Level Matching Done RIGHT! (Compression and Saturation Tricks)

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In this video producer, mix and mastering engineer David Gnozzi talks about level matching with compression, eq and saturation
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[@marcomontex23]

10 minutes of pure gold destroying months of self doubt and lack of strategy on my side. And of course, no one does it but you! I needed this video and finally get the whole picture, realizing that not knowing THIS to the level of sophistication you just presented, can only lead to failure at mixing, unless you are really talented and somehow land on your feet (definitely not me haha). Insane value here, so I’m not letting this go without a super thanks! First comment on your channel (and ever on KZbin), have a great day David!

[@mixbustv]

Thank you for the support Marco!

[@SoundcastStudios]

As someone who makes videos on analog gear, I level match by ear but always show the meters so you can also see the amount of peak reduction. The way analog gear handles peaks is to me, underrated and not talked about enough.

[@gabrielaaron]

Subbed

[@Nospoon777]

Subbed

[@alessandrosummer]

Great video! Just a side note: when someone cuts the low mids they often think it sounds better even if they don't level match, especially if someone's mixing in solo. A giveaway on amateur mixes - or someone who just follows bullsh1t YT videos - is how they sound scooped since they're cutting a lot of the low mids and the midrange - hoping to take out muddiness and boxiness and taking out all the power instead. The level matching when cutting is although very crucial when cutting higher up, especially in the top end!

[@PavolBrezina]

my finalizing chain always like this - HG-2, Drawmer 1978, Weiss EQ, Weiss comp, StandardCLIP and Weiss maximizer. Always take care of gain staging in every of these processors. Gain staging is one of the most underrated procedure in mixing and mastering operations.

[@Jesse615]

Another reason for level matching (as well as accurately judging the effect), for me, is to help keep the two-buss signal becoming too hot from all the now-boosted signals; help to keep it in that -6 to -8 head-room sweet spot.

[@charleshenri5847]

Good for mononeuronal melodies...

[@michaeltablet8577]

When I do my own vocals louder is not better. Off is better! Thanks for all you do! Great teacher!

[@DomSigalas]

Amen Dave amen! So many misconceptions about level matching going on 🤟🏼

[@luckyknot]

I had to watch the last part of the video three times but it finally made sense, thanks for sharing your knowledge as usual David!

[@sleepisoptional]

more GOLD! keep it coming. this is the goods 🤘🏻

[@MuzdokOfficial]

You would be a great teacher. Easy to understand as always.

[@RenzoG9-Topic]

Great gems in this video David thank you for that. Maybe this video is for intermediate level. I understood what you were saying perfectly clear, but I've been watching your video's for years now so maybe that's why I understand the fundamentals that go into these idea's, and concepts.

[@Flimpy74]

I have one idea/challenge for you, since you are analog gear devotee: 1. Take a piece of non-mastered music or a part sample and make 2 projects out of it. 2. Master each of them, one with your best analog gear, second one only in the box with your best plugins. Do both according to your best skills.. 3. Stream both versions in a HQ youtube video (level matched of course ;) ), but don't tell which one is which. 4. Have your community to vote and spot a difference. 5. Optionally you might want to drop wavs somewhere, so the YT compression gets excluded as a factor. I never saw anything like that on any other YT channel, it might solve the big question once for all. :)

[@mixbustv]

I don't master for free :D and I don't have that much time on my hands. I think people are under the impression I'm trying to convince people to use analog: I don't sell analog lol I don't care whether or not the internet agree with me, I care about my clients. Also, I've done this many times, and if it worked I would have sold my hardware and bought another car

[@Flimpy74]

@@mixbustv perhaps you misunderstood me, it doesnt have to be other peoples music, it can be your piece... perhaps even few Splice samples, one bass one vocal... 30 sec max... shouldn't take much of your time... Lets see how many people spot the difference correctly... That video would be something inovative :)

[@bontempo1271]

​@@Flimpy74 There are already plenty of videos that compare outboard to itb masters. * Spoiler Alert * : Outboard sounds open, has depth, detail, definition, separation, wider centre image, sometimes wider and taller soundstage, pleasing and enriching harmonics, heftier low end, punch, consistency, nice handling of transients, and often simply more musical. These are just the default traits of good outboard, you don't need a trick to achieve that. But lets not forget that many masters these days use some plugins too, typically a limiter, maybe a transparent eq, and other utilities. Which master you prefer is a matter of taste. But it was typical that a production is trying to sound as good as possible for the listener, a goal to trigger a sensation or emotional response to the music. You should find that when outboard is musical, it triggers that sensation. Aswell as the sense of space and depth from outboard reverb, sweet spots in eq bands, good compression etc. Can you get there ITB ? The problem is that plugins are not there yet, so in their default state you cannot get there. You'd need an outboard reference and devise ways to emulate those traits, and find the best plugins for the job. It's work and research.

[@Flimpy74]

@@bontempo1271 Yes there are many comparison videos, some older and some newer, but at least i couldnt find any where many people would try to blindly figure out in the survey which of the masters was done analog and which ITB. Only with blind test of a significant group one can really eliminate the bias of the expectation that expensive cool looking analog beast must sound better then a nerdy plugin. Also, plugins have advanced considerably in recent years so the topic should be revisited often.

[@bontempo1271]

@@Flimpy74 You can test for yourself using one of the online outboard rental services

[@thatchinaboi1]

Here is a general tip for anyone mixing and mastering.. Listen at a fixed SPL when mixing and mastering and make sure never to exceed Studio Reference Level (unless you know what you are doing and why). Equal Loudness Contour tells us that our perception of FR depends on the SPL. So if you mix and master at say 90dB SPL or more, you may end up with a FR that doesn't sound optimal at Studio Reference Level. Most likely you will reduce some of the upper mids (the frequencies the human ear is most sensitive to) in order to compensate for Equal Loudness, which could negatively affect the overall presence of the mix. In addition to that, listening at very loud volume damages our hearing over the long term and causes listening fatigue which affects our mixes.

[@joezazasin7]

i do it by ear 9 out 10 time's. Complicated! The PSP InfiniStripWIND and iZotope neutron has been a major help for me lately.

[@topsycrettzofficial]

Hello! It is great that we can have all these videos from you! You always seem like have a different approach to it then the rest of the engineers , but some how the results are better when we apply the skills you're showing us. One quick question. If, let's say you used saturation on the individual elements in the mix, would you then consider using saturation on the master at the end ? If yes , would the amount of saturation on the master depend on the saturation you've used during the mix ? And does that mean , during the mixing stage you always keep in mind the master ? Here I am talking about achiving higher loudness(the max possible) and lufs ... Thank you

[@mixbustv]

For me is second nature. I don't think actively think about that because I've been doing it for almost 2 decades and I wanna say I thought hundreds of thousands people how to do it (see my vid on loudness). I didn't have anyone teaching me, so that's MY style, has always been my style. Yes I do use saturation on single channels and 2bus as well. How, when and where is something that cannot be taugh, those are the things people pay me for.

[@django3108]

How are you level matching with regards to things like parallel effects? Particularly parallel compression or saturation (on say a vocal or bass?)

[@jorykevinberger7047]

With saturation I level match to rms, and once happy I’ll bring it up to where the peak was.

[@mixbustv]

If you do this correctly your now processed track would be MUCH louder than before in a mix and you'd have to bring it down. Kinda useless.

[@mrbrightside5278]

Thanks for the info. I do the same thing myself. However I think I use the ears too much. It was interesting to hear when you use rms. I'll have to incorporate this. Unfortunately I'm exclusively in the box, but I'll be starting my gear journey by getting some OB gear later this year

[@NominalTopic]

Another stellar video, well worth the time. Just one question: Do you have any original compositions either in-progress or “out there” somewhere? (I’m not counting Bella’s material because I’m assuming that’s all/mostly her writing.) Still very impressed that you’re a player, btw.

[@mixbustv]

I was signed with Universal first and Danse Macabre after. Did a couple of albums that I wrote top to bottom, a couple of international tours, Rock Band 3 (videogame) but it was a life ago, they're out there, I don't advertise nor really talk about that time tho

[@NominalTopic]

@@mixbustv This is hitting more closely to home for me than I ever imagined. lol I get it.

[@thatchinaboi1]

Even less than half a dB is sometimes noticeable at studio reference level.

[@PrisonTorture34]

Do you still use SSL channel to gain stage? Great video and reminder to check out black box.

[@mixbustv]

Yes, Softube C1

[@bencawood]

I find i just like turning down the the gain on the plugin

[@joemiya6689]

Another informative awesome video!! I have a question. Since I know you’re very open minded about both analogue and digital ,or more accurately to say you care about music, I’d like to hear your take about “in the box mix to mastering in tape” process or “put tape processing in anywhere before streaming online”. I’ve never done it but some of people who I’ve worked with asking if they should use tape for mastering. It cost extra 25$ or something… is it worth it? Sorry if you talked about this before but couldn’t find it. It’ll be great to hear. Thank you for great contents always! Best regards

[@mixbustv]

I assume you're talking about real tape. If that's the case, tape is no different than any other processing, meaning I would never do anything by default. There's no magic processing that will make everything or anything sound better. Tape is no different. Maybe this song will benefit from it maybe not, just like a compressor, just like a processing like the HG-2 or anything else that adds color. Real tape for modern music will be often a no-go, pop, electronic music, most metal or hip hop would most likely become too dull, you'd need the most transparent and high headroom tape you can find as at which point, why even. While other things like maybe some types of rock, country, jazz maybe, some vintage vibe type of songs could benefit from it.

[@joemiya6689]

@@mixbustv Thank you for answering! Yes! I was talking about real tape and it’s so great to know because I was, honestly , a bit skeptical if they even add colors.. When you said “ just like a compressor” I think I get it. I’ll try to use it soon as possible with some vintage vibe song and have a experience,and make it as one of my input for the future. Hope you’ll have a great day!!

[@djvoid1]

Hi David, if you were only allowed 5 essential techniques for crafting a mix that's full of dimension and depth, what would those techniques be?

[@klausmatrajt8480]

In what order do you usually set your mixes processing? Compression before saturation, or the other way around?

[@mixbustv]

There's no such thing. Changes every song, every track, every minute

[@HollerAtcherBoi]

Wow I’ve never thought of that. Another thing I’ve been wondering is how exactly you choose the integrated LUFS target for a master. I’m sure it’s a mix of considering the genre and just using your ears but I feel like there’s gotta be more to it. I’m still stuck on aiming for exact numbers like “-8.0” and I know that’s not correct.

[@mixbustv]

The answer is in your question: consider the genre, which means what's out there on the market that is comparable, and use your ears

[@caspermaster-com]

I find it strange that you use peak as a default level match target (except when it's about similar triggering of a fast compressor etc after) My doctrine at the moment is level matching my ear or lufs. As your lufs normalized final result is not really dependent on peak alone, you can't count on the benefit of higher crest factor in level matching. If one matches with lufs, even if impractical (I'm not actually doing it due to the inefficient workflow, but ear level would come close) you are literally keeping an equilibrium of (not) being turned up or down by lufs normalization and therefore are level matched by definition. When there was the loudness war of no lufs normalization, I would buy the concept of peak match, because you actually are getting loudness that translates to the end listener by the crest factor

[@TaiChiRehab]

my brain doesnt always tell me the louder is better - sometime louder sounds worse esp if its harsh

[@mixbustv]

What it tells you is the mix ain't right if it sounds worse louder. I have a video exactly on that

[@davegraham716]

​@@mixbustv ROFL... YUP... that might have sounded mean.... but there's no other way to put it...& he seriously walked right into that 1.

[@hbonthetrack]

Question David…do you often parallel your music ( pianos , pads , leads and others ) back in as you would your drums ?

[@Justadudeye]

He doesnt like parallel bus processing👍

[@tonyalbertson8379]

David who makes the desk do you use?

[@mixbustv]

Modson furniture

[@Hassan_Omer]

Hi David, about setting the parameters of attack and release on a compressor I have seen people do it mathematically like timing their compression to the bpm of the track e.g dividing 60,000 by the tempo of the song to get the release time of a quarter note in milli seconds and then multiply it by 4, subtract it by the attack time value to get a whole note in milli seconds. What do you think about it ? do you think it is always better to do it mathematically or just do it by ear ?

[@mixbustv]

Setting the attack mathematically is pretty silly 😄there's absolutely no reason whatsoever to even try such travesty. Release is very different, you CAN set it in sync with the host, there's nothing wrong with it IF we talk about 2bus and rythmic elements, because sure it wouldn't make sense to do it on a vocal. In any case, setting release in sync can be okay for EDM, or song with a 4 on the floor and with the same exact rhythmic pattern. Take a rock or metal mix, where even just kick and snares are constantly moving, it would be absolutely useless.

[@TheRobGuard]

100% you get a better mix by just using your ears than do it only using math.

[@tinodadon]

Quick question David or just a quick statement to see if I'm understanding. So if I'm using saturation as like a eq, just like Eq, I should level match (on individual tracks) I been doing that on my latest mix as I'm getting more into using saturation as like an eq instead of using eqs. Is that the right approach? Thanks again for the help and the videos! One learned so much just watching your channel.

[@mixbustv]

Yes as long as you don't force it.

[@tinodadon]

@MixbusTv Thanks David! Yeah I've been using saturation if I'm not getting the sound I want from a track from the eq. Sometimes saturation sounds better than eq, but sometimes not, per the material I'm using it. But my ears are getting more intune to knowing what can use it and what not the more I mix and also do like studying by trying saturation on different types of individual tracks just to see what each one does for what if that makes sense.

[@orphic-trench]

Here's my 2 cents: it may be ok for YOU not to match perceived loudness when demoing plugins or setting up compressors or whatever, but most of your viewers will still be fooled by the fact that your processed signal appears to be louder. That's just how it is. If it sounds louder, people will think it sounds better. If making things louder is the purpose of the plugin you're using is irrelevant.

[@mixbustv]

I'm glad to see you didn't understand *anything* about the video 👍

[@orphic-trench]

@@mixbustv I'm glad to see you didn't understand *anything* about my comment 👍

[@mixbustv]

Don't know, I teach, you watch. You do the math

[@NominalTopic]

Lemme buy you a tall coffee.

[@mixbustv]

Thank you for the support!

[@greeksdorok]

Im a little insulted u promoted that thing in the beginning showcasing the "idea". Liked the rest

[@mixbustv]

Yeah generation offended 😄

[@YngHstlr]

my ears are tired 😐

[@duncan.o-vic]

Even if you're going for increasing the loudness, you should level match by ear, it's easy to shave off as much of the peaks as you want, you can see it on the meters. What you should be listening for is how much distortion is acceptable and how much it compromises the overall sound, matching by peak is going to fool you there.

[@mixbustv]

Not if you're SHOWING a unit in a video. I see we don't get it still, you're literally showing the level increase

[@duncan.o-vic]

@@mixbustv I know what you're showing, but I'm not intereseted in it, I know there is a level increase, I want to hear at what cost, not to fatigue my ears.

[@mixbustv]

Then here's an advice: watch the videos you're interested in, not the ones you're not interested in and then btch about it lol

[@duncan.o-vic]

@@mixbustv That's a really stupid answer, I am watching videos I'm interested in, only the way you're showcasing a device is making it harder to hear the color vs the loudness increase.

[@ImDino]

Series is not pronounced like that bro 😀 don't say the second 'e' and make the 'i' longer. Your english is otherwise perfect.

[@MrCool144]

No I’m not.

[@AntonovichHicksenbrau]

LoL

[@mixbustv]

Here's an award 🏆

[@MrCool144]

@@mixbustv i'll take it. but not because you told me too.