I never mastered my tracks in - 6db, I mix my track with full of headroom already. And yes there are no perfect rules for Mixing & Mastering, its all about Ear Training. Don't follow the numbers use your ears. Absolutely if it sounds good it's good. Normal listeners don't give a f*ck how you mixed and mastered and which plugins and sounds you used. Final output should be nice n clear.
@Desmond Tresfaye I think If you are a good listener and your choice of music is pretty good, your ear training develops with your age from childhood. I remember when I was a kid I used to play with the Bass and Treble knobs on the audio cassete player.. And if you can notice what changes are happening to the sound, I think your ear training starts with that. Then I used to play with DVD Player's Eq presets and tried to understand which one is best for my speakers. I also used Virtual DJ and Audacity in the beginning and it really helped to understand the sound and what a particular tool does (such as Echo, Delay, Phaser, Flanger, Noise Reduction etc). It helped me to get familiar with these names and when I came into music production these names weren't new for me, I already knew what it will do to the sound. So it comes with the time, curiosity of learning and your love for the Music. No one can teach you what to listen and how to feel the sound, it totally depends on you.
@@fiirasmusic5366 if you really care about a Record Label, you should hire a Professional Mixing Engineer rather than doing it yourself. Because a well known Music Producer never mix n master their track on his own.
The sign language lady was a cool addition! Shoutout my mom and all those who can't hear! This is why I make music. For my mother, who can't enjoy the beauty in music. Cheers, Max! Thanks!
My theory for why this became a thing: 32 bit float didn't exist until 1985 and even then DAWs weren't widespread until later. I also suspect that 32 bit float wasn't implemented into DAWs until later on. Basically much like music theory, mixing and mastering rules didn't get updated and we basically got stuck with outdated information.
No it didn't. ruclips.net/video/mYtL4V01Unw/видео.html Watch this video to see that you are just ruining your tracks, when you turn the gain down. Stop believing anything a person says on the internet.
I've been saying this for a long time, because all DAWS use floating point maths, you have infinite headroom until you export. You can simply turn the master fader down. Great video! (You got to it before me lol, was going to do a video on this too!)
Yes, and that's what beginners think. Your low end and percussive sounds are praying to not be clipped (artifacts showing up is VERY likely if you mx like this) . It's just good practice to not clip
ruclips.net/video/mYtL4V01Unw/видео.html You do not know the technical aspects of mixing and mastering. Stop ruining your tracks and just leave 3-6 db of headroom. It's not that hard.
@@nebroskitheraut6705 Surprised to see a new reply after all these months, but actually, I do know what I'm doing. I'm a DSP scientist. If you don't know what that is, basically we work with everything behind the scenes in mathematics regarding audio signals. So to clarify a few misconceptions: decibels is very a shaky term, and has no absolute meaning whatsoever. Because all DAWs use floating maths, even if your track was clipping at 30db+ over 0db, if you export at 32bit and normalize, the audio will be restored to its original state, and you easily turn the master fader down to achieve your 3db of headroom. The point I'm making is... concepts on headroom is a highly misconstrued topic! And as a mathematician and scientist, I have been stressing this for years! The true thing that you should concern yourself with as a mixing and mastering engineer are two things: dbTP, and LUFs. That's it. Tracks should be kept just barely, and I mean BARELY under -14LUFs and -1dbTP so that no distortion occurs during the encoding process when publishing music to streaming sites. The reason this matters is because if your track is above -14LUFs, it's simply going to be turned down by the sites which can cause distortion. Second, dbTP being kept under -1dbTP can assist lossy compression algorithms not causing issues with a clipping/distorted waveform when encoding. I'm sorry you think I feign expertise, but I assure you, I'm only here to provide insight! If you have any questions regarding audio, you can contact me: shinyukoinquiries@gmail.com and I will be sure to reply!
dude you just blew my mind. Like wtf it's like finding that everything I was taught was a lie. I don't know if I said it already but this is the best mixing/mastering channel and courses I have ever come across. Keep it up, you are a legend.
Please dont clip your master while mixing. Doing so might create artifacts which may make you think is part of the track's timbre but when it gets normalised all of that grit would be gone. Yes you can recover clipped 32bit floating point mixes but you risk fooling yourself while mixing. Something like recovering a clipped 32bit floating point mix is what you do at the most dire of times and makes you look like a noobie. Conclusion: Just leave some headroom it's not a big deal.
Hey Guys! 🔥 We're so proud to present to you our Full Mastering from Start to Finish Course: FL.Tips/Mastering-Course Over 40+ lessons, All Genres, Best & Stock VSTs, life-time access. Cheaper than a single mastering service - it's going to bring you much more value than that! I guarantee you're gonna love it as much as I do, and if you don't - you get 100% money back!
Hi, Max. I already have the Full Course which i purchased a couple of months ago and i thought it was really in-depth and fantastic to watch, Since I dont have a musical background, however I've found it so helpful and a gamechanger to the way I make my beats. I would like to ask a question in regards to the Full Bundle being sold currently as it states it comes with the Full Mastering course. And since i pre own the bundle, is there a chance that people like me who already have the full course also get an update to the full mastering course? i massively appreciate everything you guys do. If you do read this thank you.
@@prodbynatu Sure! We always send personal discount codes if you own any of our products :) Also if you get Full Bundle, you will get personal discount for all future products!
@@theMixElite would be fantastic of you because I do own the full bundle with 5 courses. How do I go about getting the discount code my friend? Thank you very much
I checked the price for the course which is not affordable for me and even for producers who purchased sound gadgets and DAWS by saving pennies after a very long time. However the videos available on FL Studio Tips are much knowledgeable to understand the music production. Always a different approach and tricks are found here which delights the mind. 🔥🔥
Whooo.... This mastering course gonna be lit. 😍😍 Hatsoff to PML Team and Nervz for providing us all those amazing courses. It helped me alot in my production. 🥺 I really appreciate hugely to their work on giving us Epic production tricks. Thanks 😎
The reason you want to lower each track individually instead of just the master, is because if your tracks are already distorting going to the master, lowering the master doesn't prevent distortion it's just lowering the volume of the already distorting signal.
Hmm he did explain thats not the case with 32 bit. Dont get confused about this whole clipping thing, its all just numbers. With 32 bit, if it was clipping when you exported, it means for example whatever you using to play back the sound cant handle whatever is above 0db. All the information is still there since 32bit can handle more info, unlike 16bit, but your hardware program just cant reproduce all of it accurately. When you then normalize this 32bit in your daw, all it does is move numbers around so they at safe levels around that 0db mark. Everything is still relatively the same in terms of loudness, its just that the numbers have been shifted to allow the audio to be played back without that clipping. It doesnt change/affect the audio the same compression does. All the dynamics are preserved so you really wouldnt have lost anything
32 bit wav has very big dynamic range. The bigger the dynamic range, the more headroom you can achieve. the 32-bit float WAV file has 770 dB more headroom. That's why i'm not afraid if my master is clipping when i'm mixing.
The advice is correct if you don't use group /sidechain /master compressions, or clipping, or envelope shaping. In that case levels are proportional and can be recovered at any time. Still, if you are not using any of the above, I've got doubts you are actually mixing, because they are essential tools in rock music or anywhere you don't simply "make the levels, eq, fx and export". Another downside of the suggestion is on the educational level. You will never be able to translate your skills on analogue or in live situations. Gain staging is something every sound engineer should know about, even if the DAW allows you to be ignorant about it.
@@slice307 You can, but it's a bad idea. Let's say you have a beat exported in 24 bits and it peaks. No problem as long as the beat is in your daw, but as soon as you upload it on a platform and it gets converted in 16 bits, it will clip like hell.
@@slice307 It's good if you master the product knowing that it's going to be 16 bits without headroom. Any other consideration depends on the specific case.
Thanks for making this video, being super informative and making fun of the industry at the same time. So much false information on the internet it's unreal.
This is a godsend video. Nobody knows how stressed how i was bc of the no headroom in my mix. To get that i did some stupid techniques and totally messed up my projects. Thanks for this man! ❤️🙏
This Guy talks BS . They teach headroom in Audio Engineer Schools... he doesnt even now how the master channel works or that 32bitfloat cant be used to make Cds out of it or upload it to spotify or Amazon/Apple etc... to do that you have to resample the beat and then all the Problems the people said are back in! DONT LISTEN TO THIS GUY!
You are an angel mate and I really mean it, I dont know how could I miss this for about three years! You literally changed my music production journey, you are an absolutely hidden gem and everyone who is in the road should know about you! Thank you very very much!
This info is very good but also if your mix clips it doesn't only mean it is too loud. It can have many hidden subtle problems which come out while mastering.
2:00 I heard that the reason for doing it that way is that if you turn down the channel volume knob or track fader of an already clipped signal, it is just going to be lower in level while remains distorted, so when you lower a bus fader instead of the individual ones the results will be the same due to their sum.
Clipping does not exist in the digital world. Virtually all modern DAW's have 64 bit internal processing so all information is preserved, no matter how much you boost the signal. Clipping only happens when that digital signal hits the digital-to-analog converters of your interface, that is what you actually hear, the distortion does not come from the DAW, but from your interface. So as long as you turn down the signal BEFORE you reach the converter, no clipping will happen. Of course, rendering the "clipped" audio in 24 bit or lower "bakes" the distortion in, so turning it down doesn't work.
So, even while DAW's are running on 64-bit I should keep worrying about the gain stage since I want to hear what I'm doing without any unwanted effect before bouncing, also I may be using some analogically recorded resources or effect plugins that emulate analog gear which even though they runs on 64-bit too, they have a sweet spot and I would also need to export in 16-bit for releasings.
@@cristianpintormino That is correct. It's always a good practice to gain stage properly. You never now when you will use analog gear or analog modelled plugins. For mastering is the same, they might use analog gear or modelling plugins. Then can always turn it down, but it is some of an unprofessional image you are making if you send a clipping mix, even if it's 32 bit float and nothing is lost. So be mindful, but don't be religious about it.
That's what I have been thinking/talking about headroom and that 32 Bits normalize thing. Finally a recognition/acknowledgement about it! :D haha Very nice video guys!
I've been waiting for this Fl Studio mastering course and here it is! Ive learned so much from the other Fl Studio videos. Your concepts are the best Max. Thanks for the great tips as always!!
you are of course correct. if using floating point this is the case. But the standards you admonish here come from places of great knowledge and wisdom and yes as you mention internal processing in plugins and their ideal audio level is a place where artifacts can occur within a DAW. if kids go out believing there is no relevance here they will destroy some gear if they ever end up in LIVE or Analog Studio circumstances. I know ive blown a Genelec tweeter before by not clearing all clicks in an audio file and no regulating monitoring levels. remember clicks are square waves and square waves produce infinite harmonic information.
I think the concept of headroom in mixing/recording is more of a relic of past technology than something completely relevant today. Protools was 24 bit until 2002ish....so as it was the standard, I'm sure the legacy of workflow persists.
I think the "-6db" thing is really just a product of old technology for making your life easier in mixing. Because if you did decide to turn up an individual sound with the master at 0db, and then turn up others to match, you could start to distort the final output. Then theoretically, if you kept turning up sounds after turning down the master, turning the master down would not be enough, unless you turned the master to negative infinity db, versus just leaving headroom to begin with. Which seems so convoluted and dumb, but still possible.
Yes! This is the EXACT SAME THING when you work with a Compressor, the Threshold Point where it Starts to react to the Sound is always the Same is the Peak, means if i have a Sound in my Mixer at roughly before 0db my threshold will start at like 0.1db , or the other way, my sound peaks at -6db so my threshold start -6db to effect. BUT keep in my mind this is only the truth when we talk about Peak. As far as i know is it a little bit different stroy when think in RMS or LUFS. This is also the Same like if you layer a sound twice or more and gainstage it to the same loudness as single and compare it with the same sound single but compremised, there will be a dramatically difference what you also can see in the spectrum, and this is (not only) because of Peaks.
I'm not gonna lie this IS mind blowing and will turn a bedroom music producers' world on its ear. One question though. What about using analogue modelled plugins on tracks and busses? Does this still apply?
analog models have a sweet spot which is -6dB (a.k.a the headroom). os if you just clip the hell out of your mix and render it as 32bit float not only do you seem like an amateur who doesn't care about their volume, but also make the engineer's job a lot harder than it needs to be
@@2beablessing2012 your low end and percussive sounds (filled with transients) are praying to not get clipped. He is giving bad advice just try not to clip.
thats actually cool, until now ive always used to master with headroom, and i mean, it works just fine, but i guess i dont have to put in the extra effort next time
I think this is the equivalent of people saying you have to tune your kicks and snares. Most drums nowadays are merely fast pitch drops which doesn't produce an obvious note and rather a transient. Of course if your drums have a very distinct note then you have to tune them to avoid dissonance. At the end of the day, drums will always clash with sub bass so sidechaining the bass and some eq cuts will fix any problems.
Other contents creators more likely learning from you like us,and then going to make tutorials.its tressure bro,believe me,am sure FL studio is about backing to business ,after underrated too much.love from East Africa Tanzania🇹🇿
I always ask for 32-bit files when I'm doing mastering because of this. I don't ask for it, but I do still prefer if the mixer leaves me some headroom. That gives me room to do additive EQ without having to worry about signal levels before limiting (which is one of the last things I do). I have gotten mixes peaking over zero and been able to work on them without turning them down manually, but that is an extra challenge. So call it professional courtesy that I expect to see *some* amount of headroom between your peak levels and 0. Not because of technical reasons, but because I don't think it's too much to ask for you to pull down your master fader .5db if you care enough about your music to pay for mastering. That said, there is an infinitesimal technical reason I try not to adjust gain on my end, it's because pretty much all gain plugins run floating point audio to determine the levels, which will often add some amount of dithering/noise to the signal to get it between full bit values. If you change the gain at your end, then the noise is baked into the file you send me, but if I do it on my end, I am adding uncontrolled noise to my setup. I want to be in full control of the dithering, so instead I use a bitshift gain that just flips the least significant bit as a last resort if I cannot get the master near 0 DBFS before limiting. This is probably not an issue for even most 16-bit mixes, but the fact is I am taking 6DB off the potential dynamic range of the track at the very start in order to get 6DB of "room to work", whereas if I had headroom to start I'd be able to give you an extra 6DB of potential dynamic range. Again, this is not an issue in most masters as even a 16-bit audio file is good for 96 DB of dynamic range, and the most dynamic electronic music I've ever seen was about half that. It's not something I talk about with my clients, I just apply the bitshift as needed to give myself room to work. Overall, I do take umbrage with the thought that mastering engineers who ask for headroom are "lying" because there are still technical reasons for doing so - such as if we're using outboard gear and we need to be at optimal levels and worry about AD/DA conversion, or our studio is calibrated for audio to start at a certain level - and there are genres that need the extra dynamic range such as Jazz or Classical where a bitshift could adversely affect the music. But, I don't hold it against people if they send me something peaking over 0 either, it's usually not that big a deal.
good lord. theres so many things wrong with this. why would you deliberately downconvert from floating point to an integer format to flip the least significant bit??? none of that makes any sense
@@emiliagalotti8617 I think I did a really poor job of explaining this looking back. The actual word length doesn't have anything to do with it (IE I'm NOT taking a mix that was sent to me and converting it to something else). You're right, that's way more invasive than just moving a fader. Rather, I'm flipping the least significant bit of the audio I was sent. Whether that's 16-bit, 24-bit, 32-bit, floating point or integer or whatever audio the client cares to send me. I only discussed 16-bit audio in my original comment to put numbers to the process as an example. I use airwindows bitshift gain for the process, AFAIK, it works at all the formats I've mentioned. It's free and the code is open source, so feel free to dig in and test it yourself. I'm satisfied that it changes gain the least invasive way possible in a way that works in my mastering workflow when it's needed.
@@jamespingel8730 ok, so i think thats where the confusion stems from. 32 bit floating point, per definition, does not have a least significant bit. instead what bitshift gain does is multiply the incoming sample with a value from a lookup table of powers of 2, which is equal to actually shifting an integer format number n bit to the right or to the left (ignoring the fact that a right shift will lose some information on integers). you definitely do not want to flip bits on floating point numbers, that will go very wrong very fast
I think the "you need headroom" only applied in older times when DAWs and mixing/mastering programs didn't use 32 bit float point yet or when everything still worked on analog. Nowadays we have powerful computers that can work with large numbers and preserve data even if you try to intentionally destroy it.
Oh my god… I’ve literally been making sure to turn down every sample I use to peak at -12 with the channel knobs for my past 100+ beats. 🤦♂️🤦♂️🤦♂️🤦♂️🤦♂️🤦♂️🤦♂️🤦♂️😭
Wow, It really blowed my mind you got the music back from that "sausage wave" Good tutorial! I think the "myth"from leaving headroom comes from the analog age. And i think that still applies if your recording instruments or vocal, right?
this is the answer we all looking for ages. question: what about the soundcloud uploads, do i need to leave a headroom or just export it in a lower bit depth ex. 24bit
The faders in the mixer are post plugin, so if your turning down your master fader to create headroom for starting your master chain... need I say more
Great video 🙏 Simply turning down a master channel doesn't do much. Put a DB meter on a master track and see what i mean. 🙌🙌 Also whats going on with the subtitles 🤣🤣🤣
I'm not just saying this but this channel is a Gem in music production world.. We should definitely Take these courses because I know they are very very good
A magic happened. When I exported my mix in 32 bit float, then I also mastered in 32 bit float. Especially in the stereo spectrum. Everything opened up. I didn't know until now that everything sounds so tight and so crowded. The reverb parts sound perfectly and well divided in the stereo part. I want to thank you from the bottom of my heart for this information. It's completely different for me. It's like I've discovered another world. Thank you very much.
THANK YOU! Like everything in life, take it with a grain of salt. Cus I clip all day and my beats come out so good. 🔥 You just gotta know how to make it all fit.
Hey, does your Full Bundle course teach me everything you know about producing with FL Studio. Where does that put me? Would I know at least everything I need to know about, producing in FL Studio? I need know because I am really interested in your course....(Full Bundle)....
Rendering in 32bit float should be the standard. The problem is, people learn what to do and not why to do it so they have no clue. Thus, you were able to do this video :) Some day, people will get it.
3:15 THAT DISTORTED FL BEEP KILLED ME😂😂😂😂😂😂😂😂😂
we know its gonna be an epic tutorial/content if it starts with:
_“Hello. this is Max from FL Studio teeps!"_
Teeps 😂
teeps :-)
Actually, I never said "Hello" haha
@@theMixElite Hey Guys* 😅
😂
I never mastered my tracks in - 6db, I mix my track with full of headroom already. And yes there are no perfect rules for Mixing & Mastering, its all about Ear Training. Don't follow the numbers use your ears. Absolutely if it sounds good it's good. Normal listeners don't give a f*ck how you mixed and mastered and which plugins and sounds you used. Final output should be nice n clear.
what about a record label that give a fuck for my low track or a little bit of distortion
@Desmond Tresfaye I think If you are a good listener and your choice of music is pretty good, your ear training develops with your age from childhood. I remember when I was a kid I used to play with the Bass and Treble knobs on the audio cassete player.. And if you can notice what changes are happening to the sound, I think your ear training starts with that. Then I used to play with DVD Player's Eq presets and tried to understand which one is best for my speakers. I also used Virtual DJ and Audacity in the beginning and it really helped to understand the sound and what a particular tool does (such as Echo, Delay, Phaser, Flanger, Noise Reduction etc). It helped me to get familiar with these names and when I came into music production these names weren't new for me, I already knew what it will do to the sound. So it comes with the time, curiosity of learning and your love for the Music. No one can teach you what to listen and how to feel the sound, it totally depends on you.
@@fiirasmusic5366 if you really care about a Record Label, you should hire a Professional Mixing Engineer rather than doing it yourself. Because a well known Music Producer never mix n master their track on his own.
@@BlazzeMusic well, there are well known artists who mix and master their own songs.
@@nebroskitheraut6705 yeah may be but not everyone.
The sign language lady was a cool addition! Shoutout my mom and all those who can't hear!
This is why I make music. For my mother, who can't enjoy the beauty in music.
Cheers, Max! Thanks!
My theory for why this became a thing: 32 bit float didn't exist until 1985 and even then DAWs weren't widespread until later. I also suspect that 32 bit float wasn't implemented into DAWs until later on. Basically much like music theory, mixing and mastering rules didn't get updated and we basically got stuck with outdated information.
Oh they do know more than anyone of us producers. They were the first ones to be informed and educated on this topic.
@@nebroskitheraut6705 If they show to us every trick mix n master they wont have a job.
damn this changed my life
No it didn't. ruclips.net/video/mYtL4V01Unw/видео.html
Watch this video to see that you are just ruining your tracks, when you turn the gain down. Stop believing anything a person says on the internet.
i love it when the fl render finish sound clip at 100dB 3:16
I've been saying this for a long time, because all DAWS use floating point maths, you have infinite headroom until you export. You can simply turn the master fader down. Great video! (You got to it before me lol, was going to do a video on this too!)
Alex Tumay is praying that shit for months, but nobodys listening.
Actually even when you export it, that's what he said, becuase you can normalize it and whala!, normal levels again to master the session.
Yes, and that's what beginners think. Your low end and percussive sounds are praying to not be clipped (artifacts showing up is VERY likely if you mx like this) . It's just good practice to not clip
ruclips.net/video/mYtL4V01Unw/видео.html You do not know the technical aspects of mixing and mastering. Stop ruining your tracks and just leave 3-6 db of headroom. It's not that hard.
@@nebroskitheraut6705 Surprised to see a new reply after all these months, but actually, I do know what I'm doing.
I'm a DSP scientist. If you don't know what that is, basically we work with everything behind the scenes in mathematics regarding audio signals. So to clarify a few misconceptions: decibels is very a shaky term, and has no absolute meaning whatsoever. Because all DAWs use floating maths, even if your track was clipping at 30db+ over 0db, if you export at 32bit and normalize, the audio will be restored to its original state, and you easily turn the master fader down to achieve your 3db of headroom.
The point I'm making is... concepts on headroom is a highly misconstrued topic!
And as a mathematician and scientist, I have been stressing this for years!
The true thing that you should concern yourself with as a mixing and mastering engineer are two things: dbTP, and LUFs. That's it.
Tracks should be kept just barely, and I mean BARELY under -14LUFs and -1dbTP so that no distortion occurs during the encoding process when publishing music to streaming sites.
The reason this matters is because if your track is above -14LUFs, it's simply going to be turned down by the sites which can cause distortion.
Second, dbTP being kept under -1dbTP can assist lossy compression algorithms not causing issues with a clipping/distorted waveform when encoding.
I'm sorry you think I feign expertise, but I assure you, I'm only here to provide insight! If you have any questions regarding audio, you can contact me:
shinyukoinquiries@gmail.com and I will be sure to reply!
dude you just blew my mind. Like wtf it's like finding that everything I was taught was a lie. I don't know if I said it already but this is the best mixing/mastering channel and courses I have ever come across. Keep it up, you are a legend.
Please dont clip your master while mixing.
Doing so might create artifacts which may make you think is part of the track's timbre but when it gets normalised all of that grit would be gone.
Yes you can recover clipped 32bit floating point mixes but you risk fooling yourself while mixing. Something like recovering a clipped 32bit floating point mix is what you do at the most dire of times and makes you look like a noobie.
Conclusion: Just leave some headroom it's not a big deal.
@@nebroskitheraut6705 ok
Hey Guys! 🔥 We're so proud to present to you our Full Mastering from Start to Finish Course:
FL.Tips/Mastering-Course
Over 40+ lessons, All Genres, Best & Stock VSTs, life-time access.
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I love ya'll , I'm getting the mixing and mastering course , as soon as I get paid
Hi, Max. I already have the Full Course which i purchased a couple of months ago and i thought it was really in-depth and fantastic to watch, Since I dont have a musical background, however I've found it so helpful and a gamechanger to the way I make my beats. I would like to ask a question in regards to the Full Bundle being sold currently as it states it comes with the Full Mastering course. And since i pre own the bundle, is there a chance that people like me who already have the full course also get an update to the full mastering course? i massively appreciate everything you guys do. If you do read this thank you.
@@prodbynatu Sure! We always send personal discount codes if you own any of our products :) Also if you get Full Bundle, you will get personal discount for all future products!
@@theMixElite would be fantastic of you because I do own the full bundle with 5 courses. How do I go about getting the discount code my friend? Thank you very much
I checked the price for the course which is not affordable for me and even for producers who purchased sound gadgets and DAWS by saving pennies after a very long time. However the videos available on FL Studio Tips are much knowledgeable to understand the music production. Always a different approach and tricks are found here which delights the mind. 🔥🔥
Whooo.... This mastering course gonna be lit. 😍😍
Hatsoff to PML Team and Nervz for providing us all those amazing courses. It helped me alot in my production. 🥺 I really appreciate hugely to their work on giving us Epic production tricks. Thanks 😎
The reason you want to lower each track individually instead of just the master, is because if your tracks are already distorting going to the master, lowering the master doesn't prevent distortion it's just lowering the volume of the already distorting signal.
Facts
My initial response, but watch the video through.
@@UKG_BPM_138 ruclips.net/video/mYtL4V01Unw/видео.html this explains everything what the uploader is doing wrong
Hmm he did explain thats not the case with 32 bit. Dont get confused about this whole clipping thing, its all just numbers. With 32 bit, if it was clipping when you exported, it means for example whatever you using to play back the sound cant handle whatever is above 0db. All the information is still there since 32bit can handle more info, unlike 16bit, but your hardware program just cant reproduce all of it accurately. When you then normalize this 32bit in your daw, all it does is move numbers around so they at safe levels around that 0db mark. Everything is still relatively the same in terms of loudness, its just that the numbers have been shifted to allow the audio to be played back without that clipping. It doesnt change/affect the audio the same compression does. All the dynamics are preserved so you really wouldnt have lost anything
@@thefamousdjx this is right
32 bit wav has very big dynamic range. The bigger the dynamic range, the more headroom you can achieve. the 32-bit float WAV file has 770 dB more headroom. That's why i'm not afraid if my master is clipping when i'm mixing.
The advice is correct if you don't use group /sidechain /master compressions, or clipping, or envelope shaping.
In that case levels are proportional and can be recovered at any time.
Still, if you are not using any of the above, I've got doubts you are actually mixing, because they are essential tools in rock music or anywhere you don't simply "make the levels, eq, fx and export".
Another downside of the suggestion is on the educational level.
You will never be able to translate your skills on analogue or in live situations.
Gain staging is something every sound engineer should know about, even if the DAW allows you to be ignorant about it.
So if i just eq my sound i Can export a beat peaking like crazy thats right ?
@@slice307
You can, but it's a bad idea.
Let's say you have a beat exported in 24 bits and it peaks.
No problem as long as the beat is in your daw, but as soon as you upload it on a platform and it gets converted in 16 bits, it will clip like hell.
@@ChristianIce if i put a soft clipper and a limiter with celing of 0.7 its good?
@@slice307
It's good if you master the product knowing that it's going to be 16 bits without headroom.
Any other consideration depends on the specific case.
@@ChristianIce thanks for your time
Thanks for making this video, being super informative and making fun of the industry at the same time. So much false information on the internet it's unreal.
This channel is a blessing
This is a godsend video. Nobody knows how stressed how i was bc of the no headroom in my mix. To get that i did some stupid techniques and totally messed up my projects. Thanks for this man! ❤️🙏
This Guy talks BS .
They teach headroom in Audio Engineer Schools...
he doesnt even now how the master channel works or that 32bitfloat cant be used to make Cds out of it or upload it to spotify or Amazon/Apple etc... to do that you have to resample the beat and then all the Problems the people said are back in!
DONT LISTEN TO THIS GUY!
@@DarylMCDeaththats why he says to only use it for mixing and mastering
You are an angel mate and I really mean it, I dont know how could I miss this for about three years! You literally changed my music production journey, you are an absolutely hidden gem and everyone who is in the road should know about you! Thank you very very much!
This video is funny as hell yet concise 😂😂😂😂 you have to be really talented to pull off content like this
AU5 was mentioning that once in a video and I am so glad you are addressing it here too!
Bestest tutorial channel for fl studio on RUclips👏👏👏
Gems 💎 💎💎💎
"Hello this is Max from FL Studio Tips"
headphone on volume 100%
man you on fire❌☠️✝️
You now you did the job right when even the render finish sound is clipping 3:16
This info is very good but also if your mix clips it doesn't only mean it is too loud. It can have many hidden subtle problems which come out while mastering.
YEAAAH. Big thx. Just right time. The question why headroom is needed has haunted me for the last few days!
You always have a different approach to tell. Good one.🔥🔥
2:00 I heard that the reason for doing it that way is that if you turn down the channel volume knob or track fader of an already clipped signal, it is just going to be lower in level while remains distorted, so when you lower a bus fader instead of the individual ones the results will be the same due to their sum.
Clipping does not exist in the digital world. Virtually all modern DAW's have 64 bit internal processing so all information is preserved, no matter how much you boost the signal. Clipping only happens when that digital signal hits the digital-to-analog converters of your interface, that is what you actually hear, the distortion does not come from the DAW, but from your interface. So as long as you turn down the signal BEFORE you reach the converter, no clipping will happen. Of course, rendering the "clipped" audio in 24 bit or lower "bakes" the distortion in, so turning it down doesn't work.
So, even while DAW's are running on 64-bit I should keep worrying about the gain stage since I want to hear what I'm doing without any unwanted effect before bouncing, also I may be using some analogically recorded resources or effect plugins that emulate analog gear which even though they runs on 64-bit too, they have a sweet spot and I would also need to export in 16-bit for releasings.
@@cristianpintormino That is correct. It's always a good practice to gain stage properly. You never now when you will use analog gear or analog modelled plugins. For mastering is the same, they might use analog gear or modelling plugins. Then can always turn it down, but it is some of an unprofessional image you are making if you send a clipping mix, even if it's 32 bit float and nothing is lost. So be mindful, but don't be religious about it.
No matter how busy I am , I put everything away, get on my bed and click on the video,But this vid was a real gem ❤️💥💥Thank you Max ❤️
That's what I have been thinking/talking about headroom and that 32 Bits normalize thing.
Finally a recognition/acknowledgement about it! :D haha
Very nice video guys!
haha that editing "like whaaaat" 🤣 big up, Max. Love your courses on PML!
That outro music was sickk! The course is lit ofc!
WOAH!!! Mind blown!!! I have watched too many mastering tutorials and this is the first time I saw this.
I've been waiting for this Fl Studio mastering course and here it is! Ive learned so much from the other Fl Studio videos. Your concepts are the best Max. Thanks for the great tips as always!!
i gasped when i saw how you recovered the audio with the 32 bit float setting WTF
you are of course correct. if using floating point this is the case. But the standards you admonish here come from places of great knowledge and wisdom and yes as you mention internal processing in plugins and their ideal audio level is a place where artifacts can occur within a DAW. if kids go out believing there is no relevance here they will destroy some gear if they ever end up in LIVE or Analog Studio circumstances. I know ive blown a Genelec tweeter before by not clearing all clicks in an audio file and no regulating monitoring levels. remember clicks are square waves and square waves produce infinite harmonic information.
THANK YOU FOR YOUR SERVICE! A true cultured man :D love this! thank you!
Omg one of the most important video about bit depth. Share everybody ! Nice, thank you.!!!
bro .. the best producer content I've seen!
I think the concept of headroom in mixing/recording is more of a relic of past technology than something completely relevant today. Protools was 24 bit until 2002ish....so as it was the standard, I'm sure the legacy of workflow persists.
Exactllyyyyyy
No, not exactly.
@@nebroskitheraut6705 no
I think the "-6db" thing is really just a product of old technology for making your life easier in mixing. Because if you did decide to turn up an individual sound with the master at 0db, and then turn up others to match, you could start to distort the final output. Then theoretically, if you kept turning up sounds after turning down the master, turning the master down would not be enough, unless you turned the master to negative infinity db, versus just leaving headroom to begin with. Which seems so convoluted and dumb, but still possible.
Best tip I ever heard in my 15yrs of music production thanks 🙏🏾
2:18 I knew it.........
Always used to think of it, but wasn't sure enough whether I'm right or wrong
i just tried this out, and it works on FL, was curious and also tried with Reaper and it works in Reaper as well just make sure to
export as 64-bit FP
Yes! This is the EXACT SAME THING when you work with a Compressor, the Threshold Point where it Starts to react to the Sound is always the Same is the Peak, means if i have a Sound in my Mixer at roughly before 0db my threshold will start at like 0.1db , or the other way, my sound peaks at -6db so my threshold start -6db to effect.
BUT keep in my mind this is only the truth when we talk about Peak. As far as i know is it a little bit different stroy when think in RMS or LUFS. This is also the Same like if you layer a sound twice or more and gainstage it to the same loudness as single and compare it with the same sound single but compremised, there will be a dramatically difference what you also can see in the spectrum, and this is (not only) because of Peaks.
Just purchased the course and my mind is blown with the information provided. Good work!
Glad you enjoy it! :)
I love u man. I have 2 of your courses and i will go for this one too FOR SHURE! Thanks and good vibrations from Argentina to u.
02:58 - „FINALLY, SOME PERFECT TRANSIENTS.”
I'm not gonna lie this IS mind blowing and will turn a bedroom music producers' world on its ear. One question though. What about using analogue modelled plugins on tracks and busses? Does this still apply?
Yes
thank you
analog models have a sweet spot which is -6dB (a.k.a the headroom). os if you just clip the hell out of your mix and render it as 32bit float not only do you seem like an amateur who doesn't care about their volume, but also make the engineer's job a lot harder than it needs to be
@@AnymMusic we won’t need engineers 👨💻 after this video
@@2beablessing2012 ah yes, a beginner's ego.
@@2beablessing2012 your low end and percussive sounds (filled with transients) are praying to not get clipped.
He is giving bad advice just try not to clip.
thats actually cool, until now ive always used to master with headroom, and i mean, it works just fine, but i guess i dont have to put in the extra effort next time
Exactly men, better workflow no limitations
TRUE
Yes, everything is cool and all until your low end and percussive sounds get distorted due to clipping. Bad advice for giving to beginners
@@ЕтанДрешковка But isnt the vid prooving that it doesnt clip anymore?
@@maheryousif1234 Oh yeah thats for sure
Okey tech me more for my next release
I love how right after the text "Pain" the music immediately hurts your ears with it's loudness. 3:37
I think this is the equivalent of people saying you have to tune your kicks and snares. Most drums nowadays are merely fast pitch drops which doesn't produce an obvious note and rather a transient. Of course if your drums have a very distinct note then you have to tune them to avoid dissonance. At the end of the day, drums will always clash with sub bass so sidechaining the bass and some eq cuts will fix any problems.
Finally After hundreds of videos someone answers my question!!!!!🔥🔥🔥 Gracias señor Max from Fl Studio Tips!!
BEST MUSIC INSTRUCTER😍😍WELL DONE MAX ND TXX FOR MAKING OUR DREAMS COME TRUE
Other contents creators more likely learning from you like us,and then going to make tutorials.its tressure bro,believe me,am sure FL studio is about backing to business ,after underrated too much.love from East Africa Tanzania🇹🇿
Man This is so Helpful ....U Doing Great
I always ask for 32-bit files when I'm doing mastering because of this. I don't ask for it, but I do still prefer if the mixer leaves me some headroom. That gives me room to do additive EQ without having to worry about signal levels before limiting (which is one of the last things I do). I have gotten mixes peaking over zero and been able to work on them without turning them down manually, but that is an extra challenge. So call it professional courtesy that I expect to see *some* amount of headroom between your peak levels and 0. Not because of technical reasons, but because I don't think it's too much to ask for you to pull down your master fader .5db if you care enough about your music to pay for mastering.
That said, there is an infinitesimal technical reason I try not to adjust gain on my end, it's because pretty much all gain plugins run floating point audio to determine the levels, which will often add some amount of dithering/noise to the signal to get it between full bit values. If you change the gain at your end, then the noise is baked into the file you send me, but if I do it on my end, I am adding uncontrolled noise to my setup. I want to be in full control of the dithering, so instead I use a bitshift gain that just flips the least significant bit as a last resort if I cannot get the master near 0 DBFS before limiting. This is probably not an issue for even most 16-bit mixes, but the fact is I am taking 6DB off the potential dynamic range of the track at the very start in order to get 6DB of "room to work", whereas if I had headroom to start I'd be able to give you an extra 6DB of potential dynamic range. Again, this is not an issue in most masters as even a 16-bit audio file is good for 96 DB of dynamic range, and the most dynamic electronic music I've ever seen was about half that. It's not something I talk about with my clients, I just apply the bitshift as needed to give myself room to work.
Overall, I do take umbrage with the thought that mastering engineers who ask for headroom are "lying" because there are still technical reasons for doing so - such as if we're using outboard gear and we need to be at optimal levels and worry about AD/DA conversion, or our studio is calibrated for audio to start at a certain level - and there are genres that need the extra dynamic range such as Jazz or Classical where a bitshift could adversely affect the music. But, I don't hold it against people if they send me something peaking over 0 either, it's usually not that big a deal.
good lord. theres so many things wrong with this. why would you deliberately downconvert from floating point to an integer format to flip the least significant bit??? none of that makes any sense
@@emiliagalotti8617 I think I did a really poor job of explaining this looking back. The actual word length doesn't have anything to do with it (IE I'm NOT taking a mix that was sent to me and converting it to something else). You're right, that's way more invasive than just moving a fader.
Rather, I'm flipping the least significant bit of the audio I was sent. Whether that's 16-bit, 24-bit, 32-bit, floating point or integer or whatever audio the client cares to send me. I only discussed 16-bit audio in my original comment to put numbers to the process as an example.
I use airwindows bitshift gain for the process, AFAIK, it works at all the formats I've mentioned. It's free and the code is open source, so feel free to dig in and test it yourself. I'm satisfied that it changes gain the least invasive way possible in a way that works in my mastering workflow when it's needed.
@@jamespingel8730 ok, so i think thats where the confusion stems from. 32 bit floating point, per definition, does not have a least significant bit. instead what bitshift gain does is multiply the incoming sample with a value from a lookup table of powers of 2, which is equal to actually shifting an integer format number n bit to the right or to the left (ignoring the fact that a right shift will lose some information on integers). you definitely do not want to flip bits on floating point numbers, that will go very wrong very fast
Thank you bro you are super teaching and you can give important information ☺☺☺👍👍👍
This guy is my go-to. Great vid
I will still keep my tracks on -6db but Ill not worry anymore if it exceeds the limit lol thanks to this vid!
Damn and I struggled to maintain the headroom. Thank you for the useful info... cheers
I think the "you need headroom" only applied in older times when DAWs and mixing/mastering programs didn't use 32 bit float point yet or when everything still worked on analog.
Nowadays we have powerful computers that can work with large numbers and preserve data even if you try to intentionally destroy it.
Great examination! I had no idea 32 bit would help like that
Oh my god… I’ve literally been making sure to turn down every sample I use to peak at -12 with the channel knobs for my past 100+ beats.
🤦♂️🤦♂️🤦♂️🤦♂️🤦♂️🤦♂️🤦♂️🤦♂️😭
Same here! So painful
Genius people.Respect🙏🏿
Wow, It really blowed my mind you got the music back from that "sausage wave" Good tutorial!
I think the "myth"from leaving headroom comes from the analog age. And i think that still applies if your recording instruments or vocal, right?
this is the answer we all looking for ages. question: what about the soundcloud uploads, do i need to leave a headroom or just export it in a lower bit depth ex. 24bit
There's a before and an after this video ty so much man
Very informative 💥. Thanks for the video, expecting more knowledge from this channel 😎
Export in 32bit wave
Thanks so much! You are a saint!
It means first, level the volume according to ear without worrying about dB and export mix in 32 bit and then normalize and start mastering ?
The faders in the mixer are post plugin, so if your turning down your master fader to create headroom for starting your master chain... need I say more
Great video 🙏
Simply turning down a master channel doesn't do much. Put a DB meter on a master track and see what i mean. 🙌🙌
Also whats going on with the subtitles 🤣🤣🤣
Thank you for your sharing, opened a new way I look at mastering. Lookong forward to more videos from you 🙏🏻🙏🏻🙏🏻
THIS IS GENIUS!
Will you mix and master subscribers projects ? Explain what ,mistakes they made, order of plugins etc ?
You blow up my mind every time Max. Thanks for the knowledge shared man
Love this new video Style, with some funny memes & jokes :)
I'm not just saying this but this channel is a Gem in music production world.. We should definitely Take these courses because I know they are very very good
Actually headroom is useful only in the source so volume-based plugins are more easy to use
I dont like to export in 32 bit cuz i use the nick mira method. I like that little bit of clipping
Thank you for all your videos !!!
A magic happened. When I exported my mix in 32 bit float, then I also mastered in 32 bit float. Especially in the stereo spectrum. Everything opened up. I didn't know until now that everything sounds so tight and so crowded. The reverb parts sound perfectly and well divided in the stereo part. I want to thank you from the bottom of my heart for this information. It's completely different for me. It's like I've discovered another world. Thank you very much.
This video is a life changer for me 😍😍 Thank you Max😉😉
What ?! No headroom ? I can`t handle the truth ! jump jump ... this is so good and it´s good !!! Thanks !! Keep it up !
2:20 missed oppurnity to put an explosion after this meme it would be waaay funnier lol.
Where u been all these years?
Thanks for saving my studio 😉
I LIKE the totural thanks
THANK YOU! Like everything in life, take it with a grain of salt. Cus I clip all day and my beats come out so good. 🔥 You just gotta know how to make it all fit.
lmao 🤣
Mind Blowing 🔥🔥
Hey, does your Full Bundle course teach me everything you know about producing with FL Studio. Where does that put me? Would I know at least everything I need to know about, producing in FL Studio? I need know because I am really interested in your course....(Full Bundle)....
I have learned more about DAWs from your channel than my audio engineering school that i spent $20k on. 😅
Dropping some gems bro
I don't like being lied to, damn "Mastering Engineers". Thanks for this tutorial :D
damn lol u here too?
@@adoaqmusic Hahah yepp :D
If you want a proper low end and good sounding transients then you better stop listening to this man. Cheers
Do u guys have tutorials regarding hardstyle?
Rendering in 32bit float should be the standard. The problem is, people learn what to do and not why to do it so they have no clue. Thus, you were able to do this video :) Some day, people will get it.
Exactly!
*Great!!!!!!!!!!! found a channel that opens people eyes and ears.*
*This video is a myth buster*
you are the best channel...thx❤
glad to see some people spilling some science! there is so many myths on audio mastering...