one day there is a possibility that I have a course at sage audio I will be very happy. thank you to sage audio for the useful content. allow me to ask. if we are a mix engineer, how do we maintain the dynamics of the instrument playing from the personal character of the player input, because each player must have a different character dynamic. thank you for everything sage audio, I am from Indonesia, permission to gain knowledge
i really like your content and follow you for years now. its a pity that you don't offer a free trial for your membership, would be interesting to see what topics you cover. This video is a bit confusing for me. Lets say i put a compressor on a snare track first in the chain after that an oscilloscope to check the change of the waveform, after that i put a spectrogram plugin like(vision x, insight izotope etc.) to visualize the harmonics added by the comp (3rd, 2nd order etc) - the most digital compressor emulation don't alter the waveform over time - tried this with nearly all emulations of classic comps and exotic new digital comps on static sounds like snare, kicks etc. What do you mean with interchannel modulation?
Excellent compression demo. At least for me, this explains why I like certain analog emulations like 1176, 1178, LA-2A, Fairchild, Manley Massive Passive, SSL Bus and G3 being my favorites.
Thanks for watching! We don't provide mixing services; however, we do have a membership where we offer 50 masters a year, mixing feedback, 1:1 mentorship, and a lot more.
just for clarification, whomever says: "Your mix doesn't depend on what Compressors you use" is up to this point wrong in his argumentation. But I, ask myself what Dan Worral would say to this.
It quite literally does not matter at all. It's a tiny little imaginary digital man turning your volume knob for you. The reason aNaLoG gEaR does what it does is because it doesn't work correctly and cleanly as it ideally should.
You have more possibilities with 32 bit. Bit depth is basically the dynamic range an audio file can have (the difference between quietest and loudest part). 24 bit has approximatly the dynamic range of human hearing, which means the finished product doesn't make as much sense in 32 bit. However when working in production and mixing it is definetly an advantage to work with 32 bits, as it allows you to push the audio with heavy processing further, before it falls apart. You also won't need to worry about clipping as much. It's not magic and for a good amount of people it won't influence the sound quality at all. If you don't care about the filesize, work in 32 bit, it leaves more room for error/crazy shit.
If you want to know how much dynamic range your signal can have you can just multiply your bit depth by 6. For example 16 bits gives us (approximately) 96 db of dynamic range.
@@YuriesMix depends. If your signal is clipping, which it shouldn't be, then 32 bit will be better. But there really is no audible difference between a 24 bit audiofile peaking at -1db and a 32 bit audio file peaking at -1db
@@itellyouaboutstuff yep totally agree and possibly nobody might go above the Nyquist level. Just thought to add this, because Nyquist is the limit. if you're knowing what you do, you'll never get across. If you manage to go above Niquist you really messed up everything. The bitsize doesn't matter at all after that. It's like nuking your complete work.
An actual interesting video would be to explain why you theoretically never need to use a compressor, ever, aside from LOUDNESS but even then. I know your followers would actually appreciate it, but it also wouldn't really drive engagement. I'm serious btw; compressors make some things easier but make a whole lot of things harder, when we have other tools at our disposal like automation clips, and dynamic triggers, and surgical saturators, and spectral smoothers, and, like, computers themselves. None of those things existed when compressors were invented, and even though you came close to spelling it out, you didn't. They were used as untamed saturators that distorted the audio; the emulation of the 1176 you referred to technically "fixed" these "errors". It's like this: your subscribers can't afford thousands of dollars of vintage compressors, most likely, and an actual "deep-dive" would be to dive in to why they're not actually needed.
I suggest the 10 hour course on compression by "musician on a mission". He describes in quite simple terms that the goal of compression is to alter the peak-valley relationships. Sometimes you want to emphasize the transient which cannot be done with clip gain, automation or saturation. In many cases you have to do all these _before_ you hit the compressor, so it can work with a more even signal and it can more consistently alter the sound. Honestly, doing that long course was one of the most valuable time I have spent recently on learning the craft.
What a sensational explanation. I hope you have the opportunity to show more sophisticated details about other compressors and their unique character. I have been following you for years and I really enjoy the precise content you kindly provide. Thank you!
Ap mastering dude already recognized that he was not trolling digital compressor's developers as he did with eq developers ... His point seems to be more centered in 'learn to use your tools', don't be cheated by hype, and denoising marketing hype by people affected by PAS and GAS.
sage audio is my favorite channel in learning self-taught mixing, if one day there is a possibility that I have a course at sage audio I will be very happy. thank you to sage audio for the useful content. allow me to ask. if we are a mix engineer, how do we maintain the dynamics of the instrument playing from the personal character of the player input, because each player must have a different character dynamic. thank you for everything sage audio, I am from Indonesia, permission to gain knowledge
I’d love to see you mix an entire song or stem….
We do have this styles of videos in our online community spaces if you are interesting in joining our membership program!
i really like your content and follow you for years now.
its a pity that you don't offer a free trial for your membership, would be interesting to see what topics you cover.
This video is a bit confusing for me.
Lets say i put a compressor on a snare track first in the chain after that an oscilloscope to check the change of the waveform, after that i put a spectrogram plugin like(vision x, insight izotope etc.) to visualize the harmonics added by the comp (3rd, 2nd order etc) - the most digital compressor emulation don't alter the waveform over time - tried this with nearly all emulations of classic comps and exotic new digital comps on static sounds like snare, kicks etc.
What do you mean with interchannel modulation?
Amazing content as always
Thank you!
Excellent compression demo. At least for me, this explains why I like certain analog emulations like 1176, 1178, LA-2A, Fairchild, Manley Massive Passive, SSL Bus and G3 being my favorites.
😂every Compressor is your favorite
I would love to work with you on a mix that I have been working on. Do you mix for clients???
Thanks for watching! We don't provide mixing services; however, we do have a membership where we offer 50 masters a year, mixing feedback, 1:1 mentorship, and a lot more.
Mixing series please🙇
3:08 !!
We do have mixing series videos in our online community spaces if you are interesting in joining our membership program!
❤❤
i still dont get it but analog obsession and variety of sound are so good
just for clarification, whomever says: "Your mix doesn't depend on what Compressors you use" is up to this point wrong in his argumentation. But I, ask myself what Dan Worral would say to this.
It quite literally does not matter at all. It's a tiny little imaginary digital man turning your volume knob for you.
The reason aNaLoG gEaR does what it does is because it doesn't work correctly and cleanly as it ideally should.
Could you please make video on how to make mix sound good but dry
there are tons of tutorials out there. For example search for Brauer Compression ^^
Serial compression on vocals for different vocal types/genres please
We do have a lot of videos for this, check them out on our channel by searching for "vocal" in the videos section!
discord server when??!
Great idea, we will certainly look into this!
Can you talk about 32 bits 24 bits 16 bits? Some RUclipsrs said than 32bits get mucho better sound,
..
You have more possibilities with 32 bit. Bit depth is basically the dynamic range an audio file can have (the difference between quietest and loudest part). 24 bit has approximatly the dynamic range of human hearing, which means the finished product doesn't make as much sense in 32 bit. However when working in production and mixing it is definetly an advantage to work with 32 bits, as it allows you to push the audio with heavy processing further, before it falls apart. You also won't need to worry about clipping as much. It's not magic and for a good amount of people it won't influence the sound quality at all. If you don't care about the filesize, work in 32 bit, it leaves more room for error/crazy shit.
If you want to know how much dynamic range your signal can have you can just multiply your bit depth by 6. For example 16 bits gives us (approximately) 96 db of dynamic range.
@@itellyouaboutstuff nice , but if you want to export to get more quality, is correct in 32bits much better than 24 bits ? Or is a mistake says that ?
@@YuriesMix depends. If your signal is clipping, which it shouldn't be, then 32 bit will be better. But there really is no audible difference between a 24 bit audiofile peaking at -1db and a 32 bit audio file peaking at -1db
@@itellyouaboutstuff yep totally agree and possibly nobody might go above the Nyquist level. Just thought to add this, because Nyquist is the limit. if you're knowing what you do, you'll never get across. If you manage to go above Niquist you really messed up everything. The bitsize doesn't matter at all after that. It's like nuking your complete work.
❤
An actual interesting video would be to explain why you theoretically never need to use a compressor, ever, aside from LOUDNESS but even then. I know your followers would actually appreciate it, but it also wouldn't really drive engagement.
I'm serious btw; compressors make some things easier but make a whole lot of things harder, when we have other tools at our disposal like automation clips, and dynamic triggers, and surgical saturators, and spectral smoothers, and, like, computers themselves. None of those things existed when compressors were invented, and even though you came close to spelling it out, you didn't. They were used as untamed saturators that distorted the audio; the emulation of the 1176 you referred to technically "fixed" these "errors".
It's like this: your subscribers can't afford thousands of dollars of vintage compressors, most likely, and an actual "deep-dive" would be to dive in to why they're not actually needed.
I suggest the 10 hour course on compression by "musician on a mission". He describes in quite simple terms that the goal of compression is to alter the peak-valley relationships. Sometimes you want to emphasize the transient which cannot be done with clip gain, automation or saturation. In many cases you have to do all these _before_ you hit the compressor, so it can work with a more even signal and it can more consistently alter the sound. Honestly, doing that long course was one of the most valuable time I have spent recently on learning the craft.
First cmt, ❤❤
did Daddy say that when your mom and dad made up together? Who cares?
Third
Paul is that you?!
still too late to that party and still nobdody cares, even your dad, whilst introducing you into this phenomenal world :P