Dubstepforum.com

The OP, or the other one talking balls about knobs

monkstar wrote:The OP, or the other one talking balls about knobs

This knob;

wub wrote:

jrisreal wrote:TERN UP THU LOWDNISS KNAB

Great idea

Though it's sadly no longer on sale and OP will have to pay full price for it;

http://www.waves.com/content.aspx?id=11498

Using a combination of peak limiting and low-level compression with automatic makeup, Louder effectively makes tracks louder, increasing RMS by up to 24 dB.

?

HEHEHE

"He's correcting a moderator and actually sincerely trying to help the OP, let's ban him!"

- DSF members

Even Wub is taking the piss now, I love this place

damn! i think i missed the shot at the one knob louder plugin..

i actually signed up for it when it was on sale.. and i think i still have the download link but i never did it.. I hope i still can (i mean i signed up under it when it counted)

I got that Oneknob Louder but its too complicated.

wub wrote:Spinal Tap

Why limit yourself with just one one knob plugin when you can make your track louder with 13 plugins with multiple parameters?
http://bedroomproducersblog.com/2011/07 ... u-plugins/

Also, your car stereo might have a loudness feature on it. You could re-amp your whole track.

Haven't read whole thread, but it's enough to say that loudness is a complex thing. For a start, loudness =/= amplitude. The former is perceptual, the latter is physical. They correlate to some extent but are not the same. In particular, this means that increasing average amps closer towards 0 is a process of diminishing returns, where the tune is gradually ruined with very little difference in apparent loudness - you can test this just by gradually driving a limiter higher and higher.

More specifically, loudness depends on a number of things, amplitude being only one of them. Another is dynamic range. Meaning if you kill all your dynamic range, you're actually working against loudness.

Another question is whether you'll be more "successful" by squeezing and extra DB out of your tune, or having it sound less distorted and generally crap.

Anyway there's a lot more to it than what I've written here and there's plenty about it on the internet. Have fun!!

I don't know why you want everything to really be so loud. Unless you're mastering it. Generally try to get my mixdowns peaking around -8 to -5. All depending on the track itself. That's where I tend to leave it. I know nothing about mastering. If one day I decided to spend the money to have stuff mastered I know I have stuff that can be mastered with minor tweaks if they need them. If people want it to be louder they can turn the volume up.

Well the least you could do is actually normalize it then?

why does everything have to be loud ?

I do my mastering using the Fausage Sattner;


(Real thing is bigger)


Pre Fausage Sattner;
Soundcloud
As you can hear it quite, boring, and has no bass

Post Fausage Sattner;
Soundcloud
Now we are fucking talking. It's fucking loud, has lots of phat bass, and is ready for the DJ's to drop in da club

3za wrote:Pre Fausage Sattner;
Soundcloud
As you can hear it quite, boring, and has no bass

Post Fausage Sattner;
Soundcloud
Now we are fucking talking. It's fucking loud, has lots of phat bass, and is ready for the DJ's to drop in da club

i actually like both one has abit of a merzbow touch

Required viewing for anyone getting all silly about how "loud" their track is:

djjedidiah wrote:Required viewing for anyone getting all silly about how "loud" their track is:

Imo if u aren't makin bad Paul McCartney music then this whole argument js isn't that important tbh. In fact I'd argue that a lot of electronic music and especially club music is pretty lacking in dynamics with or with out smashing it into a limter. alot of artists seem to be into the pumpy sounded u get from hard limiting anyway. look at noisia or flylo, whoever.... Brickwall is actually essential to the way they sound tbh.

@op don't let the internet scare u off limiting for loudness if that's how u want it to sound. mastering egineers won't like u tho but w/e it's a creative decision so they can gtfo

As well as using EQ effectively to maximise every elements space in the spectrum I see compression as a progressive scale to achieve loud. It goes like this.

Compression (first stage, can be used very gently or more aggressively depending on the sound to help its loudness)
Limiting (2nd stage, as aggressive as compression gets)
Saturation (3rd stage As well as compressing, adds harmonics increasing perceived loudness)
Overdrive / light distortion (4th stage, again adding more harmonics to the sound but less subtle)
Heavy distortion (5th stage, we're getting into serious sound mangling here but can sound good on the right sounds)
Clipping (Final stage, this is as heavy as it gets, in small doses can really help push sounds a bit more especially with percussive/short sounds)

Depending on which of these bits you use depends on the sound, for something like a snare I could use all of them really heavily. For a situation like mastering obviously would require more subtlety

Ways to get your track louder!

idk u can use ur volume fader

mromgwtf wrote:

Ways to get your track louder!

idk u can use ur volume fader

exactly! Red=LOOOWWWWD

outbound wrote:As well as using EQ effectively to maximise every elements space in the spectrum I see compression as a progressive scale to achieve loud. It goes like this.

Compression (first stage, can be used very gently or more aggressively depending on the sound to help its loudness)
Limiting (2nd stage, as aggressive as compression gets)
Saturation (3rd stage As well as compressing, adds harmonics increasing perceived loudness)
Overdrive / light distortion (4th stage, again adding more harmonics to the sound but less subtle)
Heavy distortion (5th stage, we're getting into serious sound mangling here but can sound good on the right sounds)
Clipping (Final stage, this is as heavy as it gets, in small doses can really help push sounds a bit more especially with percussive/short sounds)

Depending on which of these bits you use depends on the sound, for something like a snare I could use all of them really heavily. For a situation like mastering obviously would require more subtlety

Depending on how you use it, compression can sound much harsher than clipping. There's no order in which things get more extreme. They have different purposes altogether.