Get Weiss DS1-MK3 bit.ly/38KZkJX ATTENTION: BEFORE ASKING "YOU CAN DO IT WITH SUCH AND SUCH WITH SIDECHAIN FILTER: ***WATCH THIS -> ruclips.net/video/5PA0vXHa7Rw/видео.html it's basic stuff. Like REALLY basic, don't even get near mastering if you don't know stuff like this. Join the channel to get access all the videos: bit.ly/2SNX8bx Bella Kelly's Single/Video Throat: bit.ly/3dxeJOf
luca pretolesi is a master of sidechain inserting EQ's to emphasize midrange with limiters and compressors for anyone interested in gaining more knownledge on this
David, can you explain the difference between the band selective compression and regular multiband compression? I would like to understand the whole concept of Weiss. Thank you
Wow! What I love about your channel is that you can see videos like this on it. You give answers to very specific questions, which nonetheless arise for so many people involved in mixing and mastering.
So are you able to explain how it actually differs from the Fabfilter Pro MB or Waves LMB? like there was no explanation whatsoever here and he just did exactly what you would do in both those plugins? Pls endeavour to overcome your cognitive dissonance here and be honest.
Excellent video, the Weiss DS-1 Mk3 seems like a great plugin, I use DMG Compassion to do selective band compression, it has LP filters and even more options like asymmetrical bandbass (ie HP and LP filters can be independently set from to 6 to 24 dB/oct), variable RMS window, a transient processor, a gain reduction limiter with a curve, and various ways to shape the attack, release and compression curves. The downside is that the number of parameters is much higher and it might take more time to fine tune everything. Can't wait for part 2... Oh wait it's already up!!!
I can't see the difference to a linear multiband compressor. As long as you have a gain-knob for each band this is pretty much the same (okay, if you want to do parallel processing you'll have to set that up). But logically there is no difference. You choose a band. You compress it, you boost it. Maybe I'm not seeing something here, but from where I'm standing that's it. It may be a very great and clean compressor, but basically it's a compressor which you sidechained to only affect a specific area (without compressing the other frequencies AT ALL ... not like many internal sidechain-functions for wideband compressors).
How this is different from multiband compression? From your explanation in the video it perfectly describes a multiband compression signal chain with "transparent" filtration, amplitude mod and summing of signals in dsp. The difference being maintained phase relationships of signals from input to output? Sounds like it is physically performing similar tasks with an improved result taking account of things the tool users care about.
@@mixbustv Not really though. We got: 1- It's used by all great mastering engineers for the past decades, 2- this compressor has functions that don't exist elsewhere. So what is the function? The filters and their phase response? The degree of granularity in control (precision)? I'll wait for part 2.
You could get very similar, if not identical, results by making two copies of your mastered track and mixing a linear phase filtered copy and compressing it, then mixing it back in. Or you could take a linear phase multiband compressor, and solo the band you want. Then mix this in with the final thing. That is what this is doing with some unity level matching to make it easier. That is all it's doing. It's linear phase parallel compression where you get rid of any signal that is not within the filter curve of your compressed band. The creative thing this unit does is that the makeup gain is a LEVEL and a MIX control. So when you mix it in parallel it's controlling how loud the selected band is, as well as it's relationship to the unfiltered bands. It's basically parallel mixing inside of it's own filtered bands or some odd thing like that. How do I know I'm right? 1. I read the Weiss DS1 manual. 2. Bob Katz talks about it. Danial Weiss asked his opinions while designing the MK2 unit. Bob Weiss's comments are below: "IN PARALLEL MODE: Input signal goes to the bandsplit filter, which can be engaged, or set to wideband. Let's engage it and set it to a bandpass. Then apply dynamics processing and a gain makeup control. The portion of the signal that is UNTOUCHED, that is, BELOW the filter range and ABOVE the filter range, is DISCARDED. The filtered, processed signal is then mixed with the wideband dry signal at unity gain. The Gain makeup control adjusts the level and MIX of the filtered signal with the wideband dry signal. The two output controls affect the output before and after the peak lmiter, which operates wide band. IN NORMAL (downward) MODE Input signal goes to the bandsplit filter, which can be engaged, or set to wideband. Let's engage it and set it to a bandpass. Then apply dynamics processing and a gain makeup control. The portion of the signal that is UNTOUCHED, that is, BELOW the filter range and ABOVE the filter range, is sent unaltered to the output section. The Gain makeup control adjusts the level and MIX of the filtered signal with the untouched signal at unity gain. The linear phase filtering is so good that if no gain reduction is occuring and the gain makeup is at unity, the sum is EXACTLY equal to the input. The two output controls which follow affect the output level of this mix before and after the peak lmiter, which operates wide band. Carefully compare the languages of these two paragraphs and you will see there are only two tiny differences in the two block diagrams! The normal compressor has always contained a mixer. The only difference is that in the normal compressor, the unfiltered signal is mixed in while in the parallel compressor, the wideband "dry" signal is mixed in and the unfiltered signal is discarded. I was the one to suggest to Daniel that he was only a few paces away from implementing parallel compression in the Mk2 since all the tools were there, even the mixer. All he had to do was implement a wideband "dry" signal at unity gain. And thus parallel compression was added to the existing DS1 Mk2. It's been a very effective addition. In transparent parallel mode (Katz presets) the Weiss is the most transparent, invisible compressor I've ever heard."
@@mixbustv After reading Bob Katz and Adam Dempsey's thoughts on the unit and reading the manual... and trying it... the implementation of the linear phase crossover delay's and the way it mixes back into the original signal is obviously the magic here. This unit, as described by it's creator and those involved making it, does work as I've laid it out. But keeping the phases congruent through dynamics is likely what's special here.
Honestly, this is the best engineering vid I have seen on yt so far. 20 yrs ago I did the SAE course, it was magic and fun and obviously mastering was covered, but not like this. Thank you
Thanks for the video. How is this different to Pro MB? Like... you're picking a frequency band and then applying compression? I'm really struggling to see the difference. Also something that should be mentioned is that MB Compression or limiting isn't often used because it wasn't often used in the past, and so the eventual effect it has isn't too familiar or pleasant. Also because it's basically a wide curve EQ cut or boost but with an onset determined by the attack, it has a similar effect of dampening the sound, or applying a non-naturally occurring shape in the frequency range.
WoW fantastic, I have study sound but I’m learning more with you than with all my professor in 3 years at uni, loving all your videos so far , so helpful. Grazie
I still have a way to go before Im at trhe stage of buying bits of kit like this and then actually knowing how to use them effectively but its so much fun to watch what can be achieved with the right direction and a little bit of no nonsense advice from real proffessionals,,, cheers again David fantastic content, I will say membership is worth every penny!
Always better to fix the issues during recording whenever possible. If something is too bassy (like the guitar), then I tend to reduce the low end and record again. This helps in my workflow very much and speeds up the finalizing of the track. Kick not beefy enough? Add a subkick and tune it lower instead of trying to pump it with parallel compression only. Simple steps tend to work best in my case. As I remember you said once in one video: "If you come to the point to use a multiband compressor, then you might have done something wrong before that"
Yes, buy my vids don't assume one does everything by him/herself, which is not really how it's supposed to be, I receive tracks to mix and mix to master from my clients, so videos are for mixing and some like this course for mastering z assuming the normal flow of a production when you can't do any of the above.
@@mixbustv Right, I agree. In reality you may be getting messed up tracks and that's where your knowledge shines the best, how to pull out the most from the given situation. Keep up the good work, your content is one of the best out here on YT! Cheers :)
The Fabfilter products are great; especially because the plugins are digital, linear, clean, and noise-free. In order to achieve this effect from the Weiss DS1, I would simply use linear phase Eqs and Compressors in the mastering stage period. Next, the key is to set up an Eq to be the "key-input" to the external sidechain of the compressor's external sidechain input. You will now be able to selectively dial in which band you would like to roll-off (which this band selection in the Eq won't be the band used in the compression stage); into the external sidechain of a mastering compressor (VCA / SSL-styled) thus you'll be able to target more than just typically HPF internal sidechain methods.
@@jreel8245 easy 😄 not a waste of time at all for having something similar, not the same, which defeat the entire purpose of having a unit that has *that* imprint used and heard on countless records. I absolutely hate this era of approximation. No, I actually like it, that's why my mastering schedule is full 😄
@@mixbustv I appreciate you and your response. I think having an all-one tool is is always resourceful, useful, a time-saver, and efficient. I am simply speaking in terms of applying the comprehension behind the application of the DS-1. One may obtain the achieved effect and task through other means. For example, channel strip plugins are great and a one-stop shop which makes processing more faster and efficient than having to compile a channel strip manually searching through individual preamp emulations, EQs, gates, and compressors separately. I understand what the DS-1 is doing and believe one may achieve the same effect for the purposes of mastering a heavy low end. ;-)
@@jreel8245 you can't, you can ballpark it and ballpark it in mastering defeats the purpose of even doing anything. Read other comments on people spending time trying, and then realizing is not the same thing. I teach excellence, because mixing and mastering is my job, others like cheap everything and workarounds, it'd be like going Into a Lamborghini dealer and say "my Toyota gets me places too". Also, you didn't see the rest of this
i just did a test and meh...nothing big. render a file with weiss and one with pro mb using the same settings, phase shift one of them and you will hear what is not the same. TADA!
Hey David. Long time fan here. I just wanted to point out that there's a gain compensation in most of (if not all) mb compressors. Compressing the low end by 3-4db, with the right attack/release sertings will not necessarily introduce distortion. After that, put that gain back and you're good to go. Can't really tell what Weiss is doing differently in this example.
It's safe to say that I know what a multiband compressor does :D it's not the same, and I know many won't hear the difference or it'll take time to understand, that comes with use, real use, mastering every day, different material, for clients, and mastering is about the most minute details - as opposed to slamming as much as possible as it's done in home mastering, that's why part2 is for members only. Hearing the difference on 1 example means nothing, just like A/B tests means nothing. Work with this unit/plugin long enough, spend time with it and then tell me. This is just HALF of one function I'm explaining here, half of one, the second part goes a lot more in depth and detail but, again, this is an advanced course, "how to use delay on vocal" would be easier to hear :D
this guy has such an appreciation for mixing you feel happy with him when he's got that half a smirk and is all like "can you hear how that top end opens up". I bet he's a good mate out to get drunk with. Another good video, going to try this out.
There wasn't any "equivalent" or the unit wouldn't have become so ubiquitous in mastering houses. Yeah they did fine in the 50's, 60's, 70' too, for the standards of those respective eras. Engineering a record doesn't boil down to one unit.
🤣🤣🤣 I love most music But to say Led Zeppelin 1 sounds as quality as things from 90s on is definitely laughable The songs are great and players too but the audio is not as hi fi It’s clear as day
wow great video. that thing was pure magic on the high end. and it's so great that it's a digital 1:1 copy of the hardware unit! that makes so much sense, but is very rarely ever done. reading some of these comments was painful. i totally get people who don't understand everything about what makes this unit different and asking questions. what i don't understand is people that don't understand it, yet claim that high end professional mastering engineers are wrong. smh. thanks for the great video David. You're amazing!
rarely done, because many digital hardware boxes are obsolete, and there are not that many worth copying over. it's pretty easy to port over code actually.
Thanks for great video. I have a question about using multiband compression in mixing. We all know what using multiband compressor in mastering is not ideal, same as using it on mix bus or drum bus while mixing. I ofter use multiband compressor on heavy guitars to tame heavy palm mutes from 70Hz to 300Hz. Common technique. And here's the question. Is it better to use this multiband compressor on guitar bus or on separate guitar tracks in mixing stage? I want to avoid unnecessary artifacts and unpleasant tone changing you were talking in this video. Thank you for your answer.
@@LucasMichalski not at all, there's nothing wrong with using one on 2 bus as long as you know the processing, why are you using it, what you want from it and all that.
Yo David i don’t care if the vidéo is sponsored or not i’m here to learn and you help a lot of people like me and many thanx for a great content👍🏿👍🏿👍🏿 you rock
It's not, in fact, I got in touch with Softube after it was done and uploaded just to get them on board with a discount for people, go figure. And no I don't get anything if you (anyone) buy it. I have my members, members make it so I don't need to. I made this course because this is one of the tools I (and many other engineers) use in mastering and as mentioned, you will not find an in depth use of these anywhere on youtube.
@@mixbustv in your course is the pt. 2 of this the only video where you cover DS1 or do you go in-depth in other videos too? Paying for MyMixLab rn with Luca & Reid and their content is kinda like a lot of beginner stuff.
@@blankcheckguy69 well 😄 I ain't gonna comment on that. No, that is the only video, I think I might have used it in another couple of vids briefly but they're all members only
Hi David. I've been using Weiss DS1 MK3 for a good while mostly for mastering. But recently I started using it for mixing.. Very often I use regular Multiband Compressor on vocals in upward compression mode, recreating dynamics after all compression (for example slightly using upward compression around 2k). Recently I changed it to DS1 MK3. Same concept I use DS1 which narrow band selected around 2k or so with upward compression to add some subtle dynamics back to vocals. What is your opinion about it? Pros and cons of using regular Multiband compression vs DS1 on vocals. Thank you so much.
@@mixbustv in my case CPU is not a problem as I have new custom built PC. So in that case you recommend using DS1. I also use miltiband compressor on heavy rhythm guitar bus to take slightly range from 70 to 300Hz (to tame the muddy palm mutes). Shame that DS1 cannot be set precisely from 70 to 300Hz. Or it can? Thank you once again David.
I was literally just thinking the other day.. I wonder if they had this Weiss hardware unit as a plug-in and then I stumble across this video... I wanna buy this asap
Theoretically speaking, what is the difference between band selective and multiband compression? It is not that clear to me. Multiband compression is, basically, compression with filters, which in turns are band selective systems. So I don't really get the, let's say, mathematical difference between the two. It may be very helpful to me to understand this. Thank you David for your videos!
@@nicolaignazio I think fabfilter MB can do what's described here, on multiple bands simultaneously. It is possible to trigger any frequency range using any other frequency range (or the entire range) as an internal sidechain
David, thank you. You are a gifted and sensitive artist... Yes yes yes, I used this plugin only once but was totally blown away. Soooooo very powerful. Thanks again :)
at least I don't have to go spend $$ for the plug, already have it:-) cause I def would after seeing this. again you have taken a complicated plugin and made it much easier to understand. thank you! joining
They do different things, I have to say Unisum is great, amazing plugin, but I didn't spend much time with it and it has a learning curve for sure. I knew the hw for this, and I use it all the time. Maybe at some point I can make a video on the differences and different uses (altho' they are in the same category)
@@mixbustv great, thanks for both videos. very indepth. yes, i got both (DS1 was a bit of an afterthought when getting their EQ1 in the weiss bundle) but tend to lose myself in unisum occasionally. think something you had a name for in another vid, when you cant stop messing around with settings. will seriously play with ds1-mk3 now, seems possibly a bit easier to handle. if only the ui was resizeable. need to invoke the disability lens on hires.
I'm a little confused by the comment about cancellation near corner freq when using a non linear multiband comp. That might be the case when used in parallel or when summing multiple tracks to a single file, but when mastering this single stereo track there wouldn't be any of this type of stereo summing ... As such we don't have anything to cancel against. The phase shift is indeed added to the signal, be we as humans can't perceive absolute phase it as far as I know. What are your thoughts on this? This might be an ignorant question but it's something I'm trying hard to understand. I really think there is a huge misconception on this topic and I'm trying to get to the bottom of it. Thanks in advance for the interesting and thought provoking video.
It's no problem, any non linear xover will cause a phase shift at the corner frequency, it doesn't matter if you parallel or not, the sound changes, in fact, you saying that you'd be able to hear the difference if you'd parallel is (one more) proof. The phase shift in this case is perceivable, because by nature it changes the original sound, it's not gonna be as obvious as if you'd parallel but it's there, whether is a problem or not, it depends on the material and where you set the xover.
@@mixbustv I think my confusion is that we must be able to perceive phase of it's smaller section of the full spectrum. Maybe my misunderstanding is if the phase of all frequencies are changed 180 deg then we can't perceive it. Either way I learned something. Cheers!
@@RaytownProductions a onlinear xover will cause a change, let's put it this way, most likely (and putting it in a very very simplistic way) a dip of some sort at each corner frequency, think of it as someone slightly touched your eq there, the Q and the degree depends on the filters used in the xover, and there are MANY types so, each plugin/hw will do this differently. And no, nothing else in the spectrum is touched and no there's no 180 flip, a phase shift is not a phase flip. So yes, you will hear it, depending how trained your ears are.
Hi David, very interesting - thanks for sharing! I was wondering if you've tried this trick on the DMG Essence plugin. Just in terms of features, it appears to share a lot of similarities with the Weiss. I happen to own this one and tried it (and formed an opinion on its use for such an application) but would love to hear your experience on this (if you have) since I can't make any comparisons to the Weiss.
I was probably the first one to show tricks with Essence, to control the low end. Actually, not probably, I was the first one, then dozens ripped off my vids. DMG makes great stuff, but Essence is not the DS1
I know you've shown an example with multi band compression, but what is the difference between what you've done vs doing the same things/settings with multi-band compression by just compression the low band? Great video as usual :)
Great video David. Just bought the DS1-MK3 and joined your members group to gain access to the second part of this video, but I'm struggling to find it. Can you please point me in the right direction? (name of the video to search for in the members section) Thanks in advance and Happy New year!
Welcome to the team! All members only videos are in this playlist: ruclips.net/p/PLqsobmO-YS_6Ym3k3bStc5ulvmERJCWeH when more are made/added they will be automatically added to that playlist
@@mixbustv Thanks David. Found part 2 of the video and already have a much better understanding of how to use this amazing plugin. Very much appreciated. For me, this video alone makes the membership fee fantastic value. Keep up the great work buddy.
Awesome video. How does this compare to the BSS DPR 402 compressor, or just compressing one band of a linear phase multi band compressor? Am I wrong to think that they all would do a very close job?
Quick question about multi band compression, I’ve seen some people (like disclosure) use the Drawmer S73 during the mastering stage, is that unit any different than something like Pro MB or it causes the same problems?
The S73 is an absolute monster unit, discontinued, amazing amazing unit. You can't do linear xovers in analog, so yeah, but, Drawmer mastered the art of making arguably some of the most musical xovers in their multiband compressors ever made, this is one of the reasons their multibands are so good. The 73 has some heritage from the S73 is one of best unit ever made (and it was priced accordingly) I wish they still had it
Because of the issues with limiting low end too much, is it wise to mix your low end slightly on the side of too quiet rather than on the too loud side, so that it can be brought up in mastering rather than pushed back down? I know ofc ideally the low end should be at the perfect level, but if you had to choose, I'm assuming mixing the low end slightly too quiet is better than slightly too loud? Or does it not really matter until you start getting past 6/7 DB too loud?
You sacrifice low end for loudness 90% of the time you're gonna end up with a thin, ball less mix that is loud. No, your priority should be good not loud. Loud is secondary
@@mixbustv Oh I understand that, I was asking in a hypothetical example, if you had to choose between too much bass and too little in a mix, what would give the best result in mastering. Say if a client gave you the only two existing mixes of a song, one with too little bass, and one with too much, which do you think will end up being the better sounding mastered track at the end.
Why aren't you level matching the make up gain of the low end? You use make up gain on the DS1 but not on the linear phase multiband so the low end is already softer in volume. This makes it hard to hear the effect?
Welcome to the fam! Here's the playlist ruclips.net/video/DFxjfsrVF6g/видео.html And new members only video are included automatically there when uploaded, but check the community page as well and if you want you can join the private facebook group too (mixbustv members) Unfortunately youtube doesn't give us a way to notify members directly.
@@mixbustv excellent.. what are the steps I take for a mix/master review from you. Also would like if it’s at all possible to pay for an hour of your time when you’re available
I picked up the Weiss Compressor / Limiter which has the Band Selective Low Pass filter. Is this the opposite of a High Pass sidechain filter on a compressor which rolls off compression below the selected sidechain frequency? The Weiss manual says that in Band Selective Mode "a frequency crossover is put into the signal path, splitting it up into two or three bands, depending on the filter type setting. One of the bands is compressed, the other is delayed by the same amount used as 'delay' in the compressor stage." It doesn't specify which band is compressed and which is passed. Judging from your video the low frequency is compressed and the rest is not - correct?
If you select the LPF (1st from left) yes, the band pass whatever portion you select with the freq selection + band width; HPF, high end, again from whatever corner freq you select and up.
In essence, this compressor works exactly like a sidechain; only the Weiss Ds1 offers several different bands to sidechain (High Cut/LPF, Bandpass, and Lo Cut/HPF). In addition, as an alternative technique, I honestly think SSL Styled Compressors aka VCA (noise-free) compressors will do the same job and work well if used with a Linear Phase Eq that's ran into the external sidechain input of an external sidechain capable VCA compressor. ;-)
No. I don't think so. I could be wrong but... The Internal side chain is used to select what frequencies of the sound will trigger (single band) compression on the entire signal. Selective band compression is isolating a particular frequency range to compress (single band) while leaving all other frequency ranges untouched... Internal side chain= Compress the whole thing using the "problem signal" as the deciding factor of when/how much to compress. Selective band= Compress only the "problem signal" and leave everything else alone.
@@alexsannie3643 the sidechain on compressors that has the functionality to use a LPF/HPF sidechain filter is to roll of that frequency from compressing. If the HPF was used, then the low end information; such as sub-bass, kicks is not triggering heavy compression by those transients. Apparently, the DS-1 has a feature which is a one-stop-shop tool, which will allow the user to selectively choose bands to be focused on.
Yeah it’s the same thing. Weiss is great and I use it all the time but this technique can be done in other plugins so not sure why he says it’s unique to the Weiss
You can compress any frequency with a dynamic eq like nova or q3 and then pull up this frequency by few db on another eq. I call it to ''hang up'' a frequency. Also thanks for vid man, gotta check that ds1 stuff.
Hello David. I would like to ask about m/s processing (EQ & Dynamics), you mention that they are not the tools that mastering engineers actually use? and you also said that they are useful when there's a "problem" in the mix. So just to get it right, in this video, you had a very good mix (good image, good dynamics, good frequencies) and you just wanted to nail the compression? If for instance, the mix was narrower wouldn't you use M/S processing? Thank you :)
Big distinction between MS compression and MS eq, one it's harmless, so to speak, the second comes with a lot more artifacts and possible drawbacks. If the mix is narrow, I rather use my Fusion to open it up, or 5 other choices I have other than eq. I use MS eq if the mix (so I'm mastering, I don't have access to the mix) has problems, like a nasty resonance on the guitars, low mids, only on the sides, and so on. People use it as an "make it better" enhancer tool but it's not, you're just fooling yourself when you boost something in MS because 1, you're raising the volume and two, wider always sound better the first 20 seconds. The next day you lost power in the mid and the whole thing sound hazy. So as everything else, know the purpose, know the drawbacks, and go from there.
@@mixbustv Ok I think I understand what you mean. M/S Compression does the trick of introducing some wideness to the master material by compressing with different settings so you're mostly ok with that. But Fusion since you mentioned it, with the "warmth" (i think?) setting, is using shuffling, which is in fact an S low shelf gain. For instance, if i have a master with some synthesizers that need some top end, but i don't want to introduce the top end in the M channel and fight with a vocal is it a bad choice to do it in the S? I've never felt good when I'm using stereo enhancers (multiband or fullband), the punch is lost really quickly, if for instance you want "choppy" and wide hi frequencies and most of the time they expose bad underlying reverbs... with S EQ i can be a bit more precise i think.. but since you say it's not good i should try and use something else... I'm in no way trying to debate what you are saying here, just clearing up some stuff in my head. Thanks for answering and for your great content!
ozone’s multiband compressor doesn’t introduce any phasing (i’ve null tested). you can also parallel and add gain to each band. does this mean that you could effectively achieve the same results? (i’m trying to save myself £440 here😅)
@@mixbustv Like many others in the comments, I don't understand what the difference is? If you can explain it I will legit become a member 😅 (edit): Is it simply a matter of transparency? I still don't really understand how it's different to something like pro MB
@@aeloh6921 well, I did, and did it even more on part2. This is a very detailed type of work, and there's a reason why it's done with this unit and not others, it say it in the video. Some people like to approximate, I don't, most pros don't. As far as another one of your comments, this couldn't be more different than using a sidechain on Proc2 or alike, How even? Internal sidechain doesn't turn a wide band compressor into a band selective compressor, nor a multiband. It's not even close. I think you have some confusion on what internal sidechain does on wideband comps. ruclips.net/video/5PA0vXHa7Rw/видео.html
Man, i really like your videos. I watched a lot one year ago, but i let down music for a moment until these recent days. Really glad to watch it again. Thank you very much for all your knowledge that your share with us. I talked about "Mixing academy". Are you in the plateform of Produce like a pro ? You give some course ? It's interesting because i would like to join in few days.
@@mixbustv So, i'll be, for sure, as soon as possible a member really soon. You and Warren taught me a lot in two days, two years ago, and a lot more in two days, by now. Thanks a lot. Just for information, because i'm looking for a sound engineer to mix my first single this month, how can i contact you if i want you to mix my song ? How can i know your price and all ? If it's possible, of course.
![BLACK BAG - Official Trailer [HD] - Only in Theaters March 14](http://i.ytimg.com/vi/Du0Xp8WX_7I/mqdefault.jpg)
Get Weiss DS1-MK3 bit.ly/38KZkJX
ATTENTION: BEFORE ASKING "YOU CAN DO IT WITH SUCH AND SUCH WITH SIDECHAIN FILTER: ***WATCH THIS -> ruclips.net/video/5PA0vXHa7Rw/видео.html
it's basic stuff. Like REALLY basic, don't even get near mastering if you don't know stuff like this.
Join the channel to get access all the videos:
bit.ly/2SNX8bx
Bella Kelly's Single/Video Throat: bit.ly/3dxeJOf
luca pretolesi is a master of sidechain inserting EQ's to emphasize midrange with limiters and compressors for anyone interested in gaining more knownledge on this
@@joost3783 Luca is the Jedi Master of Jedi Masters ;)
Where should i find the second part ? thank you
i just find it !
Where's part deux?
This channel is priceless, every video is pure gold. Thank you David! Hope you're recovering well
agreed 150%!!!
David, can you explain the difference between the band selective compression and regular multiband compression? I would like to understand the whole concept of Weiss. Thank you
Yeah he doesn’t explain the difference.
Wow! What I love about your channel is that you can see videos like this on it. You give answers to very specific questions, which nonetheless arise for so many people involved in mixing and mastering.
that plugin is the magic!, gretting from Argentina
One of the best things I ever did was to buy the Weiss mastering bundle. Absolutely amazing.
Not many understand there are still superior plugins.... looks are nothing...
So are you able to explain how it actually differs from the Fabfilter Pro MB or Waves LMB? like there was no explanation whatsoever here and he just did exactly what you would do in both those plugins? Pls endeavour to overcome your cognitive dissonance here and be honest.
Excellent video, the Weiss DS-1 Mk3 seems like a great plugin, I use DMG Compassion to do selective band compression, it has LP filters and even more options like asymmetrical bandbass (ie HP and LP filters can be independently set from to 6 to 24 dB/oct), variable RMS window, a transient processor, a gain reduction limiter with a curve, and various ways to shape the attack, release and compression curves.
The downside is that the number of parameters is much higher and it might take more time to fine tune everything.
Can't wait for part 2... Oh wait it's already up!!!
yes it it!
Finally pulled the trigger on joining! Looking forward to leveling up my mix game even more!
Welcome to the team!
This was helpful! Sold me on the Weiss!!!! I'm excited to pair this with my Neve MBP. Thanks!
I can't see the difference to a linear multiband compressor. As long as you have a gain-knob for each band this is pretty much the same (okay, if you want to do parallel processing you'll have to set that up). But logically there is no difference. You choose a band. You compress it, you boost it. Maybe I'm not seeing something here, but from where I'm standing that's it. It may be a very great and clean compressor, but basically it's a compressor which you sidechained to only affect a specific area (without compressing the other frequencies AT ALL ... not like many internal sidechain-functions for wideband compressors).
exactly how it works! Mann muss die Dinge ja nicht überkompliziert machen!
I would definitely be interested to know how this unit differs from linear multiband compression, yes..
He already talked about it, the phasing, the linear one isn't pure magic, it still phases.
How this is different from multiband compression? From your explanation in the video it perfectly describes a multiband compression signal chain with "transparent" filtration, amplitude mod and summing of signals in dsp. The difference being maintained phase relationships of signals from input to output? Sounds like it is physically performing similar tasks with an improved result taking account of things the tool users care about.
explained in the video, better explained in part2
@@mixbustv Not really though. We got: 1- It's used by all great mastering engineers for the past decades, 2- this compressor has functions that don't exist elsewhere. So what is the function? The filters and their phase response? The degree of granularity in control (precision)? I'll wait for part 2.
You could get very similar, if not identical, results by making two copies of your mastered track and mixing a linear phase filtered copy and compressing it, then mixing it back in. Or you could take a linear phase multiband compressor, and solo the band you want. Then mix this in with the final thing. That is what this is doing with some unity level matching to make it easier. That is all it's doing. It's linear phase parallel compression where you get rid of any signal that is not within the filter curve of your compressed band. The creative thing this unit does is that the makeup gain is a LEVEL and a MIX control. So when you mix it in parallel it's controlling how loud the selected band is, as well as it's relationship to the unfiltered bands. It's basically parallel mixing inside of it's own filtered bands or some odd thing like that.
How do I know I'm right? 1. I read the Weiss DS1 manual. 2. Bob Katz talks about it. Danial Weiss asked his opinions while designing the MK2 unit. Bob Weiss's comments are below:
"IN PARALLEL MODE:
Input signal goes to the bandsplit filter, which can be engaged, or set to wideband. Let's engage it and set it to a bandpass. Then apply dynamics processing and a gain makeup control. The portion of the signal that is UNTOUCHED, that is, BELOW the filter range and ABOVE the filter range, is DISCARDED. The filtered, processed signal is then mixed with the wideband dry signal at unity gain. The Gain makeup control adjusts the level and MIX of the filtered signal with the wideband dry signal. The two output controls affect the output before and after the peak lmiter, which operates wide band.
IN NORMAL (downward) MODE
Input signal goes to the bandsplit filter, which can be engaged, or set to wideband. Let's engage it and set it to a bandpass. Then apply dynamics processing and a gain makeup control. The portion of the signal that is UNTOUCHED, that is, BELOW the filter range and ABOVE the filter range, is sent unaltered to the output section. The Gain makeup control adjusts the level and MIX of the filtered signal with the untouched signal at unity gain. The linear phase filtering is so good that if no gain reduction is occuring and the gain makeup is at unity, the sum is EXACTLY equal to the input. The two output controls which follow affect the output level of this mix before and after the peak lmiter, which operates wide band.
Carefully compare the languages of these two paragraphs and you will see there are only two tiny differences in the two block diagrams! The normal compressor has always contained a mixer. The only difference is that in the normal compressor, the unfiltered signal is mixed in while in the parallel compressor, the wideband "dry" signal is mixed in and the unfiltered signal is discarded. I was the one to suggest to Daniel that he was only a few paces away from implementing parallel compression in the Mk2 since all the tools were there, even the mixer. All he had to do was implement a wideband "dry" signal at unity gain. And thus parallel compression was added to the existing DS1 Mk2. It's been a very effective addition. In transparent parallel mode (Katz presets) the Weiss is the most transparent, invisible compressor I've ever heard."
@@ryanpwm no you can't but you're free to believe
@@mixbustv After reading Bob Katz and Adam Dempsey's thoughts on the unit and reading the manual... and trying it... the implementation of the linear phase crossover delay's and the way it mixes back into the original signal is obviously the magic here. This unit, as described by it's creator and those involved making it, does work as I've laid it out. But keeping the phases congruent through dynamics is likely what's special here.
Honestly, this is the best engineering vid I have seen on yt so far. 20 yrs ago I did the SAE course, it was magic and fun and obviously mastering was covered, but not like this. Thank you
20 years ago things were different... so this is to be expected.
Finally producing one of my own bands songs for a change and this is super helpful, your knowledge is GAME CHANGING, thank you so much!
is it?
@@alexgregory1427 ha ha
must.see.part.2 :D you rock! thank you so much for this. WIsh you a speedy recovery!
Thanks for the video. How is this different to Pro MB? Like... you're picking a frequency band and then applying compression? I'm really struggling to see the difference. Also something that should be mentioned is that MB Compression or limiting isn't often used because it wasn't often used in the past, and so the eventual effect it has isn't too familiar or pleasant. Also because it's basically a wide curve EQ cut or boost but with an onset determined by the attack, it has a similar effect of dampening the sound, or applying a non-naturally occurring shape in the frequency range.
Really inspiring. That plugin definitely separates the hobbyist from the professional. $550 retail and $400 on sale.
I just checked (Feb 7), it's $29.
@@briancase6180 where was that?
@@fernandoherrerabastidas in his dream
I love how you turn off the bypass at 15:26 , hear how clear the high end gets and then start smiling, I exactly had the same reaction 😂
Good stuff man. I learned a lot. Cheers from Jersey
WoW fantastic, I have study sound but I’m learning more with you than with all my professor in 3 years at uni, loving all your videos so far , so helpful.
Grazie
Cannot find the second part video ? link?
I still have a way to go before Im at trhe stage of buying bits of kit like this and then actually knowing how to use them effectively but its so much fun to watch what can be achieved with the right direction and a little bit of no nonsense advice from real proffessionals,,, cheers again David fantastic content, I will say membership is worth every penny!
Thank you!!
Always better to fix the issues during recording whenever possible. If something is too bassy (like the guitar), then I tend to reduce the low end and record again. This helps in my workflow very much and speeds up the finalizing of the track. Kick not beefy enough? Add a subkick and tune it lower instead of trying to pump it with parallel compression only. Simple steps tend to work best in my case. As I remember you said once in one video: "If you come to the point to use a multiband compressor, then you might have done something wrong before that"
Yes, buy my vids don't assume one does everything by him/herself, which is not really how it's supposed to be, I receive tracks to mix and mix to master from my clients, so videos are for mixing and some like this course for mastering z assuming the normal flow of a production when you can't do any of the above.
@@mixbustv Right, I agree. In reality you may be getting messed up tracks and that's where your knowledge shines the best, how to pull out the most from the given situation. Keep up the good work, your content is one of the best out here on YT! Cheers :)
I really don't see how it is different from the MB pro in linear phase mode, except from the fact it can only do a band a time..?
The Fabfilter products are great; especially because the plugins are digital, linear, clean, and noise-free. In order to achieve this effect from the Weiss DS1, I would simply use linear phase Eqs and Compressors in the mastering stage period. Next, the key is to set up an Eq to be the "key-input" to the external sidechain of the compressor's external sidechain input. You will now be able to selectively dial in which band you would like to roll-off (which this band selection in the Eq won't be the band used in the compression stage); into the external sidechain of a mastering compressor (VCA / SSL-styled) thus you'll be able to target more than just typically HPF internal sidechain methods.
@@jreel8245 easy 😄 not a waste of time at all for having something similar, not the same, which defeat the entire purpose of having a unit that has *that* imprint used and heard on countless records. I absolutely hate this era of approximation. No, I actually like it, that's why my mastering schedule is full 😄
@@mixbustv I appreciate you and your response. I think having an all-one tool is is always resourceful, useful, a time-saver, and efficient. I am simply speaking in terms of applying the comprehension behind the application of the DS-1. One may obtain the achieved effect and task through other means. For example, channel strip plugins are great and a one-stop shop which makes processing more faster and efficient than having to compile a channel strip manually searching through individual preamp emulations, EQs, gates, and compressors separately. I understand what the DS-1 is doing and believe one may achieve the same effect for the purposes of mastering a heavy low end. ;-)
@@jreel8245 you can't, you can ballpark it and ballpark it in mastering defeats the purpose of even doing anything. Read other comments on people spending time trying, and then realizing is not the same thing. I teach excellence, because mixing and mastering is my job, others like cheap everything and workarounds, it'd be like going Into a Lamborghini dealer and say "my Toyota gets me places too". Also, you didn't see the rest of this
i just did a test and meh...nothing big. render a file with weiss and one with pro mb using the same settings, phase shift one of them and you will hear what is not the same. TADA!
Hey David. Long time fan here.
I just wanted to point out that there's a gain compensation in most of (if not all) mb compressors. Compressing the low end by 3-4db, with the right attack/release sertings will not necessarily introduce distortion. After that, put that gain back and you're good to go. Can't really tell what Weiss is doing differently in this example.
It's safe to say that I know what a multiband compressor does :D it's not the same, and I know many won't hear the difference or it'll take time to understand, that comes with use, real use, mastering every day, different material, for clients, and mastering is about the most minute details - as opposed to slamming as much as possible as it's done in home mastering, that's why part2 is for members only. Hearing the difference on 1 example means nothing, just like A/B tests means nothing. Work with this unit/plugin long enough, spend time with it and then tell me. This is just HALF of one function I'm explaining here, half of one, the second part goes a lot more in depth and detail but, again, this is an advanced course, "how to use delay on vocal" would be easier to hear :D
@@mixbustv yeah, i guess it's not easy to hear the difference in this one example. I'll try to demo the unit myself. Cheers.
How about the Pro MB? Doesn't that do this?
Pro C2 it's band selective also. I prefeer to do this technique instead of classic de-essing.
Your videos are the best! Learning more from your videos than from anybody else! 🙌
this guy has such an appreciation for mixing you feel happy with him when he's got that half a smirk and is all like "can you hear how that top end opens up". I bet he's a good mate out to get drunk with. Another good video, going to try this out.
never said this before (been producing for 10 years) and that Weiss plugin is a true game changer
What was the mastering equivalent of the ds1 before the 90's when it was invented, some of the best engineered records did just fine without it
There wasn't any "equivalent" or the unit wouldn't have become so ubiquitous in mastering houses. Yeah they did fine in the 50's, 60's, 70' too, for the standards of those respective eras. Engineering a record doesn't boil down to one unit.
🤣🤣🤣
I love most music
But to say Led Zeppelin 1 sounds as quality as things from 90s on is definitely laughable
The songs are great and players too but the audio is not as hi fi
It’s clear as day
wow great video. that thing was pure magic on the high end. and it's so great that it's a digital 1:1 copy of the hardware unit! that makes so much sense, but is very rarely ever done. reading some of these comments was painful. i totally get people who don't understand everything about what makes this unit different and asking questions. what i don't understand is people that don't understand it, yet claim that high end professional mastering engineers are wrong. smh.
thanks for the great video David. You're amazing!
rarely done, because many digital hardware boxes are obsolete, and there are not that many worth copying over. it's pretty easy to port over code actually.
That's crazy man . Definitely waiting de 2nd part . Thanks a lot 🙏🏾
Wow, amazing info ty. Time to DEMO DS1-MK3.
Thanks for great video. I have a question about using multiband compression in mixing. We all know what using multiband compressor in mastering is not ideal, same as using it on mix bus or drum bus while mixing. I ofter use multiband compressor on heavy guitars to tame heavy palm mutes from 70Hz to 300Hz. Common technique. And here's the question. Is it better to use this multiband compressor on guitar bus or on separate guitar tracks in mixing stage? I want to avoid unnecessary artifacts and unpleasant tone changing you were talking in this video. Thank you for your answer.
If you have multimic'd guitars and/or double tracked, you want to use it on the group, probably in dual mono
@@mixbustv thank you. So there is nothing wrong with using multiband compressor on groups/buses in mixing?
@@LucasMichalski not at all, there's nothing wrong with using one on 2 bus as long as you know the processing, why are you using it, what you want from it and all that.
Great video as always!
🙏
I wonder, does TDR Nova qualify as 'band selective parallel compressor'?
Great video. That top end!
It's a dynamic eq
Seriously, smart and clever work right there!!! I can't believe that this video exists!! Thanks man.
Yo David i don’t care if the vidéo is sponsored or not i’m here to learn and you help a lot of people like me and many thanx for a great content👍🏿👍🏿👍🏿 you rock
It's not, in fact, I got in touch with Softube after it was done and uploaded just to get them on board with a discount for people, go figure. And no I don't get anything if you (anyone) buy it. I have my members, members make it so I don't need to. I made this course because this is one of the tools I (and many other engineers) use in mastering and as mentioned, you will not find an in depth use of these anywhere on youtube.
@@mixbustv in your course is the pt. 2 of this the only video where you cover DS1 or do you go in-depth in other videos too? Paying for MyMixLab rn with Luca & Reid and their content is kinda like a lot of beginner stuff.
@@blankcheckguy69 well 😄 I ain't gonna comment on that. No, that is the only video, I think I might have used it in another couple of vids briefly but they're all members only
Hi David. I've been using Weiss DS1 MK3 for a good while mostly for mastering. But recently I started using it for mixing..
Very often I use regular Multiband Compressor on vocals in upward compression mode, recreating dynamics after all compression (for example slightly using upward compression around 2k). Recently I changed it to DS1 MK3. Same concept I use DS1 which narrow band selected around 2k or so with upward compression to add some subtle dynamics back to vocals.
What is your opinion about it? Pros and cons of using regular Multiband compression vs DS1 on vocals.
Thank you so much.
There are all the pros and only one cons, CPU use.
@@mixbustv in my case CPU is not a problem as I have new custom built PC. So in that case you recommend using DS1. I also use miltiband compressor on heavy rhythm guitar bus to take slightly range from 70 to 300Hz (to tame the muddy palm mutes). Shame that DS1 cannot be set precisely from 70 to 300Hz. Or it can?
Thank you once again David.
I was literally just thinking the other day.. I wonder if they had this Weiss hardware unit as a plug-in and then I stumble across this video... I wanna buy this asap
Your course have subtitle in portuguese bro?
I can't thank you enough David for all the wonderful work you do on this channel, every video from you is a gold mine!
I really wish Softube would have sales on the good stuff like their Weiss and Chandler.
Shit is just too damn expensive.
But oh so worth it
There's a 35% discount right now
@@mixbustv Hey Bro, I don´t see the discount, Softube? Congrats for the video!
@@adrianschinoff2896 PROSMASTERWITHWEISS is the code
Thank you for the tip.. I am going to try this with the splitter tool in studio one.
just became a member with a monthly subscription to hear more about the advanced Weiss DS1-MK3. but i can't find the second part of this video. thanks
oops... just found it.☺
12:21 "check this out" ... goosebumps
Theoretically speaking, what is the difference between band selective and multiband compression? It is not that clear to me. Multiband compression is, basically, compression with filters, which in turns are band selective systems. So I don't really get the, let's say, mathematical difference between the two. It may be very helpful to me to understand this.
Thank you David for your videos!
none!
@@alexgregory1427 pretty clear
@@nicolaignazio I think fabfilter MB can do what's described here, on multiple bands simultaneously. It is possible to trigger any frequency range using any other frequency range (or the entire range) as an internal sidechain
@@exshenanigan2333 thanks for the explanation!
I cant understand why this song isn't popular. Its beautifullllllll
David, thank you. You are a gifted and sensitive artist...
Yes yes yes, I used this plugin only once but was totally
blown away. Soooooo very powerful. Thanks again :)
at least I don't have to go spend $$ for the plug, already have it:-) cause I def would after seeing this. again you have taken a complicated plugin and made it much easier to understand. thank you! joining
THESE PLUGINS IS GOLD
great video ! - btw, you prefer the ds1-mk3 over unisum ?
They do different things, I have to say Unisum is great, amazing plugin, but I didn't spend much time with it and it has a learning curve for sure. I knew the hw for this, and I use it all the time. Maybe at some point I can make a video on the differences and different uses (altho' they are in the same category)
@@mixbustv great, thanks for both videos. very indepth. yes, i got both (DS1 was a bit of an afterthought when getting their EQ1 in the weiss bundle) but tend to lose myself in unisum occasionally. think something you had a name for in another vid, when you cant stop messing around with settings. will seriously play with ds1-mk3 now, seems possibly a bit easier to handle. if only the ui was resizeable. need to invoke the disability lens on hires.
Where is the second part? I just joined but I'm having trouble finding the second part in the members section. thank you.
ruclips.net/video/Bitdr9y2r8s/видео.html
I'm a little confused by the comment about cancellation near corner freq when using a non linear multiband comp. That might be the case when used in parallel or when summing multiple tracks to a single file, but when mastering this single stereo track there wouldn't be any of this type of stereo summing ... As such we don't have anything to cancel against. The phase shift is indeed added to the signal, be we as humans can't perceive absolute phase it as far as I know. What are your thoughts on this?
This might be an ignorant question but it's something I'm trying hard to understand. I really think there is a huge misconception on this topic and I'm trying to get to the bottom of it. Thanks in advance for the interesting and thought provoking video.
It's no problem, any non linear xover will cause a phase shift at the corner frequency, it doesn't matter if you parallel or not, the sound changes, in fact, you saying that you'd be able to hear the difference if you'd parallel is (one more) proof. The phase shift in this case is perceivable, because by nature it changes the original sound, it's not gonna be as obvious as if you'd parallel but it's there, whether is a problem or not, it depends on the material and where you set the xover.
@@mixbustv I think my confusion is that we must be able to perceive phase of it's smaller section of the full spectrum. Maybe my misunderstanding is if the phase of all frequencies are changed 180 deg then we can't perceive it. Either way I learned something. Cheers!
@@RaytownProductions a onlinear xover will cause a change, let's put it this way, most likely (and putting it in a very very simplistic way) a dip of some sort at each corner frequency, think of it as someone slightly touched your eq there, the Q and the degree depends on the filters used in the xover, and there are MANY types so, each plugin/hw will do this differently. And no, nothing else in the spectrum is touched and no there's no 180 flip, a phase shift is not a phase flip. So yes, you will hear it, depending how trained your ears are.
So you got the low end under control but still gained more low end? Insane.
imopressive stuff for sure love this channel
Awesome video David, and very professional, thank you. 👍
LOL AT THE END WHEN YOU HIT THAT HIGH END DETAIL, THAT WAS COOL AS FUCK LOL.....THIS WAS A GOOD VIDEO
Hi David, very interesting - thanks for sharing! I was wondering if you've tried this trick on the DMG Essence plugin. Just in terms of features, it appears to share a lot of similarities with the Weiss. I happen to own this one and tried it (and formed an opinion on its use for such an application) but would love to hear your experience on this (if you have) since I can't make any comparisons to the Weiss.
I was probably the first one to show tricks with Essence, to control the low end. Actually, not probably, I was the first one, then dozens ripped off my vids. DMG makes great stuff, but Essence is not the DS1
DMG Essence is basically a DS1 inspired/emulation plugin with lot of options and tweakability.
Well, inspired yes, but it can't do what the DS1 does
@@mixbustv Out of curiosity why not? Not fully clear on what makes the DS1 unique vs Essence and Dynone...
15:54 Daddy mixbus perfectly comping himself plugging himself.
Bro, no doubts, WEISS DS1 is great choice! But why can't we use any SC compressor on 2bus instead that plugin? Maybe I didn't get it right ...
No
You are my new teacher!
I know you've shown an example with multi band compression, but what is the difference between what you've done vs doing the same things/settings with multi-band compression by just compression the low band? Great video as usual :)
The juice is in part2
Great video David. Just bought the DS1-MK3 and joined your members group to gain access to the second part of this video, but I'm struggling to find it. Can you please point me in the right direction? (name of the video to search for in the members section) Thanks in advance and Happy New year!
Welcome to the team! All members only videos are in this playlist: ruclips.net/p/PLqsobmO-YS_6Ym3k3bStc5ulvmERJCWeH
when more are made/added they will be automatically added to that playlist
@@mixbustv Thanks David. Found part 2 of the video and already have a much better understanding of how to use this amazing plugin. Very much appreciated. For me, this video alone makes the membership fee fantastic value. Keep up the great work buddy.
Awesome video. How does this compare to the BSS DPR 402 compressor, or just compressing one band of a linear phase multi band compressor? Am I wrong to think that they all would do a very close job?
GREAT!
Stunding means 350 buck and a lot of time tweaking...
And I must say, great song used in this video.
Thank you very much!!!
So could you use multiple of these in series for different frequency bands or would that defeat the point?
I guess you could.
Awesome video! Thanks for sharing these great tips.
Another exceptional video. The DS-1, Waves C6 and LMB are three of our favourite plugins. Truly professional results here. Subscribe!
Quick question about multi band compression, I’ve seen some people (like disclosure) use the Drawmer S73 during the mastering stage, is that unit any different than something like Pro MB or it causes the same problems?
The S73 is an absolute monster unit, discontinued, amazing amazing unit. You can't do linear xovers in analog, so yeah, but, Drawmer mastered the art of making arguably some of the most musical xovers in their multiband compressors ever made, this is one of the reasons their multibands are so good. The 73 has some heritage from the S73 is one of best unit ever made (and it was priced accordingly) I wish they still had it
Insane... I never thought something like this would be possible.. thank you lots!
Because of the issues with limiting low end too much, is it wise to mix your low end slightly on the side of too quiet rather than on the too loud side, so that it can be brought up in mastering rather than pushed back down? I know ofc ideally the low end should be at the perfect level, but if you had to choose, I'm assuming mixing the low end slightly too quiet is better than slightly too loud? Or does it not really matter until you start getting past 6/7 DB too loud?
You sacrifice low end for loudness 90% of the time you're gonna end up with a thin, ball less mix that is loud. No, your priority should be good not loud. Loud is secondary
@@mixbustv Oh I understand that, I was asking in a hypothetical example, if you had to choose between too much bass and too little in a mix, what would give the best result in mastering.
Say if a client gave you the only two existing mixes of a song, one with too little bass, and one with too much, which do you think will end up being the better sounding mastered track at the end.
This dude is the superhero action figure of mixing and mastering
Why aren't you level matching the make up gain of the low end? You use make up gain on the DS1 but not on the linear phase multiband so the low end is already softer in volume. This makes it hard to hear the effect?
Not really, but this is not about multiband compressors. Also, everything is in part2
Hey Dave, pretty cool stuff. Btw. what is your desk brand and model ?
Modson, a custom version of the Komposer 2.0
Now that I’m a member, where do I see the member videos? I’d like to find the deeper video on the Wiess
Welcome to the fam! Here's the playlist ruclips.net/video/DFxjfsrVF6g/видео.html
And new members only video are included automatically there when uploaded, but check the community page as well and if you want you can join the private facebook group too (mixbustv members)
Unfortunately youtube doesn't give us a way to notify members directly.
@@mixbustv excellent.. what are the steps I take for a mix/master review from you. Also would like if it’s at all possible to pay for an hour of your time when you’re available
@@RichViewMultimedia please write to bookinghfs@gmail.com my agent will give you all the info and yes, you can also book private lessons 👍
I picked up the Weiss Compressor / Limiter which has the Band Selective Low Pass filter.
Is this the opposite of a High Pass sidechain filter on a compressor which rolls off compression below the selected sidechain frequency? The Weiss manual says that in Band Selective Mode "a frequency crossover is put into the signal path, splitting it up into two or three bands, depending on the filter type setting. One of the bands is compressed, the other is delayed by the same amount used as 'delay' in the compressor stage." It doesn't specify which band is compressed and which is passed. Judging from your video the low frequency is compressed and the rest is not - correct?
If you select the LPF (1st from left) yes, the band pass whatever portion you select with the freq selection + band width; HPF, high end, again from whatever corner freq you select and up.
should i master my beats if am gonna sell it or send it with just a softclipper and a well mix
Whaoooo very very usefull thanks 😊
brilliant bro , but we dont have this amazing soft MK3
-
This was a VERY informative video! Thank you so much!
SUPER video!!!!!
Wait, with "selective band compressor" you mean internal side chain right?
In essence, this compressor works exactly like a sidechain; only the Weiss Ds1 offers several different bands to sidechain (High Cut/LPF, Bandpass, and Lo Cut/HPF). In addition, as an alternative technique, I honestly think SSL Styled Compressors aka VCA (noise-free) compressors will do the same job and work well if used with a Linear Phase Eq that's ran into the external sidechain input of an external sidechain capable VCA compressor. ;-)
@@jreel8245 just like I thought unpopular one here but ableton stock compressor has a good amount of filters to choose from too :)
No. I don't think so. I could be wrong but...
The Internal side chain is used to select what frequencies of the sound will trigger (single band) compression on the entire signal. Selective band compression is isolating a particular frequency range to compress (single band) while leaving all other frequency ranges untouched...
Internal side chain= Compress the whole thing using the "problem signal" as the deciding factor of when/how much to compress.
Selective band= Compress only the "problem signal" and leave everything else alone.
@@alexsannie3643 Yeah, I tried that here but it doesn't really hold up. I wonder if I post a video if it would be flagged. Let's see
@@alexsannie3643 the sidechain on compressors that has the functionality to use a LPF/HPF sidechain filter is to roll of that frequency from compressing.
If the HPF was used, then the low end information; such as sub-bass, kicks is not triggering heavy compression by those transients.
Apparently, the DS-1 has a feature which is a one-stop-shop tool, which will allow the user to selectively choose bands to be focused on.
Would this work with Studio One splitter tool with splitting the bands and using a compressor on whatever band? Or is this a Weiss thing?
How is this any different than a multiband compressor having only the bass compressed?
About $400 different.
Yeah it’s the same thing. Weiss is great and I use it all the time but this technique can be done in other plugins so not sure why he says it’s unique to the Weiss
You can compress any frequency with a dynamic eq like nova or q3 and then pull up this frequency by few db on another eq. I call it to ''hang up'' a frequency. Also thanks for vid man, gotta check that ds1 stuff.
Should I put this at the top of my master or the bottom
Impossibile to find any link to 2nd video 😒
Because it's members only
@@mixbustv but there is a link? I want to become a member.
What level i need? Isn’t clear
@@mixbustvok subscribed and found,what an amazing content! 😮
❤ thanks mixbus, that’s a great tip !
I can access all the video with tier 1 or 2 right? You're so the best, thank you!
Yes you can!
Man, that was awesome! Love this channel, thanks for sharing!
Nice info man! Thanks a lot. I'll check this plug out.
Hello David. I would like to ask about m/s processing (EQ & Dynamics), you mention that they are not the tools that mastering engineers actually use? and you also said that they are useful when there's a "problem" in the mix. So just to get it right, in this video, you had a very good mix (good image, good dynamics, good frequencies) and you just wanted to nail the compression? If for instance, the mix was narrower wouldn't you use M/S processing? Thank you :)
Big distinction between MS compression and MS eq, one it's harmless, so to speak, the second comes with a lot more artifacts and possible drawbacks.
If the mix is narrow, I rather use my Fusion to open it up, or 5 other choices I have other than eq. I use MS eq if the mix (so I'm mastering, I don't have access to the mix) has problems, like a nasty resonance on the guitars, low mids, only on the sides, and so on. People use it as an "make it better" enhancer tool but it's not, you're just fooling yourself when you boost something in MS because 1, you're raising the volume and two, wider always sound better the first 20 seconds. The next day you lost power in the mid and the whole thing sound hazy.
So as everything else, know the purpose, know the drawbacks, and go from there.
@@mixbustv Ok I think I understand what you mean. M/S Compression does the trick of introducing some wideness to the master material by compressing with different settings so you're mostly ok with that. But Fusion since you mentioned it, with the "warmth" (i think?) setting, is using shuffling, which is in fact an S low shelf gain. For instance, if i have a master with some synthesizers that need some top end, but i don't want to introduce the top end in the M channel and fight with a vocal is it a bad choice to do it in the S? I've never felt good when I'm using stereo enhancers (multiband or fullband), the punch is lost really quickly, if for instance you want "choppy" and wide hi frequencies and most of the time they expose bad underlying reverbs... with S EQ i can be a bit more precise i think.. but since you say it's not good i should try and use something else... I'm in no way trying to debate what you are saying here, just clearing up some stuff in my head. Thanks for answering and for your great content!
thanks very helpful
Dude if this is the kinda content that's in your members only section then i need to get in on that
Yep it is, and more
ozone’s multiband compressor doesn’t introduce any phasing (i’ve null tested). you can also parallel and add gain to each band. does this mean that you could effectively achieve the same results? (i’m trying to save myself £440 here😅)
No you can't but whatever rocks your boat
🤣🤣🤣
Don’t fight it it’s the best deal for real... you couldn’t afford to have the real unit on every channel like you can
Ps the unit is digital 🤓🤓🤓
Try DMG Audio Essence as an alternative to DS1.
@@mixbustv Like many others in the comments, I don't understand what the difference is? If you can explain it I will legit become a member 😅 (edit): Is it simply a matter of transparency? I still don't really understand how it's different to something like pro MB
@@aeloh6921 well, I did, and did it even more on part2. This is a very detailed type of work, and there's a reason why it's done with this unit and not others, it say it in the video. Some people like to approximate, I don't, most pros don't.
As far as another one of your comments, this couldn't be more different than using a sidechain on Proc2 or alike, How even? Internal sidechain doesn't turn a wide band compressor into a band selective compressor, nor a multiband. It's not even close. I think you have some confusion on what internal sidechain does on wideband comps. ruclips.net/video/5PA0vXHa7Rw/видео.html
Sick David 🔥💣💥🙌🏾👌🏾
what is the link for the second part of the video?
It's in the members only playlist
It even adds power 😳. Incredible!
As you said in the video this plugin is the best, but are there other band selective compressors just to train? possibily cheaper
Man, i really like your videos. I watched a lot one year ago, but i let down music for a moment until these recent days. Really glad to watch it again. Thank you very much for all your knowledge that your share with us. I talked about "Mixing academy". Are you in the plateform of Produce like a pro ? You give some course ? It's interesting because i would like to join in few days.
Thank you 🙏 yes I'm a tutor at PMA I have 4 full courses there (probably more than anyone else 😄) promixacademy.com/mentor/david-gnozzi/
@@mixbustv So, i'll be, for sure, as soon as possible a member really soon. You and Warren taught me a lot in two days, two years ago, and a lot more in two days, by now. Thanks a lot. Just for information, because i'm looking for a sound engineer to mix my first single this month, how can i contact you if i want you to mix my song ? How can i know your price and all ? If it's possible, of course.