%90 of times I respect people when talking and dont make fun of them but what you are saying is very funny. I analyzed tracks from very well known producers (rihanna, calvin harris etc) they are professinal and all have the same things I described.So how can you do somethings different from them but sound better from them???

 

dude if it sounds good, then you probably shouldn't mess around asking why dose it sounds good but looks bad when we analyze it, if it sounds good it sounds good, how and why, depends on the track or the engineer who mixed it, and what he did use in the process, rules about using mono for lows, is not always true, the example you mentioned, is enough to tell you, that rules are made to be broken, sorry if i'm not making any sense, but if you wanna make good stuff, and good sounding mixes, you should stop comparing, you don't have what they have, you don't know what they know, you probably should learn using what you have and becoming good and better using what you have only, that's how i got there anyway, i'm happy to help you getting on the right track, as long as you drop this idea.

 

if I dont mess around and ask questions I cant make better music I proud of doing this and I ll always do it until I do the best mixes. actuallly one of the best ways to make good mixes is to compare it to good mixes, you are not drunk yes ? by the way I dont believe hardwares some equiptments make the mix suddenly "perfect" I am sure its possible to make exact sound with mixing in the box, its my belief..
By the way you said you found the way to make tracks sound "professional", show me your work so I can listen and tell you if it sounds really pro or not.. and I can show my work to you too, so you wont have to hide your amazing way how to make pro tracks, because I believe I almost achieved that too. pm me if you dont wanna show to everybody.

 

totally didnt say that,

pm sent, i'll try to explain to you, in private, there is a lot to talk about.

 

I used to think OMG THIS IS SOOOOOO BAD but then I realized, nothing's perfect. Its fine to have a bit, but not too much. Maybe there's a bit of mastering or instrument reverb. who knows.

avg~0 is on the verge of being fine/notfine. try 2 Keep it above 0 - +0.5

See #1. Its fine to have a bit, but not too much.

Yes. Psychoacoustic Lossy compression cares about the FD 1st. It's not really caring about the peaks.

There's been a debate in another thread about the exact threshold. With -0.6 it's almost certainly going to clip at low lossy. Try -1dB.

Agreed.

 

Try this article: http://www.soundonsound.com/techniques/what-data-compression-does-your-music

You'll have better luck searching online for .FLAC files (usually as albums instead of single songs). It's a lossless format; you'll lose nothing by converting a .flac file to a .wav file. You can convert any .flac files you get to .wav for free online (http://www.zamzar.com/convert/flac-to-wav/) or find a free/shareware converter app to do it, like this one: https://sourceforge.net/projects/bonkenc/ .

 

you dont need to have everything below 100 or 150hz in mono. you can have some of sub bass freq below 100hz in stereo as long as correlation meter on that track shows you are between 0 and +1. if it show that, that would mean that more freqeuencies in that subbass track are in mid than side signal and its OK. most of the top producers use original sub bass signal in mono but put reverb around it so that it has some bass signal from reverb in sides because it sounds good. analyze roger sanchez - lost (d-track & dimitri valeff remix), its one of the best bass sounding tracks i've ever heard. as long as everything is between 0 and +1 in correlation meter, everything is OK.

 

I can only tell you what works for me. -0.6 db Is the optimum level. When I run the clip level meter after mp3 conversion. I go by the 'noticeable audio' level meter, and it shows zero clipping every time.

 

Unless you have ambitions on cutting vinyl. Bass on vinyl must be mid, the whole mid, and nothing but the mid, or the Vert on the lathe can cut through the acetate to the grove on the other side. The big targets for good mono compliance are Club PAs, radio, television and vinyl.

 

1.5dBFS of headroom (pre mp3 conversion) for me, as conversion sometimes adds this much artifacts/aliasing (depending on the source).

"There are no rules" they say. There might be a good guideline like "everything below 150Hz in mono". Sometimes creativity/taste/preference demands for some phasing down below. You should check out/analyze some "old" music, to get a rough idea. Maybe even some ambient or drone music. There are some wild examples, even though the whole new/modern "keep bass in mono!"-frenzy thing was originally a way for the mastering engineers to keep the needle from skipping when they mastered for vinyl (as well as the fact that sub bass appears omnidirectional as we have trouble pinpointing the source of such low wavelengths, hence why we only have one sub bass speaker).

Depending on the slope of the lowcut, there will usually be some low end left. If you are dragging in an mp3 there will generally be more, because of the conversion. Depending on the playback system, some tracks needs the 30Hz low end. On your grandma's radio you won't hear it, but on a big club system you will feel it (Equal Loudness Curve [Fletcher/Munson and Robinson/Dadson] and all that).

 

Last edited: Oct 10, 2016

Well, actually it isn't, it's just that our ears can't detect the direction it's coming from.

 

Agreed! But at least we know what we both mean.
Edited!

 

yes but who cuts on vinyls these days? only pros and i dont think that pros would be asking for advices on forums it doesnt mean that if your track is below 150hz in mono that it would sound great on mono systems, thats why you have correlation meters and you need to check with them all tracks in your song. in mono, you loose much of stereo information. if fundamentals of your bass are in mono and you put a stereo reverb on that bass, your bass will sound great and it would still be perfectly compatible with mono.

 

I do. I can get a 7" productrion run of 250 for around £450 (say $550) if you have lathe ready files.

It's the IN thing again, vinyl.