it's hard to get a flat headsets

 

http://www.nebulapresets.com/?page_id=6602

scroll down under the donate button you see the red links All you can eat zips they are free no Donate needed... Q clone presets are there too good luck. his preamps are the best of any Neb Lib ive ever used... with input transformers on the inputs is key ;)... alot of depth to his work ;)
heres one his vids to check out EDIT get the vector update ! and get this Titan EQ V2 its awsome and below the other zips to download

 

Last edited: Sep 19, 2016

I`ve been watching this thread and have to agree with Jaymz and others.Its very hard to get a good mix/master in the box with algo plugins,very hard.You will get to a point where algo plugins will limit your work and thats when you know you have progressed a lot.
The only algo EQ plugin that i can squeeze out the most is Eiosis Air and im getting impatient with this one as well.
Mixing is not supposed to be that hard when you reach a certain level.
Your equipment has to help you not hold you back if you know what i mean.
Best thing you can get is some Acustica plugins,especially equalizers and compressors,for channel and mastering work.
You have grown up,now you need proper tools,if you can afford also get expensive hardware but untill then Acustica and Nebula will absolutely do their job like the big boys.

 

Hahaha not sure if you're talking to me.
cool picture btw (my favorite boxer)

 

Last edited: Sep 19, 2016

I did a quick search yesterday I found something interesting, some said before they export their tracks for mixing they insert tape emulators on every track, which make it a little bit dark
I tried it with j37 tape and karma tape (the CPU goes crazy 40inserts)

the same could be applied using this plugin NLS Non-Linear (3 colors neve, mike this one is dark, spike)

 

that looks amazing, imma try it soon

 

Tnx.
Yes,i meant you and every body else who feels limited with algo plugins.

 

God can't anyone hear that distortion. Why are we doing this these days. R128 guys.

 

Ah yeah they are.

 

Some genres sound good when they're loud, like big room, trap right ? some don't like cinematic orchestral !

 

Have you been in a radio station? Again, they're not remastering everyone's music on the fly. It's not hands on making crafted adjustments to every song. It's set and forget, and everything keeps to the same environmental tone.

 

Last edited: Sep 20, 2016

Yep I used to work in one. You are right though, it's not hand crafted mastering. No one will ever replace that. It is in a sense mastering though, in the way that it's changing the tone and loudness of the signal, at it's basic level that's all mastering is.

When I worked at the station there was a nice little limiter that flattens your mix and makes it the same level and tries to even out tone so everyones song sounds similar. You don't have to turn the volume knob anymore, or the tone, or the bass, actually it works surprisingly well. Streaming services are starting to do a similar kind of same thing, well they are, and they aren't. It's kinda in it's infancy and doesn't work so well. A loud mix is going to get badly distorted, especially on itunes that son of a whore. Worst file format ever, the intersample distortion you get from an AAC is criminal.

There's a few standards for different countries. They vary but for the most part you can say they hover around -23Lkfs.

In Europe its R128, here in Australia it's OP-59, in the states it's CALM Act A/85. Mastering engineers know these standards and try to comply with them, now when you go get a song mastered (as I did recently, ouch that hurt my pocket, well not my pocket but I can't say more) they will make your song loud if that's really what you want, but they will try talk you out of it because it's just not worth it, sure you may get perceived loudness from a cd, but as soon as it gets limited, sonically changed, and in some cases made mono from the radio station you're screwed. Now the streaming services are playing ball with those standards too, just not very well yet.

I can understand why, the limiter I worked with cost more than my car (and at the time I had an expensive car), it was hardware based and was extremely efficient, in fact we had 4 of them. iTunes, spotify, they are all doing it with software.

Sorry I'm rambling again, If you want your stuff loud that's ok, it's a valid choice and the kids love it. But just know as soon as it get's airplay then boom, all you're gonna get is a flat ass song next to a song that was more dynamic. Even worse on itunes especially it's going to sound like mess.

 

I appreciate the feedback. However, I'm already a huge fanatic about the preservation of dynamics from production all the way to the maximization stage. I can't even stress how much.. I'd say I'm an addict when it comes to locking in dynamic grooves with open depth, separation, and movement. That tone everyone is looking for is not coming from bus comps or limiters. The secret of all songs on an album having that matching environmental tone that pleases the ears is a part stereo amplifiers often play in the mastering realm that rarely gets mentioned. Also what can help people quickly rather than reading off the various loudness standards (You see that took you some time bro).. I advise them if their song is peaking near or at 0dB to always trim the gain of that audio file so it does not peak higher than -1.3dB "before" they convert to mp3 or upload to the net for conversion. Since converting to mp3 and AAC causes the peaks to jump by 1dB or slightly more is why they often hear nasty things when they put them online. You see how the average person rips a cd to mp3 etc.. they're not rendering them to Wav and then analyzing the peaks and making the appropriate adjustments before converting to mp3. They're not even aware they would need to. They just pop the cd in, import as mp3, don't even know the songs are now clipping, and upload them to the net wondering why they sound bad all the sudden. Sad thing is too many studio heads make the same mistake when they convert their own stuff with lossy codecs.

 

Last edited: Sep 20, 2016

That's because, excluding the drums, the instruments on Nedal's track are too loud. Not only that but the engineers of Flo Rida's song utilize LP flters and utilize early reflections on reverb to tuck certain instruments in the backdrop of the song. If Nedal had vocals on his track he'd see how unnecessary it is to have all those instruments loud and in your face.

 

oh yeah believe me i know ;) way to loud .. and thats what i meant no depth/control ...what you said is all part of that i agree ... most of my mixes consist of 80 plus tracks and could never achieve that level of loudness without sounding like it was played thru a guitar amp with the drive to 10 lol

 

Last edited: Sep 20, 2016

Actually what streaming services (Spotify and YouTube are the ones I'm aware of) do is not "a nice little limiter that flattens your mix and makes it the same level and tries to even out tone so everyones song sounds similar". They do normalizing based on perceived loudness. Which means you're going to hear everything at the same volume. Thing is, when a squashed master that sounds badass played loud gets turned down, it sounds like shit. When a dynamic master that sounds badass played quiet gets turned up, it's even better. Try that on some masterpiece mixes. Pharrell Williams "GIRL", Daft Punk "Random Access Memories" are great ones to try this. On streaming they sound great because of the dynamics, which give you that punch on the drums - exact opposite of a sausage turned down.

Also, broadcast stuff is not "a nice little limiter". It's a shitty brickwall they use so you can still somehow listen to the song when there's poor signal. It's not nice. It's a cheap and lazy way to do level matching which doesn't give a fuck about all the craftsmanship that went into creating the music.

 

Radio limiting to me sounds like the limiter on the POT PLAYER you watch your movies on haha.... Everythings just slammed to a level and held there till the end of the movie and in this case till the end of the song even the quite parts of a song that should be dynamic lol \m/

 

Spot on mate, good post.

 

I kinda wanted to imply that in my post, cause I was rambling and edited it out.

Yes and no, yes it's a brick wall limiter, but it also sculpts tone. Wether it does a good job or not, well I'll leave that up to the listener.