All language subtitles for 12-17 - Mastering Case Study Snowcone - deadmau5 Teaches Electronic Music Production

I meant before I come

I kind of right tracks like coheres

Here's the full

Here's the full track right here in the rest is all just

Break down to that song know that

If I master just this little section of audio is she pretty much translate well across the rest and sometimes I do that

Not that way I can work on it

And haven't sounded close to kind of what I want

Do the arrangement and then Wednesday Arrangements done in all my audio

Sources are in there in the facts and everything and I've got it the way I want then I'll go back to this master chain in

And I'll start playing around with that and that'll be the last thing I do before

I rendered the track out to stereo

So what you're hearing is with my master on

And now we're hearing is with it off now don't do first difference you can obviously notices that the volume has

Significantly

Because there's a lot of game stage and going on in here but

I can walk through these one by one

You just disable all these

Back on

Okay soda

The first stop

Thing that you're hearing here is that

You know the stairs

Taking out a lot more than it should have been that was because I adjust it after the mastering process

The first thing here is just strip

Modulo and then as I bypass that you're not really in here much of a difference because there's not really a whole lot going on down there

Stripping out completely

Perchance there was

This is

Just a stereo expander thing that I think I used on this track

Which is this kind of like a

Slight delay with a low pass and I-Pass on either side and then you know

Expanding out the signal for a better stereo image of the overall

But again it's

It's super subtle

Now the Ott does a little bit of lifting

And what Ott stands for over the top

I am this is a compressor written by Steve dude I which is basically a

Freebandz compressor so you have your your low your maybe you're high

I'm not exactly sure where he put those

Crossovers at butt

I would imagine you know MIT is around Young

801k and then high is like on Cape blasin and everything

Flowers like everything below 800

Hertz

Anyway

Summit is it is operating downward compression on this and then here these are like kind of the threshold of this so

If I took the mids in the

The highs

That's like a

Call multiband Works basically the only

Compressing the low right here by certain amount

Are controlling the mid by a certain amount in controlling the high bias

So here isn't just a good

In the dep being threshold is only like 20% so it's like subtly affecting it if I crank that up

Going to slam the hell out of it which is which could be cool for like a channel strip if you want some really snow

Snappy

Crunchy drums but

It's not necessarily what I wanted in this project

I just wanted a little bit of left

Bellows

Cuz they had a tighter threshold there in

Admits in the highs and I think I took the highs up a little bit because

Sparkling enough for me

Then what I have here is

Another multiband compressor which is kind of weird

And then what I did here is just compressed one band because I felt like you know the sub was pumping up a bit

Mineshafter tott

Took it so I just tone it down there is opposed to turning it down there because it's just applying

Further compression to it

Men here I used a limiter now the limiters

What's going to make all the difference in the world in terms of volume

So the limiters going to take display like you know where all my peeps are getting slammed and how much lift is happening

This is a pretty extreme

Limiting going on right here but

So it is

That snare

If you notice the snare hit you'll see it

The difference that it pulls it down when that's their hit so if I had that limiter

Coffee would be actually be the opposite of YouTube

Too loud

So actually basically use this

Compressor to pull that down as opposed to pulling down the volume of that snare because I didn't want to interfere with anything the way

But that bus require.

That makes any sense

Mmel to hear I don't even really use I put a threshold of light

-2 DB what's coming out of the limiter before that is is probably

Define

But I just kind of use this as a safety and a 2 decibel gain reduction so I can see that the attenuation isn't is

Gnarly on the output of this as it would be on on the filter here

Basically what you're seeing is is

This slider or this Biscayne reduction is is doing the same thing this thing is doing except this is doing it a lot

Aggressively

Pinnatus doing so that's like

You know sometimes you peeking at like -10 DB this is this is

Barely going to to

And that's for the Hawaii

Like do my master for this track

I strike my master Chan all together and I just use

Like a C4 something

Probably get away with that

Sc4 is part of a waves final kind of thing

Now you can

You know if you really wanted to sit here and tweak around with it you could probably get pretty close to the exact same result that I had

With one plug in there

So here I have all these I also need a limiter

No one

CarMax

So now what am I going to do here it's just me and max out the level

That in no way just because I am the volume I'm not going to get that same sound so actually if I take this

Copy that and then or I shall group

Aniline do it and I'll get my old master.

Got there okay

Group these racks and shut that off

The difference is it's like

I'm getting the same volume out of it I'm just turning everything up and that's nearest

Doing the same thing here is it's being limited a bit

But it's missing a lot of other things like stereo expansion the Ott that's handling listing some of the brightness of the track

The difference between this

And that is like Worlds Apart

And that's because you know that the

The processes that are all kind of doing one thing as opposed to trying to have this

One thing that's going to do everything for you because there's not

It's right it's going to be a combination of things

So if I wanted it

Bring my eyes out on that I'd try probably lift that up and then

That snare is super mid-range he's so I'll take this

Mid-range fan

Probably the highwomen compress it even more

And then

Bring the threshold down

I still have to cut the low out at some point

Yeah and they're just

All tools to do different things and now

You know like things like this E4 in the L Winer

Exclusively for you know your master output

But you could easily take

You know this whole audio effect rack

In and throw it on your drum track

If you were feeling

I go to my drums and I want to maximize

Yeah you can

Do whatever you want really but

Proper mixing is isn't knowing how these

Processors work and what they're designed to do

Sometimes I'll put you know

Big

Arrays about parametric EQ Stooges Notch out certain

Offending frequencies and stuff like that that you see in a track like for instance if I can go

Hiiraan

Sophie look at the track

Tell you right there that's like

All all this is going on right right here in this is like

30 herds this is beyond sub this is so low that you never hear it

If I

Actually Notch that out

As in like subtract a frequency

You even hear difference

Where I can see that snare drum hitting right about here this is very mid-range this is wild low-mid

Is a big low-mid spike there between that I can kind of knocked out

Synopsis changed the shape of the snare and I didn't even have to go into the snare Channel

But the sacrifice made there is that affecting this to everything

So you have to be really kind of

Fine tuning

With the kind of frequencies that you should knock down back on in and see really you know offending Creek

And stuff like that and then just lower the notch on it supposed to

You know like

Doing it right out like that was a full cut but

Bringing down a tie-dye gentle slow

With a high Q

On that isn't isn't a bad idea

In some cases just to get rid of

Gnarly

Like snare frequency or something like that

You just have to know that

Your order of operations is like

Your signalpath so if you have no you're generally mastering bus whatever it's like

All this stuff is going somewhere and then that's all going somewhere when it comes to the master

You'd have to workin order okay first the audio is going to go through the EQ then it's going to go to Atlanta

You don't want to go into eliminar Denny EQ cuz he was just going to counteract everything that

You have to know that

Signalpath

It's just like audio signal inflows and very specific Direction you can't

Roche it on

So do all that kind of stuff matters

And

So I know that before I want to start mastering it I want a low pass

Surrounded

I want to cut out frequencies blo3 hurts then I know for a fact first thing and needs to happen is this and then I can start process

That's like just

My workflow

Mastering