The Future of Mastering Audio | Interview with Reuben Cohen

[@Producelikeapro]

Is Immersive Audio the next big thing? Share your thoughts below!

[@jeffjones1359]

To experience this tech is extremely cool ! The only drawback I can see right now is the expense of the gear that we’re going to need to work in it. Of course that’s always the case right? I did some mastering with various plug-ins from Brainworx and others but I preferred to have the material done by a “real” mastering engineer with analog equipment. There are a couple people who I trust implicitly to do this like David Gnozzi and you of course but I need to “save up” for that!😉 But, I digress. I do believe this is the future of audio. Artists, producers, engineers etc will have to learn to work with immersive, in whatever form. (This is no doubt, the system used in the “holodeck”😉. And that’ll be next)…

[@jtrjammer]

Apologies up front for the long reply. Still a bit confused on the workflow. The spatial orientation of the objects and what tracks go to what objects and where the objects are placed spatially during playback is already determined by the mix when it arrives to be mastered, eh? There isn't a 2-bus mix and each track is an object in the spatial world, eh? Correct so far? I dunno. So for mastering, the mastering chain is duplicated and linked on each track/object. Then they create 3 copies of a mono mix of all 61 tracks which become Key tracks 1,2 and 3, eh? These are used to sidechain to the mastering chain dynamic processing on the tracks/objects, eh? So with use of the key tracks, which aren't heard in the spatial mix, and automation of the linked master processing chain they can essentially master the spatial mix...get this...spatially, eh? Not sure any of that is correct, please reply/comment any corrections. As far as immersive audio. Well it's been around since the early days of quadraphonic and obviously well intrenched in home AV and movie theaters for years. The formats seem to come and go every decade or so, but Atmos seems to have something different. First, it seems easier than in the past to create content. Second, the AC-4 CODEC can play the audio at 7.1.X down to a binaural mix and from high data rate to low data rate, so there's that. Truly amazing. Thanks Warren and Reuben.

[@garethde-witt6433]

In a word no. The average consumer isn’t going to want immersive music, they have enough trouble with stereo😂. I personally can’t stand immersive audio, I don’t need instruments placed here,there, or wherever, it ruins the music experience for me. Quadraphonic was a crappy example of this. Foley for movies fine, but not for consumer music.

[@johnkrummrich4948]

I am counting on it so I hope so.

[@edisonhamilton]

Absolutely. I'm thrilled about it. Which means NO. It won't happen. Except apple will fuck up our mixes with some Algo based f'd up processed version and people will love it even though it sounds like sht .

[@mattv2635]

When I was engineering in San Diego my mentor and I sent a lot of records to these guys. Very very good at what they do, and super nice! Great to them continue successfully.

[@Producelikeapro]

Thanks ever so much Matt!

[@leefchapman]

Just watched the short on IG and my mind is blown already. Looking forward to this!

[@Producelikeapro]

Thanks ever so much Lee! You Rock!

[@teddinardo8944]

thank you great resolution I was using my Apollo x6 with my Cranborne adat to get channel counts with stems, and this really answered many thing I was running into , I you are really on-top of everything, thank you Warren,I am sure we are all thankful to have you helping us all to resolve to solid solutions that work .also thank you Ruben Cohen, great set up , i will be buying ik plugins, sounds great , just bought the earbud pros and this mix to mastering is excellent

[@thismixissick]

De-essing while boosting the high end. Loving that way of approaching not only achieving a more bright while not harsh mix, but as well shape the warmth and body of a song. Fantastic video Warren and Reuben!

[@wado1942]

@Hell Cat Back in the day, they used to send the track through a Dolby encoder but not a decoder; boosts the highs but only at low-levels, no de-essing needed. :D

[@JayTheJolly]

Not specifically about this video but I just want to say thank you. I've been experimenting with a lot of tips learnt from this channel recently and I've noticed how much it has improved my things. I'm definitely excited to publish some of my new works in the future because noticing improvements give a lot of extra motivation. So yeah, thank you big time. :)

[@nayanmirza2507]

All time favorite mastering engineer in the world ❤️

[@Producelikeapro]

Marvellous! Thanks ever so much for sharing

[@NathanBrown-dk5wh]

Would love to get a mastering course from these guys they're amazing 👏 😍

[@Producelikeapro]

Coming soon! Stay tuned!!

[@Psychonautilus]

@@Producelikeapro that's great news!

[@wesboundmusic]

I was gonna say something to that effect, @Nathan Brown, yes. Even that video here is like a masterclass for mastering engineers. (and I'm just beginning to understand what mastering is actually all about from watching this here)

[@lastpedestrian]

Thank you for doing this video, Warren, but most importantly, thank you for asking all the questions that we would have had as we (I) tried to wrap our heads around these concepts. Your decision to go in uninformed proved to be a very good idea.

[@Producelikeapro]

That really means a lot! I really appreciate it!

[@davidabair2280]

Thanks for the de-essing at 2.4K tip!

[@Producelikeapro]

Indeed!

[@AudioHaze]

Sidechaining dynamics to a "dummy" mono track is so clever! I would have literally never thought of that, so smart

[@Producelikeapro]

Yes! Great idea

[@frieswijk]

Making a mono mix is also a good way to check the (levels and) seperation of the different instruments. For instance if you have 2 guitar parts you should be able to hear them as seperate parts in a mono mix. It helps me avoid relying on panning to be able to hear all the different instruments.

[@frieswijk]

@@lisan_al-ghaib Yeah, I understood that. I just gave another example when mono mixes serve a purpose

[@Producelikeapro]

@@lisan_al-ghaib exactly! It preserves how all mixers mix into their compression on their bus!

[@jorgepeterbarton]

@@lisan_al-ghaib seems like any plugin i've used has a sum option or even a control for how much of each stereo/mono it reacts to anyway

[@BrooksAudio]

My main experience in object based spatial audio is d&b audiotechnik's Soundscape engine, but I now have a Dolby Atmos production setup too. I've used this technique before, but my version uses a live aux / bus rather than a printed 'key' track. This allows for live changes to the mix, without having to re-print the mono downmix each time. I haven't used the multi key bus setup inbetween each plugin though, that's definitely something I'll be trying out :)

[@Producelikeapro]

Thanks ever so much for sharing

[@ferdinandobarisciano6934]

Great video as always! If you are really interested in this subject i suggest you to check the Hornet SAMP (Spacial Audio Master Processor). It's the same concept condensed in one plugin that you can open on all the 128 channels and it provides : eq, compression, clipping and limiting. All the instances of the plugin are linked.

[@EndlessMeece]

Mr Huart, this was absolutely fascinating, thank you so much for doing this and for sharing it with us... a little tricky to get my head around EVERYTHING, but I learned A LOT. I am infinitely grateful, thank you so much 🙏🙏🙏❤❤❤

[@Producelikeapro]

Thanks ever so much! I really appreciate your great comment

[@DolbyAtmosMixing]

This proves to show that Atmos is not going anywhere…. So glad to hear there is immersive mastering in the works.

[@Producelikeapro]

Thanks Alex!

[@johannesberglund286]

Worked in a similar fashion over the years to be able to make ”bus compressed” stems from any mix.

[@Producelikeapro]

Exactly! That's how many mixers work creating Stems

[@Joey-rp5vg]

Fantastic video. The future is here.....resistance is futile....... seriously though, immersive is flooding out and the possibilities are endless. Great to see this new format thriving.

[@Producelikeapro]

Very well said!! Thanks for your great comment

[@DonovanJamesOfficial]

Thanks for the different perspective

[@MikeBrayton]

Maybe you touched on this... but does this require that the mastering house receive a Pro Tools file of the mix? ...or can they work off of any atmos master file? ... like from Cubase/Nuendo, or Logic.

[@emanuel_soundtrack]

so fay i kno, many composers send stems out of cubase or logic. Important is to give them in an organized manner, to save time $

[@plastiktide]

This is brilliant!! I always wondered what engineers especially in mastering did to achieve this

[@ashleyneptune3239]

Video on the difference between IK Multimedia Lurssen Mastering plugin vs analog mastering : )

[@philjames7467]

Raspect bro, i need someone like you, stay safe and up, jah knows,

[@Producelikeapro]

Thanks ever so much

[@bjfu3553]

So grateful that this content is given free to the community! Just couldn’t understand the part how he “link automation” in protools so adjusting one plug-in change all other same plug-in on the same slot?

[@JLMIXEDIT]

Thank you in advance!

[@Producelikeapro]

You're very welcome!

[@GrumpyGr3g]

Hi there! Wanted to make a thought about that moment @12:40 : "limit before compress". I sometimes tend to clip before eq and compress if I think that some really unwanted peaks are annoying to the way a compressor could act. Sometimes I can get some very big peaks on some mixes from clients, and thoses peaks will affects a lot the compressor at a very specific time. That is where I clip or limit, of course it's not limited to hell, but from 0.5 to 3dB to tame out till I have something I appreciate and think that will not kill the music. With rights values of reduction that almost can sounds not transparent but at least smooth and the compressors after that stage or limiting/clipping, will act more stable (if that make sens ?). As says the "meme" : sometimes is maybe good, sometimes is maybe sh!t. We decide at this point ^^ Anyway, awesome video as usual on the channel! Greetings everyone and take care. Greg.

[@TryThinkingDeeper]

I think an easier fix would be to automate the volume down at that point so that "clipping" ends up at the same level as the stuff around it. I understand your logic though

[@twizax9739]

Lovely video

[@Producelikeapro]

Thanks ever so much!

[@acimbobby]

Seems like a good way of dealing with a problem that has been created by these Multi-Channel Movie files. If this can leave a usable mastered stereo file, it sounds very good. Seems like you would need to be well experienced to attempt this, and have very advanced equipment.

[@Producelikeapro]

Yes, it's an elegant solution and one that really does sound great!

[@BlindProAudio1980]

Hay cool, I know that band. SA kicking some azz. :) Thanks Warren for an excelent channel.

[@Producelikeapro]

Fantastic! Yes, great music!

[@royzderich]

Amazing content!

[@JeffGrubich]

This is beautiful! What I am confused about then is when everything is mastered such as the way he is doing this in mono channels (everything was hard panned), is how is it bounced out into a stereo track for each instrument to have its own space in the master?

[@Spider._.dust_music]

Thx for another great video!!! I would love to see a video explaining LUFS. What is the correct levels to get maximum output for streaming services. There is a lot of info out there but can be misleading. ☺️

[@jorgepeterbarton]

There is no fixed level. Its mostly ignorable fixation on something unimportant compared to other things you should concentrate on. Master where it sounds best regarding limiting....or make about fifteen masters to avoid normalising which spotify users have various options on anyway! Seriously, can you find any pro master at -14lufs on spotify (or whatever is suggested?). Or is it the user's responsibility to turn off normalising or go get lossless files?

[@emanuel_soundtrack]

i love real and concert music, but mixing orchestral music. in headphones, for headphones, and surround… it is a whole new infinite

[@Psychonautilus]

Wow, thank you so much for that insight, Reuben! And of course thanks Warren for making it all happen and asking all the right questions on our behalf. I've been theorising about something like that for quite a few weeks now for some DIY atmos mixing/mastering. And I feel much more confident in what I came up with, plus you opened my eyes to problems (and solutions) I didn't even have the mental capacity to take into account. There might be a first trial run on a much smaller technological scale on the horizon for me now. I just have to figure out what to do with my favourite dynamics plugins that don't have a sidechain/key input. That's still a very frustrating hurdle to overcome in the digital domain.... any tips other than NOT using these specific plugins?

[@reubencohen6476]

Hi! Yes, doing this requires your dynamic plug-ins to have a side-chain feature. It doesn’t need to be fab filter. It’ll work with any plug-in that has this feature.

[@Psychonautilus]

@@reubencohen6476 thanks! That rules out a few character pieces unfortunately, but I'll find a workaround somehow.

[@hendrikbisschoff]

YES! Heuwels Fantasties! sounds great

[@kevinstockdill4139]

What is Immersive audio?

[@Heke97]

would love to have a video tutorial about creating this template like deep dive in to it :)

[@Czyszy]

That South African track sounds magical.

[@Producelikeapro]

Yes, it's really good!

[@emanuel_soundtrack]

really interesting idea

[@jeffhuskins3435]

Awesome Video. So you “filet” out the Bed and it makes mono files that now go back to the Bed. The LFE goes to center. Should I leave that like it is automatically done or output it back to the LFE only in the renderer. By the way - this works incredibly well!!

[@tomehCanada]

Well this is an interesting twist to we ordinary people working in stereo 99% of the time. A question for you Warren. When I'm mastering it is very normal for the client to hear through the clarity of the mastering and playback system, to go back and tweak mixes. Is this happening with Atmos?

[@Producelikeapro]

Absolutely! I’ve learned so much from Mastering Engineers! I’ve gone back and recalled mixes after mastering myself

[@budgetguitarist]

Immersive Audio is freaking amazing when you hear it in person. I want a Dolby Atmos (or something similar) setup in my home studio very, very badly. But I have yet to hear anything that does immersive audio on regular headphones that doesn't sound fake or gimmicky. You can play a Dolby Atmos mix on regular headphones right now, and it does sound different than stereo, but to my ears it doesn't sound as good. Reminds me of the old stereo wideners they used to include in some receivers, where they messed with phase to make a sound appear wider. Are there any headphones that actually use different teeny speakers aimed at the top, bottom, front, and back of your ears? That would be one way to do it. Some in ear monitors have multiple drivers. Is this a thing yet?

[@budgetguitarist]

@@lisan_al-ghaib Yep, I didn't think of that, but that's true. I'd be OK with a breakout box and special headphone cable if it meant getting an accurate experience. But I might be alone there.

[@SirDolittle]

This will not work, just as it never worked with 5.1 Headphones that had different drivers for their audiostreams. The small distances between the drivers will cause interference in high mid and high frequencies. The relative distances between the drivers will never match the Dolby Atmos Target with any reasonable sized headphones and it is physically impossible to implement a center speaker with headphones. If you ever see a product like this, you can bet it's a greatly marketed scam. Stereo is just fine but there are almost no commercial products available that even provide a complete stereo experience, neither speaker nor headphones. Even high end Headphones by Focal for 5k have very fundamental problems.

[@SamHocking]

Pretty sure you can now process the master Dolby Atmos Bus in Nuendo & Logic Pro. ProTools & Dolby Atmos, although industry standard is a little convoluted and dated imo when it comes to multichannel work and processing. There isn't a necessity to really even mix into the Dolby Atmos Renderer until much later in the workflow as it's only the .4 height metadata from the panner that is really unique to Atmos, the rest is simply amplitude panning you can mix into any bus open for multichannel dynamic processing.

[@mdk1983]

Does this make a difference to the listener using a regular headphones or speakers? I do perceive a better control the mastering engineer could have especially with 60 or 80 tracks. But what is your opinion Warren.. do you think we can still achieve the same final output without immersive.. as you rightly said it again depends a lot on the engineer's skill and experience

[@leefchapman]

What I have noticed is there is a huge dynamic range in audio mixed and mastered in immersive/ ATMOS. I have not got my head around it just yet but even without the whole bells and whistles of being immersed in audio, there is definitely a sonic quality to the formats.

[@chrisibbetson]

@@leefchapman Man I need a processor upgrade to my brain for this! ha ha. You put it well dude!

[@owonobrandon8747]

This is nice !

[@mallek1989]

Can someone help me understand what’s going on? So am I right to say that instead of using a mastering chain on a single stereo bus, he uses that chain on every individual channel, and then tying the automation across every single duplicate. Then he’s creating a mono bus down to side chain control for the first unit in the chain, and then feeding that to a second bus down going to the next piece, etc…. Is that what’s going on here? Because this is blowing my mind and I’ve never seen anyone do this before.

[@davidcalingasan8131]

Essentially, you got it. This workflow is absolutely necessary for mastering immersive audio (ATMOS, etc) because there is no stereo summing in there. In stereo, audio is only either left, right, or in somewhere in between. Basically two channels that we can sum it to a stereo bus. But in immersive, we can't sum it to stereo because audio is no longer limited to left and right channels (hence the room with multiple surround speakers instead of just a stereo pair)

[@mallek1989]

@@davidcalingasan8131 yeah I had to watch the video twice to get that. I honestly had no idea that immersive audio had no summing. I always thought there was like a 7.1 channel mix bus hahahaha. I’m gonna try this technique out on my stereo masters. I’m curious to know if there’s an audible difference between mastering a “phantom” bus or mastering a mix bus.

[@mallek1989]

@@davidcalingasan8131 pray that my cpu can handle this 🤣

[@MarcosRobertoDosSantosJF]

@@mallek1989 Mine probably not! Hahah!

[@zacharycamm2374]

Does anybody know how to bounce a mono summed version of the atmos mix?

[@Drawmack]

Would it be possible to do the first mono fold down and then for the second fold down start with the output of the first fold down etc etc, instead of repeating the processing?

[@MrPeter924]

Good lnterview.

[@Producelikeapro]

Thanks ever so much Peter!

[@jhkarjal]

Now I'm really curious about that EAR825 plug-in.

[@chrisibbetson]

I love this video!

[@Producelikeapro]

Thanks ever so much Chris!!

[@emanuel_soundtrack]

i use all in binaural panner for orq. music, but technically idk if this is better. It sounds better, thats all for me

[@doctortubes1]

Can you show a block diagram of it?

[@peterbrandt7911]

I gotta wait, how the ATMOS implementation in Cubase will look like and if possible, I'll give a try, just binaural and for fun. When it comes to mastering, I will send in my tracks for mastering, always. I can't grow that second pair of ears. That said, amazing video, great informations, whether you use it, or not. Thanks!

[@JeffGrubich]

The only thing that I am confused about then is when everything is mastered such as the way he is doing this in mono channels (everything was hard panned), is how is it bounced out into a stereo track?

[@davidcalingasan8131]

This isn't for stereo, tho. It's for stuff like ATMOS, etc

[@XenNightz]

What are the monitors you’ve had back there in all of your recent videos? They aren’t the Genelecs or The Ones so what’s the story and where’s the review?

[@gutekzpoligonu]

I did use Larsen Mastering IK multimedia on remastering for myself, one of the acoustic shows of my favorite rock band in Poland and it went great. To think back, what was my sources for that master, the "analogue" feeling that I've got in the final work is suprisingly as "just" for digital vst and I did it on standalone version - outside of pro tools.

[@johnkrummrich4948]

Ok at 28 minutes in I got it I think Haha. Thanks for the info.

[@Producelikeapro]

Yes! Thanks!

[@jonathanrhoten105]

Insane!!!! 😱😱😱

[@PendelSteven]

I was just happy to hear a song in Afrikaans which I 95 % understood as a Dutch :). For the other 5 % there's internet.

[@Producelikeapro]

Haha thanks Steven!

[@thomaskunz3726]

Nice work! I would recommend to switch the Q3 to linear mode.

[@purpletapes1940]

listening to this on a mac mini speaker, feels like a mockery!

[@indegruv]

My kind of fly on a wall talk 👍

[@Producelikeapro]

Thanks ever so much

[@SXTWLVE]

im lost

[@OneEyedOracle]

"mono-feedback-chain" necessity breeds invention, or slightly over produced?

[@gregrodrigueziii8075]

I'm wondering why can't it be the same process as we do for cinema? I mean score mixers have been mixing in atmos for about a dacade already, I'm curios why it can't be just the same process? granted dialouge is there, but its the same any vocals ,specialy on scenes where the score is loud and dialouge should be heard, without master buss and just automating things. I mean granted, there is a re-recording engineer, I guess thats your "mastering engineer" in that context. but still Im curious why it seems music needs to be a different process than music for films?

[@kieranniemand2939]

LOL was not expecting to hear Afrikaans lyrics when he hit play

[@splashesin8]

🤔

[@Producelikeapro]

Yes, head scratching!

[@kingbassk83]

Has anyone seen Gavin?

[@shilohpatten3761]

Subscribe to their channel, like this video. Save it to a playlist to easily come back to it. Observe a few suggestions afterwards and watch this video 3 or 4 times in the process, and, as an independent artist, you’d learn everything that you need to know to go from a 3D mono mix, to a 4D stereo mix. Repeating the whole process again will provide a really freaky 5D experience that will fold down on itself if you ever listen back in Dolby Atmos on an android cellphone. I feel like Apple’s Spatial Audio is going to take over the tech industry, even more than it already does, because people will eventually turn off the Dolby Atmos playback feature from their android phones as they switch to apple just to experience a hyper space that Dolby Atmos actually does not support. Dolby Atmos was originally a pitch shift back to scientific pitch tuning and is an old technical perspective that is quickly failing. I’d remove your stock from Dolby Atmos while you’re still ahead. You’re welcome.

[@redsunstudiomixrec5017]

Spotify commercial need to drop there limiters there going to blow my ears out

[@ZEALm.e.studios]

Crazzzzy

[@Producelikeapro]

Yes! Indeed

[@alexhormann8931]

"And really what we're doing is doing what we do, you know" ROFL

[@Ahowe61993]

I tried so hard to understand what I just watched.. I was lost almost the whole time

[@leefchapman]

What felt like the most interesting part to you that you'd really like to understand? Perhaps we can help out from there.

[@Ahowe61993]

@@leefchapman I understand most videos but I had a hard time following today.

[@Producelikeapro]

@@Ahowe61993 he's using a mono version of the whole track to individual control each channel so it feels more cohesive

[@Ahowe61993]

@@Producelikeapro so similar to mono aux sends to control each channel?

[@Producelikeapro]

@@Ahowe61993 yes, he's controlling each channel almost like a global side chain

[@project1265ffo]

seems confusing

[@shayanbakhtiari2552]

I need two hours of chain smoking !

[@kobiljaglava3138]

This is the most creative and sophisticated way to kill the groove and swing in track 😎

[@Producelikeapro]

The exact opposite of what it’s doing! When a song is mixed into a bus compressor all of the elements cause the compressor to react reinforcing the groove and feel. By mimicking the response of the bussed sound you apply that bounce, groove and feel to all the tracks. That’s why it’s done, to enhance the cohesive groove of what we would expect in a standard mix.

[@kobiljaglava3138]

@@Producelikeapro Better to compare this with stem mastering rather than stereo. With stems, You can dynamically process individual stems with correct setting and timming for every individual stem. Then summ them into stereo mix and You will notice the swing and natural groove. Also, feeding mastering compressor with mono summed track won't get You in 3rd dimension and controlled image, thats why top class mastering compressors have stereo link done different than classic compressors or have stepped switches for dual mono mode.

[@Producelikeapro]

@@kobiljaglava3138 all major mixers who create stems trigger them from their stereo bus, so it's exactly the same principal. The groove and feel is created from the bus, hence why this world class Mastering engineer and major mixers all use this principal to maintain the groove and feel. Mixers mix into the master bus, therefore to create stems properly they use this master bus compression information when creating stems, the mixer sends a side chain of the mix to the bus compressor so the stems sum to the same feel and groove. Reuben here is using this exact principal, hence why the groove and feel of the Atmos mix mimics exactly the groove and feel of the mix the mixer intended.

[@doubleslit3389]

If it ain’t a movie then STEREO. Always has been alway will be.

[@OldBoans]

Looks like I'm the only one who doesn't get it so I think I've wasted my time, money & mental energy on mixing or mastering, I didn't go to audio college or spent any time in studios & watching this made me feel like I was being asked to fly the starship enterprise while kirk went to the toilet. I'll just stick with making my wee songs though I do wonder 'how ever where the greatest hits of the past 60 years ever made without all the gear and alternative solutions' - I shall now shut up & retire away quietly.. I'm not clever enough to be in your esteemed companies, I tip my hat to you all...

[@NahImPro]

I’m skeptical that the world of immersive audio is going anywhere. Just like VR is right now, it’s not something you can go to the supermarket and hear the way the artist intended so to speak. And it’s not really setup for mass consumption in that regard.

[@leefchapman]

The thing that I am seeing is that kids ARE engaging with VR and Immersive audio. It's just us, like my parents generation who struggled to undertake changes in technology, that are struggling to comprehend the change. I really believe that. The same as Analog vs Pro Tools. There was a lot of pushback. The thing is that, unlike pushback from the pro audio community, it's the consumers that are deciding. I see it as the future and present but understand the skepticism 100%.

[@johnkrummrich4948]

I see a lot of people walking around in headphones. it translates to that and only getting better.

[@Producelikeapro]

@@johnkrummrich4948 exactly! Headphone sales are through the roof!!

[@Skrenja]

VR _is_ the future, though. Once an affordable headset comes out that's actually good -- it's really going take off. I challenge _anyone_ to play Half Life: Alyx on a good headset and say otherwise. (If they do, they're lying through their teeth.)

[@Skrenja]

@@leefchapman I think the main reason for most VR skepticism was the early headsets. (PSVR 1, Rift CV1) They performed very poorly for their price tags and gave a lot of people a bad first impression of VR.

[@Monsoon1973]

Come on, really? After that introduction I thought that something really remarkable would go on when the mastering process starts, but when they played the audio examples, I thought: That´s just another hype, where someone want´s to sell you snakeoil. I hear nothing in the mastering results, that I couldn´t reproduce easily with "traditional" mastering concepts...

[@ssef3232]

the point of this video is to give a way to use traditional mastering with these spatial audio formats that don't have a mix bus or any bus what so ever

[@Monsoon1973]

@@ssef3232 As long as audio in the end is routet to physical outputs, to speakers, and this always takes place when you want to listen to your music, there are "busses". On the other side: I did this way of mastering when producing music for interactive audio formats already years ago, where the customer gets stems of your mix and not a final stereo mix, so he can work with elements of your music. Simple sidechaning on the stem busses with the most dynamic elements of your mix also does the trick and you don´t need a million mastering plugins in every channel, what is very impractical in many ways.

[@ssef3232]

@@Monsoon1973 spatial audio is a file that contains objects that are independently rerouted depending on the playback system. While it is summed in some way for playback, it isn't bussed in a mono or stereo way which is the whole reason for this trick that's as you've said, impractical.

[@Producelikeapro]

@@Monsoon1973 what exactly is the 'Hype'? There's no 'snake oil' being sold. It's free information. There's not a 'million mastering plugins on every channel'. It's a logical extension of how mixers mix into their stereo bus, mimicking the groove and feel that is created in the stereo field so the track breaths beautifully, very similar to what Bob Clearmountain is doing. Again it's free info, nothing is being sold, Gavin and Reuben's plug in they use in the video isn't commercially available, therefore any EQ you own you can use.

[@johnwalter6410]

Im totally confused. The mix and master sound almost identical through my Focal monitors and sub.