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“Your monitoring situation might influence how you’re seeing this sound”

Me, watching through my phone speakers: agreed

This video told me what I did wrong in my mixed for the past 4 years in 6 minutes

Thank you

Having spent decades in various recording studios, doing production and also mixing - I have to say that the simple rule that I've learned about 'mixing loud' is this.     Don't ever do it.     Generally speaking, the trick is to mix quite QUIET, and make sure that everything, including every note of the bass guitar - is clearly audible, even on shit speakers, in mono.......In every studio, 90% of the work is done on near field speakers, simply because 'virtually anything and everything sounds amazing on the 'voice of god' (large) speakers'.   I worked a lot in 80's, when we didn't even have digital audio, with all it's associated visual representations of the audio signal's waveform. We just used our ears, and listened to our mixes on as many speakers systems, in as many different environments as possible.  Usually, we'd limit ourselves to a few minutes an hour of listening to the big speakers in the studio - because of their big threat: Ear Fatigue.......which reduces your capacity to make informed decisions, even at lower volume levels.     Hope that insight helps..........Great upload - just trying to add some related context.......

This is tutorials has to be. A simple example that almost everyone can understand and then showing how this appears in the actual mix. Top content as always!

3:41 - that's right, many ppl think that way, but honestly, there is no magic wand in mastering music (I run Mastering Studio in London for over 10 years btw), if the mix is poor- the master won't help it, simple as that, mastering is not about correcting bad mixes or/and bad recordings/production. Mixing is for correcting bad mixes:). Anyway, I absolutely agree on your point - the creation/production stage is crucial, choosing a bad kick will ruin your song.

If I seen a kick like that I’d just find another kick haha!

Dealing with transients artfully is really where “loudness” and “punch” dance. Lots of dynamic range in the crest factor will limit the perceived overall loudness by gobbling your headroom with spikes, but keeping some transient intact adds punch and impact. It’s a balancing act. Training your ear for transient response is just as important as frequency response. Great video!

When I started, I was deathly afraid of using limiters. Now, I use them in mixes all the time. It helps so much with dynamics, even when the limiter is doing light work and can’t really be heard.

I have never heard a better more clear explaination about the matter

0:58 THIS!!

You have no idea how long it took me to realize tons of compression and heavy limiting isn’t necessary for a loud mix/master, and it has completely enhanced the quality of my mixes since.

I was watching on my microwave and I still learned something.

Fletcher-Munson theory - very helpful

This video is so underrated. People don't realize how much knowledge you can get from this video. Thank you so much for explaining!

3:50 To this day, there is a big misunderstanding about what a mastering engineer does or what mastering is, especially among younger people who want to work in a recording studio. Mixing and mastering have nothing to do with each other. They are two different things. Mixing needs no explanation as to what it is. Mastering is a purely technical process. As the name suggests, this process involves creating a master, a broadcast copy, in order to technically (!) prepare the recording so that it can be broadcast or pressed onto vinyl or used to make a DVD, a cassette, etc. This means that if you want to publish a song on the Internet and on vinyl, for example, you have to create two (technically different!) masters, because a master for online playback does not (technically) work on vinyl. It MAY be that a mix has to be adjusted by the mastering engineer in order to comply with the limits. However, this is not necessarily his main task. That's what mixing engineers are for. The main task of a mastering engineer is the technical process behind it.

He is probably the best instructor in electronic music. Thanks for another lesson. <3

Such a great summary. Looking back on my past songs/mixes, I would always, always, ALWAYS mix the drums (mostly the kick), WAY TOO LOUD compared to the rest of the music. And then would spend all this time with multiband limiters, clippers, loudness enhancers, etc to get it to sound like "finished music" - though something always sounded a bit 'off' when compared to other music I admired. Another thing was always way too much low-mid buildup. That stuff ends up eating up so much headroom, that again, I would turn to multiband compressors followed by multiband limiters, clippers, more limiting, to get things to "sound right". Just pure insanity. Amazing what skillful filtering and simple compression/saturation can do.

very big thank you again, Vin Diesel

One other thing that's really important to keep in mind as well is the idea of average loudness. Your second example could also be used to demonstrate this principle. The RMS value of the second kick was much higher as well. (Harmonic content is definitely a part of that as well).

Mr. Bill has some content explaining this extremely well using metering to demonstrate what he's talking about.

https://www.youtube.com/watch?v=rZ-XmTGaBso&t=5s

Wow, this was an amazingly presented tutorial. No bs, interactive, and super informative. Excellent work!