@@simstudiosofficial depends on the genre. listen to harcore or metal tracks, very little dynamic range right from the start. plenty of electronic genres / artists do it too
@@davidjames149 difference in metal, is sometimes smashing the living hell out of it is warranted, but for most things its not. Sometimes the artifacts it produces help the energy but for most genres it doesnt help its just annoying. Its still gotta be tasteful
Once had a guy tell me something like "i cant get this sound loud without distorting it" i jokingly said "this might be crazy but turn the volume up" & he replied "oh yeah that worked". That shit blew my mind someone couldnt think of that lol
@aaronbeardsley3261 deamau5 didn't tell a story, and I found this guys comment pretty funny in a way that he was able to relate to deadmau5s EXAMPLE, because that's what he was giving us, not a story, but an example. what have you brought to this comment section, besides me to respond with an attitude? take that shit elsewhere
@@zanechristiansen You brought yourself with the attitude, not me. Nice try though Shakespeare. You can gallop in here on your high horse all you want I really don't gaf. This story was 100% rhetoric and hardly an anecdote.
@@aaronbeardsley3261 yessir high and mighty me. I'm just saying. I found what he said interesting. and what you said, uninteresting. I'm no Shakespeare thank you
@@zanechristiansen No, you found an opinion that didn't match yours. I said one sentence and you replied with a what you thought was a slick ass retort. Wave your flag off support there Zane. I ain't stopping you. But as far as trying to convince me this isn't some half ass made up story to get likes, you won't. So fuck off
Now we have LUFS based loudness norms for commercials :). R128 is a great German invention. The best way to get transparent loudness is clipping, not limiting.
@@psychoticchemist true, but slightly misleading in my opinion. The loudness is generally from clipping. Limiting is more often used in modern "bass music"(IDM, DnB, Trap etc) to get a dB or two of excitement/pumping after the desired loudness has been reached. Clipping is a much better way to achieve transparent loudness.
@@GingerDrums what I see most often in modern percussion heavy music is clipping a couple dB max on a drum bus, maybe an instrument bus as well, and another 1-2dB clipping maximum on the master before getting a few more dB loudness via limiter
@@psychoticchemist yes totally. When a genre requires extreme loudness, that heavy lifting is done by sequential clipping. On a recent trap track I clipped around 5db to meet the clients desired loudness and distortion profile.
And then spotify and youtube started accounting for that and will literally play shit at lower volume if the track is I think around -16 to -14 lufs. Not gonna lie kind of a genius move.
It just sucks because LUFs can be a super deceiving metric. It's very hard to measure loudness with a number because it's all perception based. There's some tracks by say someone like Deadmau5 that are very dynamic and don't "sound as loud" because there's a lot of movement in the track, whereas say somebody like REAPER (IMY in particular) is literally hitting at the exact same measurement but it just rattles your brain on how loud it is.
When I listen to old school legendary albums, I notice they're not loud but they have something albums don't have today and it's...RANGE. You get some tracks that are loud and pumpy, then you get softer songs with just an acoustic guitar. Why have people fucking forgot about the MUSIC!?
It’s not that people have forgotten it’s just that the music that’s popular right now is mixed to be louder, and everyone is referencing their own mix and masters to those popular songs. Granted there are exceptions such as deadmau5 and Mick Gordon keeping small pockets of dynamically produced mix n masters alive
@@jleo1 And that's the issue, is people referencing their works and measuring it to other people's standards. Referencing in of itself is controversial to me and I don't particularly favour it, because it won't allow for a song or album to stand on its own. But I think people have forgotten about the music, because why not just capture the best recording and mix it to the best of your ability, to enhance the song itself, rather than going back and forth to someone else's track? It's almost like no one wants to be unique any more and that's why most of the crap today sounds the same.
The loudness war has been going on waaaay longer than 20 years. It really started basically as soon as cds (the first digital music platform) came out, but the same techniques had been used going as far back as the 50s.
@@shortbusbullyIt's not hitting higher levels, though. 0dBFS is still 0dBFS. Downward compression and makeup gain is just bringing transient release up closer to true peak and long release times keep it there longer.
@pc_buildyb0i935 Yes, but 0 dbfs is much much louder than -12 dbfs, the typical ceiling for mixing voice. Hence, why advertisement music will often blast your eardrums out.
I remember that! Commercials would literally turn up the volume because they knew people would walk away during the commercial break to go grab something from the kitchen. ANNOYING AS HELL!!! At this point I genuinely think this is when people really really started hating commercials. Before then commercials were at least some what whimsical or entertaining. The 80's RUINED the commercial break forever.
@@sushiboiii WTF are you talking about? they never said that. They said the commercials got louder so you can hear everything they want to sell you while/if you get up to go do something, that's all, and its true!
@@TheKeksletsplay well that's not how it works. By loud they mean perceived loudness. If you play a muddy, rumbly song from the 1950s next to an edm song at the same volume then the edm one will always be perceived louder. That's the point. All songs are like 0db or -1db regardless of how you perceived it.
Ugh... reminds me of singing with a large band and each guitar/bass player have their own amp, and keep on turning them up to hear themselves over each other, and I'm like: I don't have an amp for my voice y'all.
I love dynamic range, and I love brick wall sound... But to be "competitive" on streaming platforms like Spotify, if you value dynamic range, your mix will be SIGNIFICANTLY quieter than similar songs with the same true peak. There's a tradeoff between writing music to be played on a tin can, and writing music to be played on big, highly tuned speaker systems. Most of us don't have a Dolby-Atmos setup at home to truly enjoy the objective clarity of a dynamic mix.
Also most phones have pretty decent quality these days anyways. Regardless, if your mix is bad turning it up wont make it any better it my point. Focus more on the song than the loudness
Nothing better than need a remote in your hands to be able to watch a film or media without needing subtitles in places and earplugs in others lol, the movie Oppenheimer didn't have an ad break and yet the director thought it would be a good idea to fuck the audio mix
When i was at Polyphia's Q&A Tim had talked about a little peak distortion is cool sometimes. His bassist clay looked confused, but i guess it works for some of their stuff cause his productions sound really good
honestly compression sounds so good when done right. I heard somewhere that the early Beatles records had like 3 compressors running in series on each instrument. No distortion but still super punchy.
TO BE FAIR TO THE WAR (somewhat) When you load an uncompressed audio format (for example a .wav file) on DJ equipment… When the final master is super loud without distortion, and you mix from song to song, having a louder master prevents you from having to trim the tracks, and it is perceived power. Yes you do want dynamics and clarity, but having the loudness mastered correctly and and as loud as possible achieves the commercial vibe. Most of the big name songs are mastered by engineers that have “mastered” the art of loudness. It costs more money to get a mix mastered from them. They understand the physics involved, and they also understand the finer details of how an audio file get encoded, and decoded, and how the subtleties work and sound inside a DAW. They are MASTERS for a reason. You get what you pay for. The loudness war DOES make a difference. Having a great mix and great song is not enough when it doesn’t feel as loud as the other commercial music it competes with. ULTIMATELY, the music is the most important thing. The listener wants those files loud, dynamic, clear, punchy, lots of depth, and “high def.” They perceive loudness as “better, when they turn it up on Spotify/Apple Music etc. Look up the Fletcher Munson curve
Loudness wars are stupid. Having your eardrums blasted because you had to crank your volume for a low track, and a loud one comes on after is also stupid.
similar reason but in the opposite direction. Movies are often mixed for theatre speakers so the quiet parts will be too quiet and the loud parts will be too loud on the majority of set ups
That pisses me off so much when i watch a movie or tv show now and i have yamaha hs8s for my setup in my apt. Laying down trying to relax then BOOM BANG THUNDER i do even use a sub. I hate getting up and down 7 times to adjust.@@ManDudeBro.
@@scottsetzke7967use a program that has a compressor, my media player has one (i use celluloid on Linux). yeah my studio monitors used to have the same issue. i believe VLC on Windows has a compressor, set the ratio to 20:1 and drop the threshold
The reason for this is because they work in higher sample rates, most music is rendered in 48k whereas movies are typically 70-90k which just means there’s twice as much dynamic range so they can make the low volumes quieter and the higher volumes louder. This works great if you have a good surround sound or home cinema setup but for most tvs and devices it’s overkill.
@@noahsmusicarksample rate does not affect dynamic range, you're thinking of bit depth. Also they don't do it just because they can, it's for that huge cinematic effect.
This is true but at the same time it is not good if you have to constantly turn the volume knob up and down as the different mixes change each other in the player. The key is to keep a minimal dynamic and not distort unless that is the goal.
sure, but when i want to listen to a song i want to be able to hear all the detail without needing to crank it up. when everything is loud, i can listen on low volume and get the entire experience
He doesn't just make house music 😂😂😂 holy christ do you know anything. Also electro/progressive is hard house not "house" also I make dubstep, his sounds better louder than dubstep does because of his modular and analog work. Where 95% dubstep artists use serum and vital to synth their sounds with Tons and tons of OTT, fab like you see here and diva. Older skrill did massive as everyone knows
@@subradiant_musicor maybe it is because he has basically equipment worth a small house + years and years of mixing experience so he could pull it off with pretty much any genre. Doesnt change the fact that most house genres are generally way less dynamic than the average modern Dubstep tracks
Can some good fella could point me to the source of this clip? Is it his masterclass or some different interview? I'd love to head all of it. Much appreciation in advance - Cheers!
I remember when that loud ass commercial would come on. I believe they banned doing that, as in a commercial must not be above *this* many db or whatever.
Years ago i made a full commitment not to participate in the loudness war, don’t care about it, I want my dynamic range. Like he said, there is a volume knob, the user can turn it up.
@@ferry9375 Driving a sine to a square is an example of extremity and I know you know that. You're stretching my argument to the point of extremism and attacking that as a principle but you also know damnwell everything is a sine until you add harmonics, which slowly squarize the sine over time. It can be stopped at any point by controlling how much harmonic saturation you're applying, and you know that as well. So why are you trying to describe turning a sine into a literal square wave? When did I ever allude to taking it to that extreme?
I made some radio advert once, and mistakenly did crank a little too high, the programmers called me back to peg it down a notch 😂👍 I fully agree with the Mau5, dynamics over loudness and said it myself before, that's why there's a volume button, just turn it up yourself.
I used to listen to music like super loud. when I was a kid, I always thought it was better. now As a producer... it hurts my ears, listening to any song that's literally clipping (you can hear it) but yeah the Loudess war It's the stupidest thing. if it's loud enough, and if it is a good song I wish nobody would care
@@subradiant_music what is this supposed to mean? Deadmau5 has had a huge impact on the edm scene and has inspired many other producers. One of the goats that still use mostly analog synths and drums
I think my last song is a mess because I made it too loud. A friend of mine told ne his ears were bleeding 😂😂😂 my track is TOTAL DESTRUCTION - TRAGICHAPPINESS. I appreciate feedback from experts because I am doubting my mixing skills a lot. Thanks
Hifi dynamic layered ambiance and rhythm is being lost into loud ADD blown out over stimulating noise distortion. Let’s please make music great again lol
I'd have expected Deadmau5 to understand the difference between gain and limiting distortion. Also, loudness wars have been a part of the industry for several decades
He literally just explained the difference between gain and limiting distortion by saying, "that's why there's such a thing as a volume knob, use that instead of turning your whole mix up"
@@eleven9286 But, often, the goal is saturation on the mix bus. This is achieved, among other ways, via limiting distortion. A gain knob isn't going to change that because dynamic range and gain are two different things. These are two different procedures and one isn't going to give you the result of the other, there is no "this instead of that". They serve different purposes, and aren't interchangeable but Joel's treating it as if it's "X instead of Y"
@@ferry9375 While the mix itself is absolutely louder and many, MANY elements are spending so much time average higher levels, it's not just a matter of moving faders, it is accomplished via dynamic range compression (so saturation). While it also definitely ruins a lot of mixes, I wanted to add it can be done tastefully and you can still have the sense of dynamic range even in a track that practically has none, and can mess with attack and release times in such a way you're not smashing the life out of your mix, even on extreme thresholds and ratios.
Sorry you feel that way @@triemond9961 we clip and re-purpose inspirational content for our producer DJ community. All the best, We hope you find your joy somewhere out there. www.vokaal.com
there's no justification for posting content from a persons paid content literally none, at all. You are actually capable of being sued this is not even remotely in anyway shape or form free use. This is quite literally stolen IP. And I assure you the agency that handles his legal issues that is being notified of this will take care of it. :) @@vokaal
Rock from the early 00s…. Californication and anything Rick Ruben produced at the time (like system of a down) is virtually unlistenable with how much of the track is clipped 😂
@@vokaal Ah cool! I only ever see you guys on shorts and the UI for shorts is a bit lacking in the visibility for those infos :) Actually already own his masterclass :D
Use upward compression. It’s called a maximizer. It’ll make your mix as loud as you want no distortion. There, I just saved you years of pushing and pulling masters fighting distortion. Btw no one else will tell you this.
Doing what is best for this part of the song and the song as a whole is what is best, the throw a chick in it and make is Gay, is a cop out for laziness lack of skill. You should always be tiring to improve your ability. if you want to be a 1 trick pony you do you bubu bear. wish you the best with you wanting to limit your abilities.
![[DOKKAN BATTLE] Worldwide Campaign Announcement Video](http://i.ytimg.com/vi/zxfEiMksZQs/mqdefault.jpg)
Love how deadmau5 still fights for clearness and dynamics. I always liked his music for that. Real HQ producer
Isnt that what all high level producers do?
@@simstudiosofficial depends on the genre. listen to harcore or metal tracks, very little dynamic range right from the start. plenty of electronic genres / artists do it too
@@davidjames149 Ah yes true
@@davidjames149 difference in metal, is sometimes smashing the living hell out of it is warranted, but for most things its not. Sometimes the artifacts it produces help the energy but for most genres it doesnt help its just annoying. Its still gotta be tasteful
Haha nooooo@@simstudiosofficial
If you aint red lining, you aint headlining
That got me giggling.
😂😂 I dig it
yooooooooo LOL
Love how he always sounds so disappointed 😅
Producers who truly respect the art are dwindling year by year. Joel is definitely one of the few good ones
Once had a guy tell me something like "i cant get this sound loud without distorting it" i jokingly said "this might be crazy but turn the volume up" & he replied "oh yeah that worked". That shit blew my mind someone couldnt think of that lol
Funny, that's EXACTLY the story he just said.
@aaronbeardsley3261 deamau5 didn't tell a story, and I found this guys comment pretty funny in a way that he was able to relate to deadmau5s EXAMPLE, because that's what he was giving us, not a story, but an example. what have you brought to this comment section, besides me to respond with an attitude? take that shit elsewhere
@@zanechristiansen You brought yourself with the attitude, not me. Nice try though Shakespeare. You can gallop in here on your high horse all you want I really don't gaf. This story was 100% rhetoric and hardly an anecdote.
@@aaronbeardsley3261 yessir high and mighty me. I'm just saying. I found what he said interesting. and what you said, uninteresting. I'm no Shakespeare thank you
@@zanechristiansen No, you found an opinion that didn't match yours. I said one sentence and you replied with a what you thought was a slick ass retort. Wave your flag off support there Zane. I ain't stopping you. But as far as trying to convince me this isn't some half ass made up story to get likes, you won't. So fuck off
Now we have LUFS based loudness norms for commercials :). R128 is a great German invention. The best way to get transparent loudness is clipping, not limiting.
Or a mixture of the two in the case of transient heavy music
@@psychoticchemist true, but slightly misleading in my opinion. The loudness is generally from clipping. Limiting is more often used in modern "bass music"(IDM, DnB, Trap etc) to get a dB or two of excitement/pumping after the desired loudness has been reached. Clipping is a much better way to achieve transparent loudness.
@@GingerDrums what I see most often in modern percussion heavy music is clipping a couple dB max on a drum bus, maybe an instrument bus as well, and another 1-2dB clipping maximum on the master before getting a few more dB loudness via limiter
@@psychoticchemist yes totally. When a genre requires extreme loudness, that heavy lifting is done by sequential clipping. On a recent trap track I clipped around 5db to meet the clients desired loudness and distortion profile.
LUFs is subjective. True peak is not.
They don't want to be quieter than the last thing. Great fucking point. Needed to hear this
And then spotify and youtube started accounting for that and will literally play shit at lower volume if the track is I think around -16 to -14 lufs. Not gonna lie kind of a genius move.
It just sucks because LUFs can be a super deceiving metric. It's very hard to measure loudness with a number because it's all perception based. There's some tracks by say someone like Deadmau5 that are very dynamic and don't "sound as loud" because there's a lot of movement in the track, whereas say somebody like REAPER (IMY in particular) is literally hitting at the exact same measurement but it just rattles your brain on how loud it is.
"20 years" loudness wars started on the radio, probably in the 40s
When I listen to old school legendary albums, I notice they're not loud but they have something albums don't have today and it's...RANGE. You get some tracks that are loud and pumpy, then you get softer songs with just an acoustic guitar. Why have people fucking forgot about the MUSIC!?
Thanks for the comment 👍
It’s not that people have forgotten it’s just that the music that’s popular right now is mixed to be louder, and everyone is referencing their own mix and masters to those popular songs. Granted there are exceptions such as deadmau5 and Mick Gordon keeping small pockets of dynamically produced mix n masters alive
@@jleo1 And that's the issue, is people referencing their works and measuring it to other people's standards. Referencing in of itself is controversial to me and I don't particularly favour it, because it won't allow for a song or album to stand on its own. But I think people have forgotten about the music, because why not just capture the best recording and mix it to the best of your ability, to enhance the song itself, rather than going back and forth to someone else's track? It's almost like no one wants to be unique any more and that's why most of the crap today sounds the same.
listen to deaftones for good example of dynamic range durring the PEAK of the loudness wars
The loudness war has been going on waaaay longer than 20 years. It really started basically as soon as cds (the first digital music platform) came out, but the same techniques had been used going as far back as the 50s.
it started out in 200 000 bc when DJ Caveman created the first drum out of a stretched out goat hide and a coconut
So people have always wanted their music to sound louder. Wow that's so crazy to believe.
@averyintelligence definitely. I just LOVE when an ad is 5 decibels louder than the thing I'm listening too.
@@shortbusbullyIt's not hitting higher levels, though. 0dBFS is still 0dBFS. Downward compression and makeup gain is just bringing transient release up closer to true peak and long release times keep it there longer.
@pc_buildyb0i935 Yes, but 0 dbfs is much much louder than -12 dbfs, the typical ceiling for mixing voice. Hence, why advertisement music will often blast your eardrums out.
I thought i was doing something wrong when my mixes kept coming out quiet 😭😭
Remember when 70s records were so loud that you could hear it just fine coming off the needle?
@@nelisklarenbeurger4630the sound comes from the record, how can you not understand that the thing making sound, is audible?
I remember that! Commercials would literally turn up the volume because they knew people would walk away during the commercial break to go grab something from the kitchen. ANNOYING AS HELL!!! At this point I genuinely think this is when people really really started hating commercials. Before then commercials were at least some what whimsical or entertaining. The 80's RUINED the commercial break forever.
@@sushiboiii WTF are you talking about? they never said that. They said the commercials got louder so you can hear everything they want to sell you while/if you get up to go do something, that's all, and its true!
They still do. Fucking youtube non premium and Hulu fucking does it
@@chemicaldeath9866no they did they also made it louder to get your attention more over the movie or show you're watching which would he quieter
TV uses normalitation, so it doesn't fucking matter how loud it is
@@TheKeksletsplay well that's not how it works. By loud they mean perceived loudness.
If you play a muddy, rumbly song from the 1950s next to an edm song at the same volume then the edm one will always be perceived louder. That's the point. All songs are like 0db or -1db regardless of how you perceived it.
dude idk why but this is just hilarious 😭
Bruh i also hate how loud commercials are.
Ugh... reminds me of singing with a large band and each guitar/bass player have their own amp, and keep on turning them up to hear themselves over each other, and I'm like: I don't have an amp for my voice y'all.
I love dynamic range, and I love brick wall sound... But to be "competitive" on streaming platforms like Spotify, if you value dynamic range, your mix will be SIGNIFICANTLY quieter than similar songs with the same true peak. There's a tradeoff between writing music to be played on a tin can, and writing music to be played on big, highly tuned speaker systems. Most of us don't have a Dolby-Atmos setup at home to truly enjoy the objective clarity of a dynamic mix.
Also most phones have pretty decent quality these days anyways. Regardless, if your mix is bad turning it up wont make it any better it my point. Focus more on the song than the loudness
Cuz people are listening to music on their phone speakers and they only go up so much so the mixes have to be loud by default
Bro you should hear rural Thailand music. I swear i need ear plugs every time
Nothing better than need a remote in your hands to be able to watch a film or media without needing subtitles in places and earplugs in others lol, the movie Oppenheimer didn't have an ad break and yet the director thought it would be a good idea to fuck the audio mix
yes. you have an actual volume.
When i was at Polyphia's Q&A Tim had talked about a little peak distortion is cool sometimes. His bassist clay looked confused, but i guess it works for some of their stuff cause his productions sound really good
honestly compression sounds so good when done right. I heard somewhere that the early Beatles records had like 3 compressors running in series on each instrument. No distortion but still super punchy.
20 years? dawg since SOUND
You can be loud without sound
hardclipping will give you headroom and make things loud without having to boost a limiter as much, just a side note for producers
Clipping / Saturation / Linear Phase EQing will give you industry grade loudness!
@@timmyaudiocan you explain the linear phase eq part?
TO BE FAIR TO THE WAR (somewhat)
When you load an uncompressed audio format (for example a .wav file)
on DJ equipment…
When the final master is super loud
without distortion,
and you mix from song to song,
having a louder master prevents you from having to trim the tracks, and it is perceived power.
Yes you do want dynamics and clarity, but having the loudness mastered correctly and and as loud as possible achieves the commercial vibe.
Most of the big name songs are mastered by engineers that have “mastered” the art of loudness. It costs more money to get a mix mastered from them. They understand the physics involved, and they also understand the finer details of how an audio file get encoded, and decoded, and how the subtleties work and sound inside a DAW.
They are MASTERS for a reason.
You get what you pay for.
The loudness war DOES make a difference.
Having a great mix and great song is not enough when it doesn’t feel as loud as the other commercial music it competes with.
ULTIMATELY, the music is the most important thing.
The listener wants those files loud, dynamic, clear, punchy, lots of depth, and “high def.”
They perceive loudness as “better, when they turn it up on Spotify/Apple Music etc.
Look up the Fletcher Munson curve
I feel bad that you wrote all that & got no response whatsoever so here , take my like bro. You actually wrote some insightful stuff 💯
Loudness wars are stupid. Having your eardrums blasted because you had to crank your volume for a low track, and a loud one comes on after is also stupid.
So true man he's so dope at mixing and mastering
They must do this in movies too.
Have to turn volume up when they're talking then have to turn it back down on a action scene
similar reason but in the opposite direction. Movies are often mixed for theatre speakers so the quiet parts will be too quiet and the loud parts will be too loud on the majority of set ups
That pisses me off so much when i watch a movie or tv show now and i have yamaha hs8s for my setup in my apt. Laying down trying to relax then BOOM BANG THUNDER i do even use a sub. I hate getting up and down 7 times to adjust.@@ManDudeBro.
@@scottsetzke7967use a program that has a compressor, my media player has one (i use celluloid on Linux). yeah my studio monitors used to have the same issue. i believe VLC on Windows has a compressor, set the ratio to 20:1 and drop the threshold
The reason for this is because they work in higher sample rates, most music is rendered in 48k whereas movies are typically 70-90k which just means there’s twice as much dynamic range so they can make the low volumes quieter and the higher volumes louder. This works great if you have a good surround sound or home cinema setup but for most tvs and devices it’s overkill.
@@noahsmusicarksample rate does not affect dynamic range, you're thinking of bit depth. Also they don't do it just because they can, it's for that huge cinematic effect.
dan worrall did a great vid on this! well worth a watch
Couldn't agree more! I love Dan's content. He is definitely a lot more technical and in depth, and he teaches in such an easy to understand way.
Called signal to noise ratio.
So much this!
I use headphones i often hurt my ears
Yeah too much loud is just that - too loud. Headphones always give that away 🙄
Am I the only one who thinks that clipping/saturation is better to achieve loudness than limiting?
Automatic sub! Man knows what he's talking about.
The more you blink the righter you are
Science!
gosh you sure are smart!!!
i don't understand, what is he referring to when he said "volume knob" just turn it up without just pushing the limiter thus getting clipping instead?
Dude is spot on.
Compression and loudness is what the Bluetooth audio loving zoomers love listening to, in their sub par overpriced air pods SMH
This is true but at the same time it is not good if you have to constantly turn the volume knob up and down as the different mixes change each other in the player. The key is to keep a minimal dynamic and not distort unless that is the goal.
Fr it's very annoying when a soung with lower volume comes on, I always have to turn it up,
I remember when Waves' L2 came out years ago. It was pretty shocking to me.
Experienced this today, wanted to play a louder mix but it was with older songs and tbh... It sucked, I like that new quiet shit.
LuFS went a long way to sorting this, pushing your loudness beyond the spec will just see your average level conformed back down.
sure, but when i want to listen to a song i want to be able to hear all the detail without needing to crank it up. when everything is loud, i can listen on low volume and get the entire experience
why would you listen on low volume
@@prod.galaxxy i dont want to be one of those old dudes with shite hearing
@@nbshftr oh didnt think about that i will be that dude for sure
Easy to say when making house music; dynamic range is dubstep (loudest genre) is a wizards job
He doesn't just make house music 😂😂😂 holy christ do you know anything. Also electro/progressive is hard house not "house" also I make dubstep, his sounds better louder than dubstep does because of his modular and analog work. Where 95% dubstep artists use serum and vital to synth their sounds with Tons and tons of OTT, fab like you see here and diva. Older skrill did massive as everyone knows
@@subradiant_musicor maybe it is because he has basically equipment worth a small house + years and years of mixing experience so he could pull it off with pretty much any genre. Doesnt change the fact that most house genres are generally way less dynamic than the average modern Dubstep tracks
Hate to break it to you but hardstyle is far louder with some masters reaching -4 to -3LUFS
But what if my volume is already at max and the speaker still works?
Hehehe you nuts. I like it 👌 😂
Loudness war. Started with Oasis albums
Can some good fella could point me to the source of this clip? Is it his masterclass or some different interview? I'd love to head all of it.
Much appreciation in advance - Cheers!
oasis started the loudness wars because it didnt sound good without the peaking. some peaking sounds good but ppl od it now
Didn't exactly start it but them coked out of their minds unable to tell how bad the mix sounds definitely contributed
+69 LUFS or STFU - The Loudness War
I remember when that loud ass commercial would come on. I believe they banned doing that, as in a commercial must not be above *this* many db or whatever.
And it’s funny cuz the guy he mentored came up with it. Well is coined for it.
Years ago i made a full commitment not to participate in the loudness war, don’t care about it, I want my dynamic range. Like he said, there is a volume knob, the user can turn it up.
Dynamic range is only for self righteous purists listening to Bach on their hifi systems
But gain = \ = dynamics. This isn't correct
@@ferry9375 Driving a sine to a square is an example of extremity and I know you know that. You're stretching my argument to the point of extremism and attacking that as a principle but you also know damnwell everything is a sine until you add harmonics, which slowly squarize the sine over time. It can be stopped at any point by controlling how much harmonic saturation you're applying, and you know that as well.
So why are you trying to describe turning a sine into a literal square wave? When did I ever allude to taking it to that extreme?
I believe Loudness wars is over now though
I made some radio advert once, and mistakenly did crank a little too high, the programmers called me back to peg it down a notch 😂👍
I fully agree with the Mau5, dynamics over loudness and said it myself before, that's why there's a volume button, just turn it up yourself.
I used to listen to music like super loud. when I was a kid, I always thought it was better. now As a producer... it hurts my ears, listening to any song that's literally clipping (you can hear it) but yeah the Loudess war It's the stupidest thing. if it's loud enough, and if it is a good song I wish nobody would care
He should get a tattoo on his forehead 😂
The pat mac show forsure
Aesthetic quality is much less important than engaging people that have no taste with LOUD NOISES 🤡
Theres a say on studios ...Leave your ego at the door. I will never compromise my mix just to sound louder than the previous guy. Its stupid.
What is this from? I love listening to this guy
This is deadmau5, I wish I could find the exact clip but there’s a ton of him talking about music
I believe it’s from his Masterclass.
^^^ thissss
Haha this guy lol😂 he's not a goat or anything of edm lol
@@subradiant_music what is this supposed to mean? Deadmau5 has had a huge impact on the edm scene and has inspired many other producers. One of the goats that still use mostly analog synths and drums
I'll take dynamics over loud super compressed anyday
Usama Been Loudness
bruh..💀
Preach !!!
For like the first ten seconds of this video I thought this man was an alternate universe version of Jordan Peterson, lol.
You can always go 1 louder, like to 11
I think my last song is a mess because I made it too loud. A friend of mine told ne his ears were bleeding 😂😂😂 my track is TOTAL DESTRUCTION - TRAGICHAPPINESS. I appreciate feedback from experts because I am doubting my mixing skills a lot. Thanks
Hifi dynamic layered ambiance and rhythm is being lost into loud ADD blown out over stimulating noise distortion.
Let’s please make music great again lol
Genius
lol a dj mixing and a foh mixing... tug of war
reminds me of that old picture of a mixer with a piece of electrical tape over the faders with "brick wall limiter" written on it
-4 lufs is still not enough
Ive noticed n its annoying when u gotta grab the remote n turn it down on commercials
Dynamic music needs to be listened to differently as well.
Dynamic range is where the expression is... Compressing your audio and squashing the dynamics kills emotional communication and deadens the music.
I'd have expected Deadmau5 to understand the difference between gain and limiting distortion. Also, loudness wars have been a part of the industry for several decades
He literally just explained the difference between gain and limiting distortion by saying, "that's why there's such a thing as a volume knob, use that instead of turning your whole mix up"
@@eleven9286 But, often, the goal is saturation on the mix bus. This is achieved, among other ways, via limiting distortion. A gain knob isn't going to change that because dynamic range and gain are two different things. These are two different procedures and one isn't going to give you the result of the other, there is no "this instead of that". They serve different purposes, and aren't interchangeable but Joel's treating it as if it's "X instead of Y"
@@ferry9375 While the mix itself is absolutely louder and many, MANY elements are spending so much time average higher levels, it's not just a matter of moving faders, it is accomplished via dynamic range compression (so saturation).
While it also definitely ruins a lot of mixes, I wanted to add it can be done tastefully and you can still have the sense of dynamic range even in a track that practically has none, and can mess with attack and release times in such a way you're not smashing the life out of your mix, even on extreme thresholds and ratios.
deadmau5 is the jordan peterson of production
Uses a lot of words but says absolutely nothing?
don't insult deadmau5 like that
this is from his master class?
Yeah, it's pretty good. I liked the AVB one better though. Both definitely worth the time and $$$
@@vokaalso you just stole his content & reposted? Great ad for your website... probably equally scummy
Sorry you feel that way @@triemond9961 we clip and re-purpose inspirational content for our producer DJ community. All the best, We hope you find your joy somewhere out there. www.vokaal.com
@@vokaalnah you’re definitely stealing content don’t try to act like you’re not
there's no justification for posting content from a persons paid content
literally none, at all. You are actually capable of being sued this is not even remotely in anyway shape or form free use. This is quite literally stolen IP. And I assure you the agency that handles his legal issues that is being notified of this will take care of it. :) @@vokaal
Rock from the early 00s…. Californication and anything Rick Ruben produced at the time (like system of a down) is virtually unlistenable with how much of the track is clipped 😂
Smash Subscribe for MORE Music Producer Inspo!
loudness wars ended a long time ago
Every collab I have done involved me wrangling other people's gainstaging problems. Like bro, turn your shit down so you can turn it up later.
He doesn't have a hat on? Weird.
Cardinal sin for sure
Guys, go listen to Aphex Twin.
As a dubstep producer i dont know what youre talking about. There is no such thing as dynamic range in dubstep
Music reddit
That's an imposter. The real Deadmau5 has two big mouse ears on the top of his head.
AI..?🤷🏻🤣
That’s hilarious!
Love this guy !
Loudness war.. lol
Fruity Soft Clipper Has Entered The Chat*
so true
Has an L2 on his screen..
Brick wall limiter
arent these just clips stolen from his masterclass?
We're an official masterclass affiliate. Links on channel. Enjoy!
@@vokaal Ah cool! I only ever see you guys on shorts and the UI for shorts is a bit lacking in the visibility for those infos :)
Actually already own his masterclass :D
Exactly
old ass meme.. No one uses a volume knob these days. And Skrillex beat him forever
A dj giving lessons on what happens at clipping haha😅😅😅
3.5 or | 5 |
HI BILLY MAYS HERE
Use upward compression. It’s called a maximizer. It’ll make your mix as loud as you want no distortion. There, I just saved you years of pushing and pulling masters fighting distortion. Btw no one else will tell you this.
By doing this your track will have absolutely no dynamics
@@joshjamesuk Yeah If you absolutely squash it. You can turn your song up. Like how else do you get it loud? Praying?
@@TropikShadeProductionsproper eq and gain staging. Skrillex mixes his track channels down to -32/-24db pre return buss and mastering.
@@scottsetzke7967 y’all tracks finna be quiet as hell thinking you can push a mix to 7 lufs by EQ’ing.
nah softclipping + limiting works best xD
deadmau5 mixes sound cleaner than 99% of other people. I would listen and learn my friend.
Doing what is best for this part of the song and the song as a whole is what is best, the throw a chick in it and make is Gay, is a cop out for laziness lack of skill. You should always be tiring to improve your ability. if you want to be a 1 trick pony you do you bubu bear. wish you the best with you wanting to limit your abilities.