Comments on: Mastering Dance Music in Ableton Live Part 1: Creating a Mid/Side Matrix

By: Ian Stewart

Ian Stewart — Mon, 07 Sep 2015 07:08:54 +0000

To take +rist98's idea a step further: effect rack on the one track, 2 chains, one with a Utility with width set to 0%, the other with a Utility w/ width set to 200%. Do any separate M/S processing you want on those chains, continue any stereo processing outside the chain. If you're feeling really snazzy map the chain volumes to a macro for quick width control (mid range 3 to -3; side range -3 to 3).?

By: ??????? ?????????

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By: Demi Gods Ableton Tutorials

Demi Gods Ableton Tutorials — Mon, 07 Sep 2015 06:28:49 +0000

Simple and effective, looking forward to part 2…?

By: Harvey Cureg

Harvey Cureg — Mon, 07 Sep 2015 06:17:42 +0000

By: Electric Fish

Electric Fish — Mon, 07 Sep 2015 05:39:12 +0000

Very good tutorial thanks :)?

By: Ben Naative

Ben Naative — Mon, 07 Sep 2015 05:17:18 +0000

Awesome tutorial. When does the next episode come out??

By: Diggs Mixing (Rap Mixing Tutorials)

Diggs Mixing (Rap Mixing Tutorials) — Mon, 07 Sep 2015 05:17:09 +0000

Im so sick of this headroom bullshit and the way its explained to people sending in a mix. It doesnt matter if the song is touching 0 or at -12db. The ONLY thing that matters is the amount of attenuation from previous compression and the amount DYNAMIC RANGE between the lowest and highest points in the song. These are the real factors for mastering compression and making a song truly louder. A mastered song is around -10db depending on what you are working on. This is the average throughout the whole song. If I send a mix that when raised right before it clips and its already compressed to the point where there is very little dynamic range then there isnt much the mastering engineer can do in terms of limiting or compression before that. If i send a song that is around -15 when raised before red then there is something to work with. I If I All you have to do is lower the gain. I can send you a brick that is compressed to shit but is low in volume. it doesnt mean anything. Just looking at the waveforms correlation to peak doesnt mean much at all. You should be looking to see if there are any transients to work with or if there are different levels of volume throughout the song that you can bring closer together. In digital recording levels barely matter unless you are clipping or recording super low. When it comes to analog it matter a lot how hard you are hitting the top. The lower you record on analog gear the more noise you are introducing in relation to the actual mix. But nonetheless it doesnt matter how you send it in as long as its not clipping and not compressed to hell already.?