How Skrillex Uses Limiters and Clippers for Maximum Loudness

[@BeatsbyVanity]

What’s your biggest challenge when trying to achieve loud masters from your mixes? For me, it’s remembering to build loudness into the mix itself, rather than relying too much on the master bus. Edit: I've received a few comments about the release control functioning differently on Pro-L2 compared to other limiters. While this is true, I aimed to keep this video focused on limiters more broadly (i.e., for 99% of cases). I should have added a note in the video to clear this up, so instead, I recommend reading this article by Jonathan Jetter: www.jonathanjetter.com/blog/fabfilter-prol2-timeconstants

[@kjeltpieper2194]

Making such a banger that people just turn up their volume button.

[@raphabmroque]

@@kjeltpieper2194 best comment

[@7sneves]

I sometimes pull down all the sounds to create headroom, and end up overdoing it. Although, thanks to soft clipper, other plugins and mixing techniques like panning and stereo widening the beats become loud again.

[@BeatsbyVanity]

@@7sneves Good choice! You could also set -12dB as the default channel option. You might also consider incorporating this setting into your default template to ensure consistent gain staging from the start too.

[@7sneves]

@@BeatsbyVanity Thanks

[@maomao180]

An important tip is to control the peaks with clippers and limiters at the track level first, then the group and master level. If you leave everything up to the master clipper/limiter, you will more than likely introduce unpleasant intermodulation to the track. Ideally you want the group and master level clipper/limiter to do as little work as possible, while majority of the work is handled by the track level clipper/limiter.

[@BeatsbyVanity]

Yes, well said! I touched on this briefly as it's my preferred approach, offering more control across the mixing stage.

[@danny_HP]

I don't do any limiting or clipping of individual tracks. However there are various stages of compression at every bus level. I think my mixes sound good and I can always usually get them to loud levels (-5-6 LUFS) without sounding destroyed. Am I still doing it wrong?

[@BeatsbyVanity]

​@@danny_HP No Danny, you’re certainly not doing it wrong if you like your mixes. While it might sound cliché, there really are no rules in music production. If you’ve found a workflow that suits you, keep exploring it and see how far you can push your creativity.

[@汤小米-n4b]

说的非常简单明了！COOL！

[@AlvaroALorite]

This! Very important. Clipper /limiter (and comp) only on the master will wreck your balance

[@HexxedOfficial]

Superb video! Well put and edited, thorough explanations which were easy to grasp. Thank you!

[@BeatsbyVanity]

You're welcome, thank you for the kind words! 🙏

[@Nightizm]

I discovered this 10 years ago accidentally with Fruity Soft Clipper and FL Limiter. It's so satisfying to finally get a breakdown of what I was doing so often but didn't quite understand. Ty 🖤

[@KindridMusic]

Quick and small thing but as far as soft/hard clipping goes, the difference is the "knee" of the wave shaper being used to clip the signal, similar to a compressor. Different clippers present this differently, and most don't give you number values, but effectively a hard clip is a knee of 0, meaning the signal before the threshold is not affected at all. And with "soft" clippers, you usually find a knee of between 3 and 6db, meaning that 3-6db before the threshold the signal is progressively more clipped, as to make the signal sound more transparent because it is less "squared-off" at the top. My favorite example of where this is displayed in number values is the clipper in TDR Limiter 6 GE. Good video, though. Didn't know K-Clip had a free version now. I will definitely recommend that to people. And also that oscilloscope.

[@KrisAkaVenno]

Kindrid here?? Nicee, didnt expect

[@KindridMusic]

@@KrisAkaVenno We do a little youtube browsing

[@kye4230]

@@KindridMusic do a little teaching too, cheers man interesting info

[@hyena0815]

This video is immensely helpful to me, since I've been doing those mistakes so much in recent times, that it really frustrated me, since every track was cool, but sounded like a squashed mess at the end to reach that loudness with Pro L2. Time to start a new mixing approach. Thanks a lot, friend and keep it up! 🙂👍🏻

[@BeatsbyVanity]

No problem, I’m glad the video helped! I hope you find the new mixing approach beneficial 🙏

[@hyena0815]

@@BeatsbyVanity Yeah I am still struggling a little since the thing that cripples my mixes is mostly my *insanely* pre-clipped to hell and back Kick samples I use. I just love how they sound but I havent found a workaround to make them "easier on the mix"... 🤯🫣😭😅

[@elguaripolo686]

Straight to the point, excelent explanation/examples, and hella funny. thank you a lot!

[@BeatsbyVanity]

You’re welcome! Thank you for watching! 🙏

[@divanadj]

Straight to the point, thank you. Very informative and helpful. Subscribed

[@SHLO75]

For me the mixing stage is just getting the loudness of each sound correct in relationship to the other sounds in the mix not the overall loudness. I'll use my mastering chain to get the overall loudness of the track up without distorting any of the sounds. I run all my drums and sub through a clipper before the master and all my "drop" sounds through a limiter before the master and a clipper on the beginning of my mastering chain and it keeps everything from flooding the master chain

[@ZCBeats1]

Yes, but I think the point is that to be able to push it to that level of loudness there first needs to be the initial balance in the mix

[@BeatsbyVanity]

That's a great approach! You should always find the best workflow for your specific music. Not everyone aims for the same level of loudness that Skrillex achieves (I don't, but also can't), but if you do, there are methods to help you get there.

[@crowkangi]

great info. play at 7.5 speed playback.

[@ericcaomusic]

AMAZING VIDEO!!! THE INFORMATION WAS SO CLEAR AND PRECISE!!! ALSO YOU HAVE A GREAT VOICE!!! :D

[@BeatsbyVanity]

Thank you for the kind words! :)

[@ericcaomusic]

@@BeatsbyVanity You’re welcome brother!!! 💕💕💕😇😇😇🙏🏻🙏🏻🙏🏻❤️❤️❤️💯💯💯

[@arellano4337]

Genius Explanation saving so much time understanding loudness, just in 6 minutes.. thank you

[@BeatsbyVanity]

Thank you, I'm glad it helped!

[@morsymusic]

Great advice on the Limiter "release" section, I always wondered if too short was a bad idea....Also, not sure if you mentioned this in the video but a pro tip is to gain stage ALL your stem files to hit -6 or even -12. This way you have more headroom to push the limiter or compressor even more and get way less distortion (unless thats the sound you're going for, which can be cool too!)

[@BeatsbyVanity]

Great advice! Building this into your default mixing template is a good idea too, that way everything is set up correctly from the get-go.

[@莎拉2]

In addition to what has already been mentioned, you have to consider the leveling processing of channels and effects, the process of maintaining the amplitude of the master channel to receive the augmentation processing.

[@BeatsbyVanity]

Absolutely! That’s why I mentioned loudness being achieved in the mix, not the master. Proper management of levels throughout the mix and thoughtful composition choices are all crucial parts of achieving loudness.

[@valentinovigovv]

you mean balancing-gainstaging properly

[@BeatsbyVanity]

@@valentinovigovv Yes! But it's more than just about gain staging. The choice of instruments and sounds is crucial, as is how they stack together and function as a cohesive whole. However, I think it's best to just focus on creating music rather than worrying too much about the composition choices for loudness.

[@a.d.h.s.]

straight to the point! Love it

[@BeatsbyVanity]

Thank you! :)

[@user82938]

I remember Optical of Ed Rush & Optical explaining how they used to chop off the spikes of a waveform to make the track louder. Basically manually clipping.

[@BeatsbyVanity]

Now there’s two names I haven’t heard in a while! Yeah, DnB producers have always been ahead of the production game. I guess because of the technical nature of the genre.

[@J-DUB-F1]

Good context here 👍. I'm finishing up an ep for a band right now. I wanted to see how far I could push track density and the crest factor, without any limiting. Throughout the session I've got small instances of comp and clipping...this is on individual tracks and group busses.(very small increments). Then on the mix buss there's just a little compression and saturation. I'm hitting anywhere from -11 to -9 lufs(integrated). This may be pushing it too far, but when it gets to the mastering stage it really won't need aggressive limiting.

[@BeatsbyVanity]

Thank you! This is a great example of loudness being achieved in the mix. -9 LUFS is a solid level before mastering. You mentioned a band, what kind of music is it? And are you satisfied with the results from clipping the busses?

[@J-DUB-F1]

@@BeatsbyVanity thanks..... I'm working with an alt rock trio. Everyone's happy with it so far. I'm digging the sound, it's just different from what I used to achieve years ago, before saturation and clipping. I know a lot of people that shoot for -9 lufs at the mastering stage. I figured hitting that level at the mix stage was a bit too hot?

[@BeatsbyVanity]

​@@J-DUB-F1It depends on the material you're working with, I’d say. As long as you're adhering to proper gain staging and not sacrificing any dynamics you'd like to keep, I wouldn't worry. All the best with the alt rock trio though, hope it works out well! :)

[@trippstreehouse]

This video was plenty helpful, but i found the abundance of “calls to action” rather distracting. If you make good videos people will naturally subscribe.

[@BeatsbyVanity]

My thoughts too, I’ve removed them from my last couple of videos! 🙏

[@DjXCENTRiC]

This is very very good information to have put out there. whoa!

[@BeatsbyVanity]

🙏

[@Bthelick]

Warning: Here's the facts of digital audio if you clip a sound at 0, and add it to another sound also clipped at 0, you get +6. This is why "clip to zero" can never work at the track / buss level. It's actually better sounding and louder to just clip the master buss only without limiting or compression at all. (If the transients are handled well as the video says) I've released completely unmastered tracks professionally like this for nearly a decade.

[@bfreitas456]

running your daw at 24bit or 32bit means that a +6dB clip after summing won't cause any distortion after compensating it with a 6dB reduction in the master. you don't need headroom when working in the digital domain. theres also the fact that, because of the way our ears work, we need to have the lower frequencies a lot louder than the rest to perceive it equally in loudness, so usually only the bass region and maybe toms and snares will actually be constantly clipped to 0, most of the time the other elements wont need to be anywhere near 0dB to sound "correct" (unless you're doing some weird harsh experimental shiz)

[@BeatsbyVanity]

Yes, this is true but needs some clarification. Adding two signals, each clipped at 0 dBFS, results in a summed signal theoretically at +6 dBFS. However, 32-bit floating point systems can handle values exceeding 0 dBFS without clipping internally. This means that even if the combined signal exceeds 0 dBFS, it won't clip within the DAW until it is converted to a fixed-point format (e.g., 16-bit or 24-bit for final output). I should clarify that I didn't mention a "clip-to-zero" approach or suggest clipping multiple channels to 0 dBFS. In the video, I only clipped once at the master stage. I mentioned clipping busses, as this provides more control over the amount of clipping and which instruments to apply it to. For example, some producers might achieve better results by clipping their drum bus and leaving everything else untouched. There is no one-size-fits-all solution in music production, each producer should discover what works best for their specific style and workflow.

[@Bthelick]

@@BeatsbyVanity yes I covered this in a video. Called "how to not master your tracks" it's a deep dive into 32bit float. The point is though there's no such thing as a floating point master channel because it becomes your sound interfaces fixed point driver at that point. So the 700db headroom is lost and all those overs that are float added on the track level are clipped anyway at the master out. I know you didn't mention clip to zero but I'm leaving it here for clarification because you will inevitably get that question like I did. People who don't understand this subject to begin with will definitely confuse the two. I'm just pre-warning beginners because they will fall for it and inevitably come across that method when searching for loudness in their naivety, but as they don't have the ear training to listen for distortion yet. They will go overboard as most beginners do.

[@BeatsbyVanity]

​@@Bthelick Regarding the first paragraph, it's essentially echoing what I mentioned in my previous comment, right? However, I agree that it's crucial for beginners to understand this subject in more detail, so thank you for expanding on those points!

[@maomao180]

Leaving everything up to the master clipper can potentially lead to unpleasant intermodulation if you're doing a lot of clipping on it. Saturation/waveshaping devices react differently when it's a simple signal compared to a complex signal. And no doubt a master bus is the most complex signal compared to the track level.

[@everybodyhasoul5438]

Arturia just released a clipper / limiter plugin in one based on this concept

[@BeatsbyVanity]

Interesting, I just took a look at it. Bus PEAK seems promising, but Elevate by Newfangled Audio is going to be tough to beat.

[@everybodyhasoul5438]

@@BeatsbyVanity I just tried it yesterday, it’s pretty great. The UI makes a lot of sense, for the reasons described in this video and it seems like they’ve borrow the concept of the “limiter character knob” from Sonible and integrated it well

[@BeatsbyVanity]

@@everybodyhasoul5438 I don't have the FX Collection, but it looks great from the videos I've seen. Do you see this replacing your current limiter of choice?

[@everybodyhasoul5438]

@@BeatsbyVanity good question. I do love the Sonible Smart Limiter but this having a dual stage clipper/limiter does make it attractive in situations to deal with transients. I think I’m more likely to use it on a mix bus right now bc it’s more direct for that, but will update

[@5t3w]

Bus peak is fantastic on dubstep basses

[@srslybro6011]

Great video, thank you.

[@BeatsbyVanity]

You're welcome! :)

[@AL-qj9yh]

Your videos are great Thanks bro

[@BeatsbyVanity]

You’re welcome! And thank you for the kind words 🙏

[@barryklaus]

The master in this particular subject is Knife Party and Zomboy.

[@JoshuaMolotov]

Good video, thanks

[@BeatsbyVanity]

You're welcome Joshua, thank you for watching :)

[@kanfun]

thanks for the video, so informative :) and the Arnold moment.. pure cinema

[@BeatsbyVanity]

You're welcome, thank you for watching! :)

[@TristanMorelle]

mixing: OTT with taste on individual elements to get them loud and proud, control excessive reverb or delays, clip transient channels. Master: gain staging into a (soft) clipper (especially the bass, not too loud) giving a nice looking audio wave / groove, adjust the soft-clipping/ saturation on the master and maybe add 5% multi-band for glue. This gets me to -5 or -4 quite easily (if you would want that), without sounding compressed and still having dynamics. Go back to mixing to address issues, keep your master chain small and clean. Hope that helps. cheers

[@BeatsbyVanity]

Thank you for the tips!

[@lnguage8010]

AI Arnold alone got me to sub 😂 great vids all around man 🙏

[@BeatsbyVanity]

It's not actually AI, nothing that modern. But thank you for the support! 🙏

[@aex2170]

The music from Skrillex have essential a lot of micro-silences, very compressed kicks and pumping basses that NO overlapping with the kick, this give a lot more and more space to limiting and maximize the overall level.

[@BeatsbyVanity]

Yes, I agree. His production warrants a 2-hour masterclass, perhaps even more, to cover everything we know about his techniques. Much of loudness is about the arrangement of musical pieces rather than just cranking clippers and limiters.

[@rellicasrevenge]

It's interesting that this technique has been lowkey gatekept for a very long time. most new producers never get a change to get this info until so far into their journey! Nice vid

[@BeatsbyVanity]

Yeah, I agree. I didn't pick it up until later in my journey. Hopefully KZbin will expose more of these techniques to newer producers 🙏

[@rellicasrevenge]

@@BeatsbyVanity this a great short introduction to the technique! Lord knows watching all of CtZ from Baphy is so much dedication haha.

[@BeatsbyVanity]

@@rellicasrevenge That series definitely takes some dedication for sure, but it's worth it. It’s a shame they stopped uploading; I watched a bunch of their videos to prepare for this one. There is a Google Doc, though, which is quicker to consume if you prefer reading.

[@rellicasrevenge]

@@BeatsbyVanity oh I’ve watched it in its entirety and read the doc! It’s just nice to have a good chunk of the info given in much less time.

[@aeso9484]

i do this but just using maximus

[@cosmiclattemusic]

same thing

[@DJOverturned]

i don't feel like yapping so here's a cool idea summed any genre with a positive and melodic tone/character seems like it would pair well with soft clipping since it's warmer and rounder while hard clipping is edgier and rougher it would go well with emotionally negative genres like death metal, riddim or any dubstep genre where you headbang do distorted noise with a kick and clap 😂 this is just a goofy idea that popped up in my mind idk if it's any good

[@BeatsbyVanity]

No, that’s a perfect encapsulation of using clipping! It’s a tool that can add flavor to a track, but the degree to which it does so should depend on the music. For example, in Metal, it makes sense to use hard clipping, but an acoustic ballad would benefit from a gentler approach.

[@stampydmusic]

always hitting -2/-0.5 LUfs with a clean and precise mixdown/master, and the tracks sounds perfectly clean 👍🏽 thanks skrillex

[@benavanzato5127]

lol

[@BMXrace321]

at 3:20 where you say you need to take care of your transients before using clippers and limiters, what do you mean here, as in using compression, transient shapers etc? what should you be trying to achieve with your transients before you move on to clipping and limiting? thanks mate, great video

[@Valsvnx]

You can use a clipper for the peaks so that the limiter on a group w/ multiple elements (or just the master) doesn't have a hard time & can respond better to the rest of the track. If you don't do this, it can cause issues w/ the release time on a limiter and cause pumping.

[@BMXrace321]

@@Valsvnx yeah i get that mate, i mean where he said transients need to be properly managed before you then use clipping and limiting, what was he referring to here. I.E how would he properly manage his transients before he then used clipping and limiting.

[@Valsvnx]

@@BMXrace321I’d say you can achieve that by reducing the volume, transient shaping, clipping, compressing, or limiting. What you use to do it will be dependent on the context. For example it could be that the kick sample you chose just has a sharp transient and a weaker body. If it’s not evened out a bit dynamically, instinctively some people might make it louder so it hits harder or cuts through the mix more to hear the thump of the kick. The body of the kick may sound and sit well in the mix but now that transient is going to affect the master limiter. The gain on the master channel’s limiter would need to be pushed quite far to even touch the rest of the mix.

[@BeatsbyVanity]

@@BMXrace321 Valsvnx has nailed it. You would properly manage transients based on the context, with anything that adjusts the dynamics of the sound in question. For example, if you're working on a drum bus, you might use a slow attack and a fast release to bring up the tails of the sounds. After that, applying some clipping can help shave off the very tops of the transients, which will later contribute to increasing the average loudness. In essence, don't leave all the processing until the mastering stage. Apply necessary processing throughout the project as you go, before adding the finishing touches with the mastering chain.

[@BMXrace321]

@@BeatsbyVanity got you , thanks a lot guys. Any advice on how you'd recommend bussing your elements to then clip groups of sounds together via their buses? Currently i only really bus the drums together and the rest of the music together. Should i be breaking things down further to achieve better results with clipping?

[@えおあいう-x4q]

I am using translation. Is putting the clipper before the limiter effective in rnb, boombap, funk, and other genres? Also, as others have commented, is controlling with clipper or limiter at the individual track level or bus level a technique commonly used in any genre? I'm not very familiar with this, so I'm just asking questions.

[@BeatsbyVanity]

Yes, placing the clipper before the limiter is effective in all genres. As for the second question, I'm unsure. I'd say it depends on the mixing/mastering engineer. If you're not too concerned with loudness, a single clipper on the master should be enough. And no problem at all, ask as many questions as you like! :)

[@OopaOooopa]

What do you mean loudness is achieved in the mix not master

[@BeatsbyVanity]

Think of loudness as starting the moment you begin a new track. Every decision you make throughout the process affects how loud you can push the final master. Professional mixing engineers and artists like Skrillex often produce pre-masters that are louder than the average producer's final masters. This is because a limiter at the end of your mastering chain doesn't achieve much unless the mix is properly balanced. When I say that loudness is achieved in the mix, I'm referring not just to the levels but also to compositional choices. Proper balance of the kick drum and bass/sub is one of the big levers to pull for increased loudness. Another one is being ruthless in cutting away frequencies that you don't need in the context of the mix. So use an EQ to see what you can remove from each sound (with the whole mix playing), without losing anything (sonically) you'd like to keep. However, if you're going to do this, separate the mixing stage from the writing process. Leave all the technical jargon aside while you're creating to avoid stifling your creative flow.

[@arfo92]

​@@BeatsbyVanitythats something I struggle with. I'm always trying to get my ideas sounding as good and quickly as possible. Trying to mix while I'm creating and really bothers me since it gets in the way. I'm always anxious about how its going to sound. Any advice on how to deal with this? I wish it was easy to just stop doing it 😅😂 Thanks for all the knowledge!!!

[@BeatsbyVanity]

@@arfo92 Mixing while producing is something we all do. I wish I could separate the processes more easily, but as you mentioned, you want to hear how everything sounds. I don't think it's necessarily a bad thing, unless it feels like it's stifling your creativity - which is a valid concern. The best solution I've found is using a pre-configured template with all your mix busses set up and assigned to the correct channels. This way, when you drop in, say, Serum for a lead sound, you immediately hear it with all the lead bus processing applied. Every track is different and will require adjustments from the original template. However, this method gives you a general idea of how everything will sound in the mix. And you're welcome! Thank you for stopping by!

[@photicsonar]

Danke!

[@BeatsbyVanity]

Thank you! 🙏

[@F4xP4s]

Hey Mr Vanity, where can I find your Lorn project files?

[@BeatsbyVanity]

Unfortunately, you can’t-I never had it up for sale. However, if you have any specific questions, I’d be happy to help!

[@bluelagoon2275]

Pro-L is probably the worst example for explaining how a limiter works simply because it's not just a limiter, but there are (probably) 2 compressors + limiter + clipper working under the hood simultaneously. the attack and release controls are very different from any other "real" limiter on the market and they don't control just the timing of the compression.

[@BeatsbyVanity]

Pro-L is perhaps the best example for explaining how a limiter works simply because it's the most widely used, across various DAW's, which is important when making tutorials. I haven't found any information in the manual about Pro-L 2 having '2 compressors and a clipper working under the hood.' Where did you hear this? The 'Aggressive' limiting mode is described as a near-clipping style of limiting. When configured with very short release times (under 0.1 ms) and without oversampling, it can approximate the behavior of a clipper. However, it doesn't reach the same level of clipping as a dedicated clipper like Saturate. Regarding the attack and release controls, Pro-L 2 operates similarly to other limiters with its dual-stage process. The initial attack stage responds quickly to transients, while a slower release envelope manages the overall dynamics by responding to the average levels of the incoming audio. Although the transient handling is comparable to other limiters, the detailed control over the release envelope was not covered in this video, as it focuses on the broader topic of using limiters and clippers together for mastering.

[@stelthtenau]

Pro l is a clipper limiter. The attack parameter controls how long before the limiter takes effect. Everything before that is hard clipped. Also hard clipping is much more transparent than soft clipping on transient material, soft clipping will always chang the sound tonality.

[@BeatsbyVanity]

​@@stelthtenau Yeah, with no lookahead and long attack times, Pro-L behaves more like a clipper because it can't respond quickly enough to the transient making it through before the limiting is applied. However, I don't see why you'd ever use it that way when dedicated clippers provide more control and sound much better. Agreed, hard clipping is more transparent on transients; that's why I use hard clipping throughout the video.

[@AUSE]

so a clipper clips audio got it lol

[@av4751]

So you basically saying slap a clipper before a limiter on a master chain right?

[@BeatsbyVanity]

Yes - with the caveats mentioned in the video. Use it sparingly to begin with and learn how much clipping works for your music.

[@av4751]

@@BeatsbyVanity thank you!

[@HypeStrike]

So we use the limiter before the clipper or the clipper before the limiter? Kinda confused on this part. You want to clip the peaks(transients) and then drive the - I guess body of the track into the limiter to round off the sound?

[@BeatsbyVanity]

Sorry for the confusion! My recommendation is to place the Clipper at the start of your mastering chain, and the Limiter as the final plugin at the end. The idea is to smooth out the signal before it hits your mastering plugins, which should aid their performance, especially with plugins emulating analog gear.

[@HypeStrike]

@@BeatsbyVanity amazing and insightful appreciate that!

[@BeatsbyVanity]

You're welcome! :)

[@ChilledP]

My mixes defintely got better when I discovered clippers. However, I still cant get my beats loud enough 😪

[@BeatsbyVanity]

How loud are you managing to get them?

[@limes_I]

And that's where soundgoodizer comes to play 🤩

[@limes_I]

Nah but fr, try getting your mix a little louder already by using compression and clipping on each group and try to slowly push it until ur at your desired LUFs without destroying the sound. If you do edm, try out Saturation and distortion where it fits. Doesn't have to be noticeable, but increases the loudness by a lot

[@ZeroGravityFuneral]

That actually doesn’t matter since everything makes tracks quieter anyway

[@colourbasscolourbassweapon2135]

yeah i do this tbh ngl aka i use both and i have been doing this for a long time now no cap

[@ceekaycee5928]

So , in thé chain, clipper before limiter ?? That is? Sorry i'm frencheb😉

[@BeatsbyVanity]

Yes, you're right! Clippers are best at the start of your mastering chain, and limiters at the end.

[@Kuk_24]

so, should I put a clipper after or before my limiter in the master chain?

[@BeatsbyVanity]

Place the Clipper at the start of your mastering chain, and the Limiter as the final plugin at the end.

[@Kuk_24]

@@BeatsbyVanity thanks, keep the good content!

[@BeatsbyVanity]

Will do, thank you! 🙏

[@hRM3zMusic]

Do you have any Gain Staging recommendations. I fall under the "to many limiter" category. I limit all my busses and my kicks and snares and my master and my mid basses and my sidechain and what not to not go over 0db but I just learned about "gain staging" and how it helps prevent all this entirely but just trying to see how Dubstep producers use this technique.

[@BeatsbyVanity]

I would recommend creating a default template or channel with the faders set to -12dB. This way, every time you create a new channel, you have 12dB of headroom to work with. You can compensate for the decrease in loudness by slightly increasing the volume on your audio interface (when monitoring). This is the easiest method as you don’t have to think about it during the creation stage. When it comes to mixing, you will have plenty of headroom to work with. I hope that helps!

[@hRM3zMusic]

@BeatsbyVanity are the faders the post volume, not pre? I know in the gainstaging videos everyone says you have to control volume by the pre gain not post. Sorry if I am being difficult.

[@BeatsbyVanity]

You’re not being difficult; ask as many questions as you need until it makes sense! If you’re working with VST instruments, control their volume via their output control. If you’re working with audio, control its volume via the clip gain (turning down the audio file in the audio editing region). Once you’ve set up your compressor and other plugins, changing the volume of the sounds pre-fader would require you to go back and adjust all of your plugins again. So make sure you apply gain staging first to avoid wasting time. In Ableton, for example, if I have an audio drum loop playing back at 0dB, I can adjust the volume fader to -12dB, which means the audio going to the master is -12dB. However, the audio going into the plugins on my drum loop channel still see the original 0dB level, because adjusting the audio fader changes the volume after it’s been processed through the plugins, not before. This is why I’d recommend changing the actual audio file’s volume. Does all that make sense?

[@hRM3zMusic]

@@BeatsbyVanity Yeah, I understand that entirely. I just see a lot of DuB/DnB/Riddim/Tearout producers who just push their stuff through a clipper without worrying about the -12db or the "headroom" and somehow can achieve a cleaner mix. I will say one thing in common is they use a clipper over a limiter. I've watched enough gain staging videos to understand what it is and the benefits of it. Just not for bass music, it's hard for me to see how people get loud mixes when they have -6db of headroom when most people saying the mix is what's supposed to be loud, not relying on the master.

[@BeatsbyVanity]

​@@hRM3zMusic You can always crush a track on the master if that’s the goal, but you can’t fix a track on the master. So, my recommendation is to keep things as clean and safe as you can throughout the mixing stage and follow that with appropriate mastering to reach your sonic goal. I’d recommend watching Luca Pretolesi and Mixing with Mike’s content for mixing, and Panorama Mixing & Mastering for mastering. These guys will set you on the right track. I should clarify, when I say -12dB, that’s just the starting level. After applying plugins and effects, you’ll be running much higher, perhaps around -4dB before mastering. Loudness is achieved in the mix, but perhaps a better way of phrasing it is that loudness potential is achieved in the mix. This means the dBs can be pushed on the group busses and master to reach the desired loudness level because you’ve got everything right until that stage. A principle you could follow is to keep plenty of headroom on your individual channels, but use clippers on the busses and master to hit your desired loudness level. This gives you the best of both worlds: a clean signal feeding your busses, with the ability to extract loudness in a way that won’t compromise your gain staging.

[@HOUSEOFSPIIINE]

The govinator 😂

[@georgek3627]

No matter what I try, it just doesn’t work, only on drums to shave a bit of, or killing transients makes the sound to flat, maybe I don’t understand how to use it 😂

[@BeatsbyVanity]

Hey George, what style of music are you making? Generally, I would recommend being sparing with clippers because, as you mentioned, they can destroy the transients. Skrillex’s music isn’t known for its wide dynamic range but for its high average loudness, which clippers are perfect for achieving.

[@georgek3627]

@@BeatsbyVanity House, Deep house, maybe I don’t need all that loudness, but I was always obsessed to get my mixes loud. Thanks

[@BeatsbyVanity]

If you’re struggling to achieve loudness, I’d look to your mix and how your layering sounds. Proper balance of the kick drum and bass/sub is one of the big levers to pull for increased loudness. Another one is being ruthless in cutting away frequencies that you don’t need in the context of the mix. So use an EQ to see what you can remove from each sound (with the whole mix playing), without losing anything (sonically) you’d like to keep. Other than that, 3dB clipped on the master could work depending on your taste, followed by a limiter, with around the same in gain reduction.

[@LEVRAN]

bro goated

[@BeatsbyVanity]

Literally my explanation for how to sound like Skrillex

[@laner4195]

using both is cool i get it? what is the chain looks like? instruction is unclear.

[@BeatsbyVanity]

I’m not recommending a chain per se, other than a Clipper at the start of your mastering chain, and a Limiter at the end.

[@ItsGrantM]

Is it not better to stack limiters? The first 1 soft to attenuate peaks and level it out without affecting the sound then a 2nd one to push the gain?

[@BeatsbyVanity]

Better in what sense? Quieter yet cleaner? In that case, serial limiters might be more suitable. Clippers could be better for louder and slightly dirtier sounds. For instance, I wouldn't apply Clippers to the master of a Drum & Bass track when focusing on transients, but I would use them for a Skrillex-type tune.

[@SuperICEMIKE]

So does it matter if limiter comes before clipper ?

[@BeatsbyVanity]

The general mixing advice would be to only limit last, unless you're aiming for a very specific sound. However, I've seen producers use limiters on each channel. For example, in the Mumbai Power video (kzbin.info/www/bejne/aJW8d32ahstqqNU), Skrillex uses limiters across many of the channels. On one of his channels, he's limiting by -16 dB on a bass track, which seems extreme in theory, but it works for the song. Skrillex breaks much of the conventional mixing guidelines, and breaks them well, which is why he's heralded as one of the GOAT's of EDM. So all I can give is a trite answer by saying let your ears guide you, because there isn't a single process to follow.

[@onatics]

Vibe and energy over audio quality always. Otherwise you will send yourself down a spiral of doom trying to eq everything for HOURS

[@BeatsbyVanity]

Yeah, I 100% agree!

[@Odihmantich]

ok. what LUFS should be the final mix at? Before any master processing!

[@BeatsbyVanity]

There isn't a specific level to aim for; it's more of an "it depends" scenario. If you're mastering your own music, you should have a rough idea of how many LUFS you can squeeze out during the mastering process. Start by working backward from your desired loudness target. For example, if you're aiming for -8 LUFS post mastering and you typically increase the loudness by 4 LUFS during mastering, you'll want your mix to be around -12 LUFS pre-mastering. If you don't have a specific loudness target, try using reference tracks from your favorite genres to gauge the sound and loudness you prefer. This can help you identify the levels and tonal balance that best suit your style.

[@Odihmantich]

@@BeatsbyVanity Yeah, but those tracks are mastered! Where will I get premastered mixes? Anyway, it’s cool. It’s pretty much my situation. I aim at - 8 LUFS and I get around -12 LUFS on my mixes. Thanks for clarifying that. But don’t you think that by saying exactly this you contradict the idea that the loudness is achieved at the mixing stage and actually you promote the idea that only like 75% or so of loudness is achieved at the mixing stage? And also there’s a track by Dark Vektor which is called “No Disco”. There are 2 versions online. One is from a digital release whith very light mastering and one is on a vinyl record (you can preview it at online record shops) and the difference in loudness between them is staggering.

[@BeatsbyVanity]

@@Odihmantich I'm not contradicting the assertion; but I understand your point. Part of the issue lies in creating tutorials and giving advice online. I'm aiming to provide practical guidance without being vague, while also recognising that every situation is unique and demands a tailored approach. If you adhere to the advice that "loudness is achieved during the mixing stage," you'll naturally achieve loud masters. However, if you believe loudness is solely achieved during mastering, you will not. At least, not to the extend possible if you had built loudness into your mix. Mastering enhances overall loudness through the use of limiters. However, the foundation and majority of loudness originates from the mixing stage. Regarding mixing and mastering for vinyl, it's an entirely different story that requires adherence to a distinct set of guidelines for optimal sound quality.

[@BeatsbyVanity]

100% agree.

[@pow-r_official]

What is the song at the beginning of the video ?

[@BeatsbyVanity]

It's the demo track I made in the Rezz tutorial: kzbin.info/www/bejne/q5zCgqqsodiJpNk

[@pow-r_official]

@@BeatsbyVanity Ah that's lovely, thank you ! Because I thought it was a sample that Rezz used for a second. I was trying my hardest to find it yesterday. I must've spent an hour or so. I'm still trying to learn how everything works so I will give it a good watch. I appreciate it.

[@BeatsbyVanity]

​@@pow-r_official You're welcome! I hope the tutorial helps :)

[@precursor4263]

Your image at 2:19 is incorrect..

[@BeatsbyVanity]

In what way?

[@michaelwashboard2323]

In the age where most modern streaming services normalize all tracks to have the same LUFS to around -14, why would you master a track to sound louder than what most people would hear it? 16 bits of CD audio is a big range that encompasses the whole range of human hearing, and sticking to the top of that range only sacrifices the data that exceeds the digital maximum. Why wouldn't you just lower the max volume to include all of the information? the listener uses their volume knob or button to adjust the volume anyway. Watch "The Loudness war" by Matt Mayfield Music for a good example of bad this is.

[@BeatsbyVanity]

This is a great question. I have two ideas. The first is that Skrillex’s music is club music, designed to be at its best when heard on a large sound system. It’s not intended to be background “furniture music” played off a Spotify playlist during someone’s study session (there's nothing wrong with this music, I love Lofi). Let’s not forget that Beatport exists, a site most DJs still use to create their sets. A track mastered to -14 LUFS would be instantly skipped. So if you’re making club music, ignore arbitrary loudness standards. My second, more philosophical idea is a question: Why, when we’ve witnessed such rapid evolution in music over the last decade, do you believe that streaming is the final frontier? The argument I see online that “there’s no point in mastering for anything other than current streaming requirements because streaming will be the audio standard for the foreseeable future” is clearly false, based on the Lindy effect alone. This perspective is akin to those who mastered music to the standards of vinyl because they couldn’t foresee the rise of CDs-or those who mastered to tape, unable to predict the invention of vinyl. What happens when Spotify dies, and another streaming service takes its place with new loudness standards that favor louder tracks? Or perhaps, no loudness standards at all? Streaming requirements are arbitrary and ultimately irrelevant. More and more people are even abandoning streaming in favor of older forms of music consumption. Check out the resurgence of the iPod Classic on KZbin-people are resisting algorithms more than ever, and this trend is only going to grow. Mastering to suit the standards of a transient medium isn’t future-proofing your art. Given the numerous possibilities, it’s not advisable to limit your music’s potential based on today’s arbitrary loudness standards. Instead, focus on making your tracks sound as good and as loud as possible without sacrificing quality. Find the right balance.

[@empyreumofficial6949]

Yea on paper, that would make sense. But in practice… you’ll find that your music isn’t as loud as those festival ready mixes, which more and more producers are making the standard for all of their mixes. The -14 LUFs rule for EDM specifically is quite outdated and misleading for new producers looking to make this high energy club music 🙌🏼💯 I used to follow the same -14 LUFs rule and then when I would go into Rekordbox to mix my tunes with others… I would need to REALLY crank the trim on my tracks every time in order for it to sound somewhat close in volume.

[@ypsensounds7937]

The -14 LUFS rule is often misunderstood. Streaming services suggest that artists deliver masters at -14 LUFS so they don't have to normalize them (meaning they would only need to apply a dB reduction if the master is too loud). The reality is that almost no one follows this rule. Check the loudness of your favorite artists (by disabling normalization in Spotify settings, for example), and you'll see some astonishing numbers. Even among mainstream artists, I've seen -6/-5 LUFS, sometimes even with positive true peaks, haha. Don't limit yourself to -14 LUFS. That's nonsense. If you like how your track sounds at -14 LUFS, great, go for it! If you prefer how it sounds at -4 LUFS, don't hold back either!

[@BeatsbyVanity]

@@ypsensounds7937 great advice

[@typemismatch2712]

it looks like the loudness wars are still going on. I dislike the hard, clean, hifi sound of now with people producing only in the box. I like to clip on my analog mixer, clippers just emulate an analog mixer where you put the gain open. maximum loudness is not something good. But if you want to make it in the mainstream scene, you need to have the loudest track possible. Its sad that we now live in an age where everyone needs to sound as loud as possible. Is there any way back? I think, from what i hear in underground techno, there is a movement with less hard mastering. Im looking to introduce more analog feel in electronic music.

[@BeatsbyVanity]

The loudness wars are limited to a handful of genres, particularly those meant for club settings. I also prefer the sound of analog and don't recommend smashing your tracks into clippers and limiters for loudness. However, these tools can be used sparingly to add some volume when required. Skrillex is an extreme example of a method that can be used to great effect across all genres. It's all about the dosing you apply, like hot sauce. Too much ruins the dish, but the right amount enhances the flavour.

[@typemismatch2712]

@@BeatsbyVanity hm very true indeed, i come from an old 90s DIY workflow, so im certainly biased. when tearout dubstep was in full effect over here, my head couldnt handle the amount of external stimuli caused by very hard brickwall limiting, and also doing this with sounds in the production. Its a personal taste, but i like the 90s/00s sound more, because i find it to be more organic, and i have also have a preference for older sounding tracks, like soul productions from the 50s or 60s. Its also that i like to bring a little bit more organicness, imperfection and more dynamics into electronic tracks. My personal opinion is that tracks can benefit from that. I have thought to buy me an tascam portastudio with cassette tape recording, just to put tracks through and then back into the computer. Maybe its possible to get that same sound when using plugins, but i like the DIY way of working more hahaha. But for me its always a good sign when i listen to music i need to turn up the volume, then the other way around. Its always easier for people listening to music, that through loudness music comes more easily to people, and when you have a less hard mastered track people need to come to music more themselves. This might sound very weird, but i dont know how to explain it in a more understandable way. I master also harder then i did in the past, so im doing it also, but sometimes not as extreme as i hear now. Its mostly in the mainstream that tracks get mastered harder.

[@typemismatch2712]

the fun thing is, because of Noisia being here in my hometown, skrillex has played a lot over here. He was certainly a revolutionairy in dubstep, but now i dont know really anymore. Its a fun thing that noisia got so big, and mostly tthen producers move to amsterdam or something here in the netherlands, but they always stayed in their hometown, have their studios here, and also organise parties. Back in like 2003 or 2004 we regularly organised parties here and they also performed at our party, they where then at the beginning of their career, had had just brought out tracks on the shadow law label. Its very fun watching their career and evolution.

[@chaoticsoap]

that painful mic audio makes me want to pop my ears

[@BeatsbyVanity]

What do you mean?

[@LesterWayneDobos]

Thanks for providing info on free clipper

[@BeatsbyVanity]

Thank you Lester! I hope it proves useful 😁

[@LesterWayneDobos]

@@BeatsbyVanity Your welcome sir. I must admit I have not learned about the value of clippers until recently, and now I know why it is important to utilize one. Peace!

[@BeatsbyVanity]

I was also very late in learning about clippers, so don't worry! Hopefully, they can improve your music from here on out!

[@LesterWayneDobos]

@@BeatsbyVanity It was super useful bro, it's what I've been missing all these years. There is a technique out there I still want to know, I believe it's called series compression, multiple brands of compression used on single insert for example. Like I forgot what song I heard it in, but only like super pros got it figured it out. It makes the track sound so large, makes one immediately wonder how in world they are doing that?

[@BeatsbyVanity]

Do you mean multi-band compression? It's a technique used to apply different levels of compression across frequency bands. If so, check this out for more: kzbin.info/www/bejne/j2TYZ2t5rKuLnrMsi=v2uECvmmZfQpkzzd

[@Lolwutdesu9000]

Using a clipper in every track is the perfect to make it sound like utter garbage. 😂

[@BeatsbyVanity]

Yeah, using it on every track is a lot. Applying it across the group buses works well if used sparingly.

[@nicovandenberg_]

"Loudness is achieved in the mix, not the master". Well, no. And a bit yes. While you can gain a lot (!) of loudness in the mix, current mastering is exactly the art of bringing your mix up to commercial loudness.

[@cholkymilkmirage4984]

yes, mastering is where the loudness happens, but the mix is the proper set up to get the cleanest and loudest possibility.

[@ZCBeats1]

I see what both of you are saying, because in able to get it to that level of loudness, there first needs to be the initial balance in the mix to make it sound good at that level of loudness

[@cholkymilkmirage4984]

@@ZCBeats1 exactly, Transient control down to the single tracks compounding up the chain of tracks. And also controlling low end, and ducking things out of the way. Thats basically the jist of getting things ready for loudness in a master. Other things like adding more harmonics, parallel processing, and expansion also helps. Usually when I start a mix I use a limiter after setting my balance to see how loud it can get sounding clean and good without any work. Not too much limiting. Its hitting around 11-10 lufs. By the end of my mix its hitting 10-8 lufs, and after the mastering process depending on the production of the song it can get up to 8-6 lufs. And when I say production, I mean it matters ALOT. I got a hold of arianna grandes song into you, and got to mix it from scratch and when I did my static fader balance, and checked my limiter after my mix buss stuff the song was already hitting negative 7 - 6 lufs. The song was produced and recorded to be LOUD So it doesnt just start at the mix set up, it really starts at the production haha.

[@ZCBeats1]

@@cholkymilkmirage4984 yes exactly, because technically you can get anything to a certain LUFS level but that doesn’t mean it will sound good at that level. every song has an intended vibe set out by the creator from the beginning, and that comes with an associated loudness level

[@lalocura1828]

Mastering is much more than just loudness lol

[@etroverde7555]

How luca pretolesi*

[@BeatsbyVanity]

He's a legend, love watching his stuff!

[@APOCALISSEMUSICALE]

master buss : soft clipper, compressor ,reverb cathedral ( 3/6% max ), soft clipper , compressor , limiter whit ceiling -0.1/-0.3db ....... -6 /-7 LUFS easy whit no distortion . then I post on KZbin and they cut down to -14 LUFS. LOL

[@BeatsbyVanity]

That's how loudness normalization works. However, I would presume that artists like Skrillex aim for loudness in settings where normalization isn't applied, such as in clubs.

[@APOCALISSEMUSICALE]

@@BeatsbyVanity certainly .... and in any case publishing tracks at -14 is even worse than publishing them at -7 ..... they will sound even quieter. maintaining a bit of dynamics, without compressing too much, will favor the perception of volume.

[@BeatsbyVanity]

​@@APOCALISSEMUSICALE Yes, agreed! Given the numerous possibilities, I would focus on making tracks sound as good and as loud as possible without compromising quality.

[@APOCALISSEMUSICALE]

@@BeatsbyVanity as you said, mixing is the basis of a good master with a good perceived volume level

[@nunu9849]

Why reverb?

[@empathedits2351]

Yeah. one of them sounds better on a good speaker system and it's not the one you think

[@BeatsbyVanity]

Without clipping would sound better for clarity, clipping for loudness and subtle distortion.

[@Millerboy]

Attack too fast

[@BeatsbyVanity]

Is this your guess at the difference between the tracks at the start?

[@patwailes5927]

@@BeatsbyVanity I think they meant that if you turn up the attack in pro-l you can use its various built in clipping shapes to clip the transients before the gain reduction kicks in. if the attack is at 0 then there's no clipping and you just get maximally aggressive pumping

[@corbbing]

I’m just coming by to say that you made my hero look like a sumo wrestler in the thumbnail. Is he really that fat now?

[@BeatsbyVanity]

Original photo: musictech.com/wp-content/uploads/2024/02/[e-mail]

[@corbbing]

​@@BeatsbyVanity Oh nooo. I'm going to go buy him a salad. Maybe he forgot what that is. Haha I actually found that photo by accident before you sent it and was like, "oh, that's where it came from."

[@elguaripolo686]

.

[@mateusreis7978]

just use VOCAL TRANSPARENT MTK preset from PRO-L 1 nothing more. 8min video lol

[@BeatsbyVanity]

How does that function as a clipper?

[@drinkinouttacups2665]

No

[@mateusreis7978]

@@BeatsbyVanity just watch Skrillex - Mumbai Power, all uses of pro-l is with this preset. zzz

[@BeatsbyVanity]

@@mateusreis7978 You don't think Skrillex uses clippers on those group channels in the video?

[@danielweirdone]

why would you care to have the loudest mix (: the war is over, lol

[@BeatsbyVanity]

If the loudness wars were truly over, why do top electronic artists still master their tracks so loud? It’s likely because their music is designed for clubs, where louder tracks, without compromising quality, are always preferred. The idea that the loudness wars have ended because of streaming services is temporary. Streaming platforms can change their loudness standards at any time. If you're mastering your music to fit Spotify’s current arbitrary loudness levels, you're not future-proofing your work. What happens when Spotify is flooded with AI-generated 'content' as they call it, and another streaming service takes over and normalises everything to -8 LUFS? Or if streaming platforms start offering users the option to customize loudness and dynamic range settings to their personal preferences? Some platforms, like Bandcamp and Beatport, don’t even use normalization. Many producers I know even disable normalization on streaming services because the algorithms can degrade the sound quality. Given the numerous possibilities, it’s not advisable to limit your music’s potential based on today’s arbitrary loudness standards. Focus on making your tracks sound as good and as loud as possible without sacrificing quality. Find the right balance.

[@danielweirdone]

​@@BeatsbyVanity or... because those "top electronic artists" have no clue about physics apparently... and also this is your only argument that "they do it"? squash your mixes as much as you want, it doesn't change the fact that it's pointless edit: also, I didn't mention that those "top artists" have no clue about psycho-acoustics either... yes on subjective level louder sounds better generally but objectively it's just an illusion, and it seems to be better practice to mix for artistic integrity rather than loudness and my final argument: the loudest mixes - meaning, the most squashed mixes - are terrible for your ears but again... you do you

[@BeatsbyVanity]

@danielweirdone Did you read my last paragraph? I agreed with you about the loudness standards. However, this video isn't about me; it's about what Skrillex and other top electronic artists do. You can like or dislike their methods, but my goal is to analyze and break them down. Electronic music has always pushed the boundaries of loudness. Skrillex has been a pioneer in this for decades. From a technical and production standpoint, I find this approach fascinating. However, as I mentioned in the video, I wouldn't recommend applying this outside of EDM. Even within EDM, it's better to find the right loudness for your specific track rather than trying to meet some arbitrary loudness standard.

[@rebirth4119]

Its not really as much about trying to proving that you can get your track super loud(although there will always be some who do care) but because many people(and I'm talking producers and the listeners) like to listen to certain genres of music that it loud(because of the energy it brings). Genres like dubstep, drum and bass, and electronic trap. Of course genres like pop and especially jazz aren't creatively focused around brutal energy so intense loudness isn't usually wanted by people either producing or listening to those genres.

[@danielweirdone]

​@@rebirth4119 but this notion that electronic music should be squashed to sound energetic is just wrong and I don't like that so many people believe that, and frankly I don't care what anybody thinks of me.... I started as dnb dj and producer and I despise modern sounding dnb and dubstep because of this bs.... just try it for yourself next time make one mix aimed to be dynamic (speaking micro-dynamics here) and the other one to be as loud as possible and then match them by ear and do blind a/b test and just check which one will be more energetic... (edit: it's important to match percieved pudness rather than lufs, bc if you do the latter the squashed mix will sound louder, obviously) I might be rookie as someone said, but my opinion is at least based in experience not in some bs notion that is pushed by people whom just don't understand how it actually works nobody needs squashed mixes anymore, and most of the people aiming for loudness just have to sacrifice a lot to achieve that and that's just not art anymore. sorry not sorry

[@dergelangweiltelangeweiler1466]

i hate skrillex sounds .... its sounds so dead ... no warmth no feeling ... just a dead pressed sound. btw. u dont need that endgame loudness

[@BeatsbyVanity]

Music is all about personal preference, and that’s the beauty of it. I’m not recommending you mix this way unless you like the sound of Skrillex. Plus, as I’ve mentioned in a previous comment, it’s all about the dosing. A little bit of clipping can go a long way.

[@spencermiles963]

Loudness war is over this video is pointless. We now live in a world based on lufs limits and implications of you don't meet them. Don't be one of those guys stock in "loud" masters

[@carlosj9908]

EDM is about loudness. you don't want your track to sound weak after a loud track.

[@BeatsbyVanity]

If the loudness wars were truly over, why do top electronic artists still master their tracks so loud? It’s likely because their music is designed for clubs, where louder tracks, without compromising quality, are always preferred. Skrillex is still hitting -5 to 6 RMS levels, as is Fred again.. and that's 2dB louder than the track in this tutorial. The idea that the loudness wars have ended because of streaming services is temporary. Streaming platforms can change their loudness standards at any time. If you're mastering your music to fit Spotify’s current arbitrary loudness levels, you're not future-proofing your work. What happens when Spotify is flooded with AI-generated 'content' as they call it, and another streaming service takes over and normalises everything to -8 LUFS? Or if streaming platforms start offering users the option to customize loudness and dynamic range settings to their personal preferences? Some platforms, like Bandcamp and Beatport, don’t even use normalization. Many producers I know even disable normalization on streaming services because the algorithms can degrade the sound quality. Given the numerous possibilities, it’s not advisable to limit your music’s potential based on today’s arbitrary loudness standards. Focus on making your tracks sound as good and as loud as possible without sacrificing quality. Find the right balance.

[@drinkinouttacups2665]

You are telling on yourself

[@djse]

Loudness war is over indeed, but that's because everyone is loud now. It's not a war anymore, it's a standard (even more in EDM)

[@spencermiles963]

​@@djsetell me you don't master for a living without telling me

[@SlopeCreations]

I rarely subscribe, but when I do....🤌

[@BeatsbyVanity]

Glad I passed the threshold, thank you!