How To Mix And Master Audio Tracks Loud And Not Lose The Dynamics
Avoid the loudness war, loud does not mean better
Back on March 16th this year many people raised the flag to campaign against the so called Loudness War under the banner of Dynamic Range Day.
For those of you who have never heard of the Loudness War the basic idea driving it is that "louder is always better". However those who oppose this idea state that this concept is fatally flawed and promote a sound that retains much more of its dynamic range. By "dynamic range" we basically mean the difference between the loudest and quietest elements of music, the light and shade, the contrast.
The following two minute video by Matt Mayfield demonstrates the effect of this very effectively.
Ok, but what if I want loud AND dynamic ?
I guess it comes down to a compromise of ideas and ideals. There is nothing saying that you cant achieve a track that sounds loud but also does not end up squashed and lacking dynamics. The video tutorial below was created by mastering Engineer Ian Shepherd who was the brains (and ears) behind Dynamic Range Day. He is not recommending that you make your music loud but says that if that's what you wish to do then you should at least make a good job of it and not fall foul of a few simple mistakes.
The video covers the following concepts ;
- Make the mix loud - Mix with loudness in mind - don't leave it all to the mastering stage.
- Go easy on the bass - Bass is one of the first things to distort as things gets louder.
- Retain dynamics - Without quiet there can be no loud.
- Make use of multi-band compression - Allowing you to use more compression without causing "pumping" or distortion
- Use low ratios and avoid short attack times - Keeping the energy and punch of the mix
- Use multiple stages of compression - Gentler compression in several stages is better than just heavy compression in mastering
- Dont overdo the limiting - Limiting is essential in mastering but needs to be used with care
Using loudness meters - a roundup of some of the best
This video gives you a good overview of loudness meters that you can use to analyse your tracks.
There Is Always More To Learn
The art of mixing and mastering tracks is one that can never be perfected and is always a stumbling block for not only those starting out but also those with plenty of years in the saddle. Its one of those topics where there is always something new to learn, new ideas to consider and new tools available to help you reach your goal. There are also a whole host of tried and tested methods and pitfalls to avoid though so take advice from those with real world experience, read as much as possible and scour places like youtube for those little hints and tips and slowly you'll begin to make more sense of it all.
If you enjoyed the video by Ian Shepherd you'll be interested to know he is putting together a fantastic set of videos and eBooks that cover some of the hot topics and I highly recommend them to you.
Recommended Reading
Mastering with Multiband Compression
How to get loud, punchy masters, without losing warmth or clarity. Multiband compression is a powerful tool in mastering, but you need to know what you're doing. Ian's video and eBook gives you a practical, straightforward introduction to using multiband compression, including his "rules of thumb" and default settings to help you get started right away.
Click Here to find out more on mastering with multi-band compression
The Best of Production Advice
Ian's site is full of great information about recording and mixing as well as mastering - if you want to get all the best content in one package, he's put 23 of the most popular posts into an eBook - covering topics like using compression to add punch warmth and power to your mix, advanced reverb techniques and the seven crucial EQ bands..
Click Here to find out more on The Best of Production Advice
Please I can't see any of the videos...why plz
Since 1980 20db has been added to the loud war...In 2020 half of the world population will be deaf lol!!
thanks for the tip I used DR on my master falder on my pro tool RAST VST Mix down etc.
thanks https://www.looperman.com/tracks/detail/127146
Richie made an interesting statement about recording to tape. It is true that back in the days it was necessary to push your levels as high as possible to get a hot workable level and get rid of noise issues and that created a lot of confusion when the digital era came in.
As an advice I'd really like to say that you should keep your levels not so high in the digital world, when you are recording into pro-tools, logic, cubase whatever. Try to keep your peaks bouncing to max -8dB and you should be fine.
This will enable you to use your EQ's and compressors far more efficiently and if you are using external gear it will help you operate those at an optimal level.
Far to many sessions I receive are slammed to the ceiling claiming they recorded as hot as possible. In the 24bit world of DAW's that's not needed anymore.
Thanks Richie for reminding me about this issue.
I agree Shan, I think those who have used hardware to mix previously have skills and knowledge that transfers when producing with a DAW. I have experience of recording to magnetic tape too and trying to achieve as much level as you could before it saturated and clipped was always an issue. In those days it really was struggle to get some dynamic range. The noise floor was always high (using budget recording equipment in those days meant it was every thus) together with the limitations of tape provided a constant challenge. Great fun though!
Thanks for the comment and advice Shan..it's just the "Old dog new tricks" thing,but I know a few other old dogs on the site that use software very well so I know I'll get it..."I'll Get By With A Little Help From My Looper Friends"
Allen, I think if you've used hardware in the past I think you are probably more inclined to make better use of software then someone who has no experience as you tend to have experimented more to get the right sound rather then relying on presets and you maybe get the idea of how things are routed in the real world.
I agree with you PJB,that's what I liked about the Tascam digital 8tr(I know,it's time to grow up now!)But I did enjoy pushing the master record and sitting through the whole song with my hands on the volume knobs of each track and adjusting everything live as the master was recorded.It required you to be more mix conscious than volume.
This does also show how little I know about production also and have a lot to learn now that I'm leaving the 8tr and moving to software.
Interesting video!.....I hate to be obtuse but this whole 'loudness' thing seems to be objectifying over compressed contemporary tracks played through some sort of 'default' world wide volume level..what ever happened to adjusting your audio levels/dynamics manually during playback!lol...if you really want to get into nit picking subtle dynamics a venture into Classical music is warranted,I'd be very interested to hear what a Classical sound engineer had to say on this subject.
This was really educational, but it also illustrates just how little I know about production....I feel like the village idiot in the gifted class. Thanks for posting this.
Bear
Nice article :)
Definitely some useful tips to bare in mind for the future..
Screw paying >$500 for a plugin though!!
@Ian - Thanks for tuning in mate! The "Using loudness meters" video is really valuable from my point of view as it deals a bit more with the actual RMS levels you are trying to achieve.
As far as the Chilli Peppers go I must admit I didn't know it was mixed in mono and surprisingly Jim Scott won a Grammy, if I'm not mistaking, for that album.
Anyways the info is welcomed and your page already bookmarked.
Cheers!
Hello Chaps,
Glad you're finding the videos useful, thanks to Shan for including them !
@ Mahloo13, you're absolutely right, the extra stereo width of the commercial tune is another factor - I actually had something in the video about it but edited it out to keep the focus. It's another element of the "loudness potential" that I mentioned.
Which makes it even more ironic that a band like the Chile Peppers chose to mix virtually in mono for one of their loudest albums (Californication) meaning it had to be even more abused in the mastering to get the level so loud...!
Ian
i loce to watch all the many styles of mixing. these ones are great. thanks for puting them up
just finished watching tha videos....
niccce stuff, i've just bookmarked
the blog section now hehehehehe
Peace from LA
Hey Richie, glad to know that people are finding these useful. As the article says there is always something new to learn
Shan, many thanks for posting this. I've just had an excellent half hour watching these videos and taking notes. I'm off to the Klanghelm site now and download the VUMT! Who could resist?
BTW thanks for the share Shan! The new view count is great as well!
I agree with what was written above about the videos concepts however Ian didn't mention that the first mix is more concentrated around bass and isn't really wide. The commercial version is louder (and appears way louder) because of the mids and high mids presence, also notice how wide it is thus making it much more impressive.
Rock music sounds way to loud yet it's actually not as loud as a dance track.
I do agree however that electronic music is ridiculously overcompressed nowadays.