00:00in this video we're going to talk about
00:01how to master in studio one
00:07hi folks i'm mike and i hope you will so
00:10we are going to be talking about how to
00:12master in studio one or more
00:14how i master in studio one because we
00:17probably each do it a little bit
00:19but before i do get stuck in i want to
00:21just ask this question
00:23quickly in case it's not clear to you
00:26mastering so unfortunately a lot of
00:30people seem to think that mastering is
00:32things louder and whilst that is a part
00:34of the mastering process there is a bit
00:36more to it than that
00:37really mastering is the final stage in
00:39the production process
00:41before we release our music out to the
00:43world and we're making sure that for
00:45example we're meeting technical
00:48that we're going to do some final
00:49adjustments to the overall sonic
00:51properties of the music
00:53and also of course making sure it's loud
00:55enough that kind of thing
00:56now years and years ago mastering
00:58engineers had to know about different
01:00platforms like vinyl or tape for example
01:03or for radio where there had to be
01:06in the sonic properties depending on
01:09now the different platforms are things
01:11like whether you're releasing to a
01:14or whether it's for download or perhaps
01:17burning to cd so those are
01:19considerations during mastering
01:21as well so we're going to be looking at
01:23all of that so the next question is
01:25should you master because an awful lot
01:26of people in forums are going to tell
01:28you don't master your own tracks well
01:31um i think that if you can afford it
01:34and if it's practical yeah send it off
01:37to a mastering engineer a mastering
01:38engineer is more experienced
01:41deals specifically with that task has
01:43better equipment all that kind of stuff
01:45and that's fine but i think in a lot of
01:47occasions it's not really
01:49practical or affordable for people so
01:52you make cover songs for youtube and
01:55you're releasing a song every single day
01:57it's not really practical to send that
01:58off to a mastering engineer and it's
02:01economically viable for you either so
02:04those are a couple of considerations now
02:06there is a halfway house
02:07there's some automated mastering
02:09services like lander
02:11but what i think is what you'll learn in
02:14will get you a better result if you
02:16practice it a little
02:17than those automated services like that
02:21i mean if nothing else it's going to
02:22give you a bit more flexibility
02:24it's probably not going to be as good as
02:28to a really professional and qualified
02:33mastering engineer so that's all about
02:35mastering let's see how we can do it in
02:40okay so i've already done some basic
02:41preparation for mastering my song i've
02:44loaded it here into the project page of
02:46i've given a title i've updated things
02:49like the artist name and other
02:51i've even added some artwork the other
02:54thing i like to do at this stage is make
02:55sure that i've trimmed the beginning and
02:57the ends of the song to get rid of any
03:00now if you don't know how to do any of
03:02those things at all then i highly
03:04you watch another video i've made which
03:06is all about the project page
03:08i'll put a link for that down in the
03:09description and just up above here now
03:12if you go and watch that you'll get
03:13familiar with how you can do those kinds
03:15then come back here and watch how we can
03:19mastering now the other thing i like to
03:21do at this stage is check my
03:22loudness information and i can do that
03:25if i've got my song selected by going up
03:27here to where it says loudness
03:29now if there is some information i try
03:31and open up this area with the arrow
03:32it will show if not then it's going to
03:34detect the loudness here as it's doing
03:36for me now it doesn't take very long
03:38at all now what i'm looking for here is
03:41first of all to make sure that it's not
03:43clipping at all so it shouldn't be going
03:46it's going to tell you if that's the
03:48case apart from that
03:50there's no real rules i do like to have
03:53mine sort of peaking at around about
03:56and minus 6 db but that's not a rule you
04:00could have it as high as
04:010 db as long as it's not clipping but i
04:04do like to check that
04:05at this point the other thing i like to
04:07do now is load in my reference track so
04:10what is a reference track why are we
04:12a reference track is going to be
04:14generally a commercially track a
04:16commercially produced track which has
04:18mastered and has the same kind of sonic
04:21that you want to have in your final
04:25i highly suggest you use something of
04:26the same genre and a similar kind of
04:30there's not much point if yours is a
04:31piano ballad in using
04:33a heavy metal song as a reference track
04:36they're very very different in terms of
04:38sound and sonic properties
04:39so for example with my song here it's
04:43with vocal and acoustic guitar and a few
04:47at the beginning and then there's a big
04:48crescendo at the end where sort of an
04:50orchestra and everything else comes in
04:52i've chosen a reference track which is
04:54very very similar to that
04:55indeed now i'm not going to tell you
04:57what that reference track is i'm not
04:58going to give you the name nor am i
04:59going to play it in this video because
05:01i'll get into all kinds of
05:02issues with copyright so just it's
05:04important to make sure that the
05:05reference track is similar to your song
05:07and what you want the final outcome to
05:11now something very important with the
05:13reference track is to do some volume
05:15matching we have a problem with
05:17reference tracks in that they're already
05:19mastered so they naturally sound
05:20much much louder and we're not going to
05:22make our song louder until
05:24the end so when we're comparing our song
05:26to our reference track as we go along
05:29it's going to naturally sound better
05:30because it's louder that's just a little
05:32trick which happens with the human brain
05:34louder things equals better things we
05:37don't want that trick to happen so we're
05:38going to volume match it we're going to
05:40make it sound about the same volume
05:42it's very easy to do so what we're going
05:43to do is i'm going for
05:45the loudest part of my song towards the
05:47end here i'm going to play it in a
05:49moment and i'll be looking at the
05:50metering especially at the values that i
05:52here for the rms it's going to the
05:55numbers are going to appear where my
05:57just there right now and i'm going to be
05:58looking to see what kind of values i've
06:00got with my song there
06:10so you can see that it's hovering around
06:12about minus 13 to minus
06:1514 db that's absolutely fine
06:18let's go ahead and i'll go to a similar
06:20position in my reference track as i say
06:22i'm not going to play it for you guys
06:24but what i know from looking at it
06:25already is that it was actually around
06:288 db which is significantly louder in
06:31so what i did was i went to the
06:33reference track i selected it over here
06:35and i just adjusted that fader down
06:38until its rms was around about -13
06:41minus 14. that means that when i switch
06:44between the two songs i'm listening
06:46listening to similar passages they are a
06:50now if you're finding the the numbers
06:52are the same but to you
06:53one sounds louder than the other then
06:55trust your ears above the numbers
06:57that's the most important thing
07:01so it's normally at this stage that i
07:02start to think about any metering
07:04plugins which i'd like to add
07:06now if we were in any other door at all
07:08i'd be saying download and get this or
07:11but in studio one the metering is so
07:14good i really don't think you need a
07:17it dominates most of the screen as you
07:19can see here there's lots and lots of
07:21options for visualizing it in different
07:23as well as different standards that you
07:25can view the metering in down the bottom
07:27so i really don't think you need
07:30anything else unless there's some very
07:31specific metering you think you need
07:34however there is a plug-in which i do
07:36use quite often which falls into this
07:39and i'm going to show it to you now even
07:40though it's a commercial plug-in
07:42i'm kind of recommending it because i do
07:44use it all the time but it is optional
07:46you don't have to have it okay
07:48it's called a tonal balance control it's
07:50by isotope now i insert any metering
07:54master section down here okay and that's
07:56where i've inserted this one
07:57this means it's always at the end of the
08:00chain okay so it's doing its metering
08:03any changes i've made so far so i'll
08:06open up this plug-in here just to
08:07quickly show you what it's all about
08:09it's got four bands which you can see
08:11here the low the low mids
08:13the higher mids and the highs and some
08:15lines are going to appear when i play
08:17and it's going to indicate whether i'm
08:19falling roughly where i should be within
08:21those sort of ranges
08:23for the style that i've chosen now i've
08:24chosen pop up here but there's a few
08:26different ones to choose from okay
08:28now that's just going to give me a rough
08:30guideline to tell me whether i'm
08:32in the right ballpark or not so let's
08:34just have a quick listen to the song
08:45so obviously i've got nothing to worry
08:47about in the top three bands the lines
08:48are sitting nicely in there
08:50i may be a bit heavy on the low end of
08:53things at the moment i may want to take
08:55now i don't follow this religiously
08:57there's been occasions where i've gone
08:59you know what i'm going to ignore the
09:00advice here i think the low end or the
09:02high end whatever it is sounds fine to
09:04but i do find it very very useful
09:06especially when my ears are getting
09:07fatigued when i've been working on a
09:10i can't necessarily trust my ears that
09:12much anymore to have this visual guide i
09:15useful or at least a great starting
09:18completely optional you don't have to
09:21mastering okay so the next thing i do is
09:26eq plug-in and it's got one solitary
09:28task here and that's to act as a
09:31or a low-cut filter those two pieces of
09:34terminology relate to exactly the same
09:37just different terminology so i've
09:40eq2 a stock plug-in in studio one
09:43five here and i'm going to switch on
09:45that low-cut filter so i'll do that now
09:47now let's talk briefly about why we're
09:49doing this we want to get rid of some
09:51low end information which we can't
09:54hear human hearing only has certain
09:58and it extends in the low end down to
09:59around about 20 hertz or so
10:02but there may be some low end
10:04information which is still
10:05there now you may be asking well why get
10:08rid of it if we can't hear it what
10:09difference does it make
10:10well the thing is although we can't hear
10:13hear it so that information will be
10:16going through further down the chain
10:18into other plugins and it'll affect
10:19those plugins especially
10:21things like compressors and limiters so
10:23for example in theory you could have a
10:26sound in isolation right down there say
10:30minus 25 hertz which you can't hear at
10:32all which could entirely cause
10:34your compressor to kick in and start
10:36compressing everything else
10:38so we don't want that to happen so we're
10:40going to tame that low end
10:42so i've switched that on i'm going to
10:44change the slope here
10:46to 48 dbs here and then i'm just going
10:49initially adjust it to that number i was
10:52talking about which is
10:5320 hertz now what i normally like to do
10:56here is start listening to the music
10:58i'll listen to it over and over again
11:00and i'll start pushing that up pushing
11:02it up i'll get to a certain point maybe
11:04maybe it's something like 30 hertz
11:06and i'll start to a b so i'll switch the
11:09off and on and i'm going to start to see
11:11if i hear any difference now so i get to
11:13this point here you know 25 decibels or
11:16and when i'm switching between the two i
11:19start to hear a slight difference
11:21then i go back down a little bit again
11:24to a point where i can hear no
11:26difference when i'm bypassing the
11:28in and out okay so that's the only thing
11:31you need to do with this particular
11:33now i will say that there are some
11:35alternatives that i could suggest
11:38to the pro eq plug-in which you get a
11:40stock here this is absolutely fine
11:42but some people find that they'd like to
11:44use a much more aggressive
11:46ramp here now the low cut on here has a
11:49limit of 48 decibels
11:52this one that i'm going to suggest which
11:55this tokyo dawn records this is a free
11:57plug-in i'll put a link for this down in
12:00and the high-pass filter on this as you
12:02can see is much more aggressive
12:04so i've set it at 20 hertz there and
12:06i've got it going up to
12:0872 decibels there in terms of my slope
12:11very very aggressive slope indeed you
12:13don't really have to do that but
12:15sometimes i do like it to be a little
12:18so just a suggestion there but if you
12:20don't want to download any extra
12:21plug-ins then definitely go ahead and
12:23use the pro eq plugin which comes as
12:25stock with studio one
12:27by the way have you learned something
12:29from this video so far
12:31if you are and you're enjoying it could
12:33you do me a little favor and make sure
12:34you hit the like button
12:36that lets youtube know that other people
12:38should see this video as well
12:39now if you are enjoying this kind of
12:41content from me especially the studio
12:43one tutorials could you also make sure
12:45you subscribe and ring the bell on
12:47youtube so that you're notified
12:48about my future videos now back to this
12:53now i think saturation is highly
12:55optional in terms of
12:57mastering you really don't have to add
12:59it but if you are going to add it i
13:00normally add it at this
13:02stage now i don't really think the stock
13:05plugins that come with studio one have
13:07great saturation options for mastering
13:09there's a few more saturation options in
13:13five but i still think they're good for
13:15mixing rather than mastering
13:17but one thing you could get hold of from
13:20is this free saturation knob which i'll
13:23just pull up here just go to their site
13:25download it for free it's very very easy
13:27to use as you can see because it's
13:30one knob here which you would just push
13:32up as you're listening to the track
13:34until you hear a nice amount of
13:36saturation that kind of
13:38organic distortion and harmonics that we
13:41got from old equipment which we don't
13:43get in the digital realm
13:46so this is a nice easy way to add it and
13:48it is a free solution
13:49the only issue i've got with this
13:51plug-in is that things definitely get
13:53louder as you push this knob
13:55up and again we can be tricking our ears
13:58a little bit into thinking it just
13:59because it's louder if i'm honest with
14:02you i don't normally use this as an
14:04option i normally use these days a
14:07commercial option for that
14:08it's one from ik multimedia and i like
14:12one of their tape machine plug-ins this
14:16natural saturation i've pulled it up
14:18here i'll switch off the saturation knob
14:20so that's not going through
14:22um and this really sort of gives you a
14:24similar type of saturation that you
14:26would get from an old tape machine
14:27now there are four different models i
14:29think to choose from i'll put a link for
14:31those in the description
14:32i particularly like this tape machine
14:35done something here apart from just
14:39on there i've done a little bit of an
14:42high frequencies okay you can see just
14:46just added a little bit in terms of the
14:48high frequency sorry down here i've had
14:50it added a little bit
14:51with the high frequency on the playhead
14:53just to give it a little bit of sparkle
14:56on the top end now you could get that
14:59with an eq of course
15:00but i've chosen to do it here i like to
15:04with saturation plug-ins in mastering
15:08i find that it just sounds a little bit
15:09sort of more organic than using an
15:12actual eq plug-in but highly optional as
15:16and if you can't afford or don't want to
15:18get hold of this plug-in or any other
15:19commercial plug-in then perhaps try a
15:22of that saturation knob and just an eq
15:27so another optional option in my opinion
15:29is compression during mastering now i
15:32most of the time in my productions i do
15:34use compression but i don't want you to
15:37have to definitely use it when you have
15:40now the purpose for it for me on this
15:42occasion is just to tame
15:44some of the peaks towards the end of the
15:46song where i've got some sort of
15:48transients which just poke up above a
15:50certain level i just want to tame them a
15:53and that's going to enable me later on
15:55in the limiting stage just to push the
15:57overall loudness of the song up that
16:00more which is something that i'll be
16:02aiming to do but the main thing i want
16:04to stress here with the compressor is be
16:06very gentle with it in this case so i'm
16:08using the stock compressor here from
16:12i've got the ratio on two to one that's
16:14pretty good starting point
16:16nothing too drastic is going to happen
16:17in terms of compression
16:19with a two to one ratio i've got my
16:21attack set to around about six and a
16:23half milliseconds here
16:25um this is just so i can make sure that
16:28those transients but i'm not sort of
16:30crushing the track over a longer period
16:32of time it's just dealing with things
16:34that are poking up for a moment
16:35and also my release time i normally
16:37start around about 60 milliseconds
16:39and see where i go from there but it's
16:43your song on your particular track what
16:46you don't want to get is any kind of
16:49well that's not actually true sometimes
16:51in some genres of music you do want that
16:54but for most of us we don't want that
16:55pumping effect in fact we just don't
16:57want to be aware really at all that
16:59there is a compressor there and things
17:00are happening so we don't want that to
17:02attack too hard on those transits so
17:04very obvious to listen to and we don't
17:06want to hold on too long
17:08and kind of crush the rest of the track
17:11with this particular compressor i think
17:13it's okay for mastering
17:15but i'm actually going to use a
17:17different compressor which is not a
17:18stock plug-in but you'll be happy to
17:20it is free it's another plug-in from
17:24and it's called kotelnikov i like to use
17:27this because it is rather tailored for
17:29master compression okay that's exactly
17:31what it's tailored for
17:33the thing i like about this more than
17:34anything else is the control
17:36over the release because we've got two
17:38controls we've got a release which is
17:40based upon the peaks
17:41and we've also got a release which is
17:43based upon the rms or the average
17:46value or the average level of the song
17:50music at that point i should say now we
17:52can use them in combination with each
17:54one or the other i really like this
17:56feature in this plugin i'll put a link
17:58for this in the description
17:59and if you want to find out a little bit
18:00more about it i've done a whole
18:02video on tokyo dawn records free and
18:05paid plugins i'll put a link for that in
18:07as well so another optional
18:11option at this point is stereo imaging
18:14now stereo imaging can really help your
18:16track by making it sound
18:18much wider or it can destroy your track
18:22much wider you have to make a choice
18:26on your music and whether it's going to
18:29now there's no stereo imaging plugins
18:31which come with studio one but i'm going
18:33to suggest a free one to you now which i
18:35really good it's from izotope and it's
18:37called ozone imager you can see it on
18:41and it's really just got one control for
18:43you to change the sound that's this
18:44slider here okay there's other controls
18:46we won't get into that this is your main
18:48one okay so i'm going to play this
18:50end section of the song again here and
18:52i'm going to gradually push that up so
18:54that you can hear the difference
19:09okay i really like that now one thing i
19:11have to warn about with stereo imaging
19:13is make sure that you do check your mix
19:17in mono because this can play havoc with
19:20mono mixes in terms of causing
19:24phase issues now you may think that mono
19:27you're wrong mono is important there's
19:31when people are listening to things in
19:32mono maybe you're listening in mono now
19:36you should really be listening to
19:37tutorials like this with headphones
19:40on or with studio monitors but we'll
19:42move past that so that's a nice plug-in
19:45there is a commercial option as well
19:48izotope the ozone 9 imager is the one
19:51that i'm going to pull up
19:52now in fact this is what i'm going to
19:53leave on my track the main difference
19:56is that i get control over different
20:00i like to keep the low end intact and
20:02not make that very wide at all i just
20:04really like it when that's
20:06nice and solidly in the middle but
20:08perhaps with the mid and higher
20:10ranges i like to add a little bit of
20:12width so that's what i've done here
20:15and that's what i'm going to be running
20:16with on this occasion
20:19so normally at this stage i think about
20:21finally kind of crafting the sound which
20:24i'm going to be using this stock eq
20:26which comes with studio one for this
20:28it's really very capable in terms of
20:30this particular task
20:32now what i'll be doing at this point is
20:35my track and the reference track so i
20:37can really hear the differences in tone
20:40between the two and i'm broadly
20:43listening to that low
20:44mid and high ends and as such i
20:48making fairly wide ranging and gentle
20:51changes here you can
20:52see the change that i've already made
20:53and it's just one here
20:55and this is just in the high mids where
20:57i've just pushed it up a little bit to
20:59add a little bit more clarity
21:00especially to some of the vocal parts
21:03now i didn't feel the need to do
21:05anything to the low end here but you may
21:08and quite often if i hadn't done it
21:10already in that tape machine plug-in
21:12which i used earlier for saturation
21:14i may be doing a little bit of
21:16sparkliness with a high
21:18shelf in the eq here but i already
21:21really did that with that saturation
21:23plug-in so i don't need to do it here
21:25in my opinion now if you find yourself
21:30things in this kind of way where you're
21:33sort of microscopically with little
21:35notches adjusting things here
21:37that may be fine but it may also suggest
21:40that there's something very specific in
21:43maybe a particular instrument where
21:45those frequencies are
21:47not living in quite the right kind of
21:50that's a good way to put it so that may
21:53be an indication that you want to
21:56the mix i don't really like to suggest
21:58going back to the mix again
22:00usually you've spent way too long on
22:01that already but i don't generally
22:05that i'm doing sort of my new detail
22:08with the eq at this stage it's more like
22:12that's just my opinion and that's the
22:14stage at which i think you should be
22:16crafting the overall sound here
22:20so now we come to the final and probably
22:22most talked about phase of mastering and
22:24that's dealing with the loudness
22:26now before we do deal with the loudness
22:28i'd quickly like to take stock
22:29of what we've achieved so far because it
22:32as if we've just made tiny tiny changes
22:35which don't add up to much
22:36but i think you'll find that they do add
22:38up to quite a big difference when you
22:40combine them all together
22:41so i'm going to play this section at the
22:43end of the song again first of all
22:45without any plugins applied whatsoever
22:47then after a couple of bars or so i'm
22:49going to switch on those plugins
22:50so that you can hear the difference
23:07miss you so i think you should be able
23:10to hear quite a significant difference
23:12there it's almost if the whole thing
23:14came to life once we had those plugins
23:16applied making it sound a little bit
23:17dead before although it sounded fine to
23:19me when i was actually mixing it
23:21so we've achieved something significant
23:22there without changing the loudness at
23:24all i don't think we've really changed
23:26the loudness at all we'll check that in
23:28so now we need to deal with the loudness
23:30now we need to deal with it for
23:32some different scenarios well i'm going
23:33to deal with a couple of different
23:35the first one is releasing to streaming
23:38services such as spotify
23:40itunes youtube that kind of thing where
23:42there are specific requirements now most
23:44of them are in line with each other
23:46but you need to double check with the
23:48particular streaming platforms you're
23:50the other scenario is if we're burning
23:54or we're releasing something where
23:56people can download a whole mp3
23:58and then they're not going to be
23:59streaming it they'll just be playing it
24:02some different things to consider in
24:04those different two scenarios
24:05so first of all what tools are we going
24:07to use well we could use the limiter
24:09which comes with studio one i'll just
24:13um it has the controls that we need it
24:15has the ceiling control
24:17and the threshold control which are
24:18going to be the main controls that i'll
24:20using except i don't really like to use
24:23this plug-in i'm not
24:24exactly sure why i think it's an awesome
24:28mixing but i just don't find it's that
24:31in terms of mastering but if you do want
24:33to use it if you determine to use it
24:35that's absolutely fine
24:36the controls that we're going to be
24:37using in the other plugins
24:40are exactly the same controls as you'll
24:42see here so you can still follow along
24:44so i'm not going to use that plug-in i'm
24:46going to suggest you if you don't want
24:47to be spending any money
24:49that this plug-in is really good it's
24:51called loud max make sure it's switched
24:53and it just has really two controls one
24:56which is this slider here and the other
24:58one which is to control the threshold
25:00which is going to change the kind of
25:04level of our music and it's really the
25:06average level that people hear
25:07when they're perceiving loudness it's
25:10not so much the peaks
25:11when the average level of the music
25:13comes up then people feel like it has
25:15become louder now for our streaming
25:17we have specific requirements to meet
25:19for that so i'll be showing you
25:21how to do that in a moment first of all
25:24let's just have a quick listen to the
25:25track and see what values
25:27we have without applying any limiting at
25:30again i just want to check this so i'm
25:32going to switch off all those plugins
25:35and what i want you to do is look at the
25:36metering over on this side where we can
25:38see something called
25:39l-u-f-s or luff's loves however you
25:42pronounce it i don't know i just want to
25:43make sure that that is reset at the
25:46moment and then we're going to have a
25:47listen to that section
25:48again at the end and see what kind of
25:50values we're getting for luffs
26:04okay it's about minus 16 at the moment
26:08uh minus 14 or so for the streaming
26:10platforms i'll reset that again
26:12i'll move back i'll just switch on our
26:14plugins again let's see if we did make
26:16any difference with all those plugins
26:25no it's still around about -16 so i was
26:27right there really wasn't any change
26:29in kind of volume as such after we'd
26:31added those plugins so let's make that
26:33before we change the average volume i
26:35just want to quickly set the peak it's
26:37very easy to do with this second slider
26:39i'm just going to drag that down to
26:44i'm not exactly sure of the reason for
26:45minus one i think it's to account for
26:49um in the digital to analog conversion
26:52which is always going to happen when
26:53people listen to music so
26:55um their stereo system their car stereo
26:58phone whatever it is however they're
27:00listening to it it's going to be
27:02from digital back to analog so they can
27:04hear it i believe there's some minor
27:06variations in different equipment
27:08so we go down to -1 just to take account
27:11we can make sure that we're never
27:14when that conversion happens so we've
27:18as is required by spotify i'm going to
27:21go back and play the song
27:23again and then i'm going to gradually
27:25adjust this slider this second slider
27:28things are going to start to sound
27:30louder and i just want to make sure we
27:32push up those extra couple of decibels
27:33so we get up to around about
27:34minus 14. let's see how we go
27:56okay and that's about right now i should
27:59mention at this point
28:00i'm not doing this exactly right this is
28:02just for demonstration purposes
28:04what you really want to do is meter this
28:07over a long period of time probably over
28:09most of the song rather than just focus
28:12on small sections like this
28:14and try and get the loose value for the
28:17song to be in the right ballpark but
28:19that would be fine there random
28:20this minus 13.8 it doesn't have to be
28:24so that's how i would use this plug-in
28:27to achieve the loudness that i want
28:30now the other thing that i like to do in
28:32fact the thing i almost
28:33always do is use a commercial plug-in
28:35which i'm going to show you very very
28:38it's not the cheapest of plugins so i'm
28:40not going to push it too much
28:41because i think you can achieve your
28:42results with this loud max
28:44or if i say using the stock plug-in with
28:49but the one i actually use more often
28:51than not is ozone 9's
28:53maximizer and the reason for it is this
28:56i can set my true peak here which i've
28:58already done to minus one
29:00and then i can in here set my
29:03target loss value i can switch this to
29:06threshold then i can set that target to
29:10as i have and let's just reset this here
29:14now what i'm going to do is play the
29:15song and what this plugin is going to do
29:19that threshold for me until i get near
29:24let's have a look and see how it does
29:42so it's done its job i'll switch off
29:44learn and then that's locked in
29:46the reason i like to use this is because
29:48i think it has some slightly nicer
29:50algorithms here in terms
29:52of the limiting um and also i do like
29:54that feature now again
29:56i would normally do that over the pretty
29:58much over the course of the whole song
30:01and see what it calculates automatically
30:04as i say you don't have to use that
30:06commercial plugin but definitely
30:08worth a look so i'll close that down i'm
30:10going to go back to my
30:11loudmax plugin now now let's say our
30:14scenario is a little bit different let's
30:17we're releasing as a downloadable mp3
30:20well now things are quite different we
30:22can really push things to the limit now
30:24because we're not restricted by
30:26any requirements in fact i can make my
30:29sound much much louder by pushing this
30:33even further however it's going to come
30:36to a point where it really doesn't sound
30:39where we're going to get kind of pumping
30:41effects and all of that kind of thing
30:43that we don't want to hear in our music
30:44it's not going to be transparent anymore
30:46so don't go crazy on this you still want
30:48to retain in my opinion
30:50especially in this type of music some
30:52dynamics in the song you don't want
30:54everything just to be sounding like it's
30:56on full all the time
30:58without anywhere to go it's like you're
31:00already on full how do you crescendo
31:03you can't because you're already on full
31:06use caution here but probably
31:09probably you're going to be going a bit
31:12further with something like a
31:15than you do with the requirements they
31:18one thing you want to probably do at
31:20this point is listen to
31:21a few different reference tracks the
31:23kind of songs that people might be
31:26that they've already downloaded and
31:28maybe listening to alongside your song
31:31and see what their loudness values are
31:33like and you may want to try and
31:35match that so that's all we have to it
31:38for today and that's the last stage in
31:42thank you so much for joining me in
31:43today's video if you've got any
31:45questions whatsoever please do ask in
31:47the comments down below and i'll do my
31:49very best to help you out
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