Clipping is exactly as it sounds, you literally clip the waveform, you shave off peaks with it, but the problem with clipping is that it introduces distortion (the bad kind) if you overdue it, but it can be a great way to save headroom if used correctly. There are also some advanced techniques when it comes to clipping and limiting that would take a whole other topic to get into.

I think 3-4 limiters on a single is track is overboard, but sometimes that doesn't even matter, if it sounds good and it sounds the way you want it to sound then go for it..sometimes I've done some weird things (like parallel compressed an entire track) and it sounded awesome so..you never know, so play around

 

clipping is when you trim off a little bit of your ass hair so you can take a shit without it sticking on your bum *yes*

It's also when you truncate or cut off the top end sample date of your audio where the highest point of your instruments dynamics is located.

P.S: I don't know what's wrong with me today, I think I drank something really weird

 

loooooooooooool

 

some people like clipping, I like shitting. Appropriate clipping will produce clean shitting

ya know where I'm coming from? Ya know? Ya know? Gawd I should get to bed

 

Dont forget to mention that clipping is also the sound of the loss of data...

 

depends on how you clip and what you use to clip... there is always loss of data in the digital realm. You're basically working with a slight loss of data and latency all the time... and it never escapes

 

ok yeah, now that I'm back to my normal self and not in crazy mode I could share some important ideas in order to get ur track sounding like ur mums fat ass after she had 8 accidents(sorry I had to do it again)

1. Place a nice and subtle brick wall on every submixed bus after you mixed everything. In other words, your drums bus, bass bus etc. should have a subtle limiter to increase the loudness just a little in the mix.

2. Make sure you route everything to a final compression bus so you can bring all your crap together.

3. Sum up all your low end using what I call a summing filter and add some nice subtle low pass OR a low cut (either way gives you different and interesting mixing results) to it with high resonance. This enables you to save headroom for the low end so you can go harder on the compressor and achieve maximum low end fullness. It also enables you to make everything else a bit more louder in the mixdown.

4. Multiband compression in the mastering stage. Use it, don't abuse it.

5. Stereo seperate your high end. The reason being is that everything has a subtle amount of high end that you can't hear and seperating them towards the left and right channels tightens up that section while leaving room for the low end to fill up the mid-range.

6. Harmonic Exciter. Use a little in ur mix, use a little in ur master.

7. Final mastering limiter. That's just there so everything can hit zero. Depending on how well your limiter can handle peaks you can increase the limiter. If you have a shitty brickwall limiter like Fabfilter, Ozone or Waves, you prolly can't push it very far or else it will just chop up the peaks and you will get mud.

Sorry about the mother joke, I couldn't help it, you know I'm kidding though...looks like I'm still crazy and forever will be

 

lol thanks.. and welcome back with us

2. Make sure you route everything to a final compression bus so you can bring all your crap together.

only a final compression? all tracks in a COMP-bus?

 

well that's the main thing...you can put other stuff if you like such as EQ and Harmonic Excitement or whatever, but really it's up to you *yes*

 

oh wait hold on I forgot two more very important things that also help make your track much louder and better sounding:

1. Timbral Engineering

Timbral Engineering is a very special type of engineering skill that is very broad yet highly specialised. It is the ability to use elements in your sound that contain the same timbral tone.

For example, let's just say you have some guitar strings in your track as a main melody, and you want to use a synth as a counter melody, that particular synth you are using should have a very similar timbre and tone as the guitar strings yet should also sound unique in its own right.

If you can ideally achieve this, what would happen is that the particular synth you make, will automatically go in phase with your guitar strings and will fill it up as a massive harmony and make it sound rich, heavy and full, therefore giving your track the psychoacoustic perception of loudness.

NOW DO YOU SEE THE IMPORTANCE OF CREATING AND PROCESSING YOUR OWN SAMPLES AND SOUNDS?

2. Structural Engineering

This is basically the way you sturcture your track, your structure and arrangement contributes to the engineering so you have to be good at writing, and that is why applying and understanding music theory is important. Alot of people say that it is not important to learn music theory, but these guys are just fooling themselves and aren't learning their own art properly and just doing it for the fame. Being able to learn and understand music theory is SOOOO FREAKING HELPFUL AND IMPORTANT.

How do you think Deadmau5 can write such amazingly unique chords? Cuz this guy literally learned to play piano when he was a kid. Sure he forgot how to play, but he didn't forget the theory of rhythms and countermelodies and shit like that.

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The ideal trick is to create music where the technical aspect and the artistic aspect combine itself in such a way where they both contribute to the overall quality of the track. Use the technical aspect to create an artistic aspect and vise versa.

Understanding and practicing this will put you in a very high position *yes*