New loudness course by Michael White

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New loudness course by Michael White

Postby jonetsu » Sun Jun 25, 2017 3:37 am

Mixing and mastering engineer Michael White (Whitney Houston, David Byrne, James Taylor, Mick Jagger, Jimi Hendrix remixes, etc...many gold records) has a new, and I must say quite interesting course on loudness. Here's the official description. Link at the end. IMHO, for having followed other classes by Mike, this $50 will be solid investement.


Loudness as a Creative Tool: Achieving loudness is a cumulative process that must be considered at every step of the mix if you want full creative control of the final sound. Otherwise, you may be left to the mercy of an overly aggressive mastering process and a thin, pinched, and lifeless master. The Loudness C is about far more than just getting loud masters. It is about learning the skills that allow you to be creative with it and use it as a tool to shape the sonic signature of your mixes and productions. Loudness can be achieved in many ways ranging from relatively transparent to heavily distorted. The ‘right’ approach is what best suits the style of music and meaning of the song you are working on, not some preconceived limitation imposed by old grumpy people.

Loudness and the Future: The Loudness Course will also cover the current direction of the consumer marketplace including streaming services and media players. It is expected that by 2020 all streaming services and default settings for media players will set their average loudness level to somewhere between -14 and -16 LUFS (Loudness Unit Full Scale), most have already done so. As a result, heavily compressed masters will have their average loudness level set to -14 LUFS. If that master sounds thin, pinched and distorted at a high level, it will sound very small and lifeless when streaming. Does this mean ‘loudness’ is a thing of the past? No way!

Loudness at Any Level: Loudness is more than a meter reading. It is also about perception and recognition of the listener. The more clear, solid and focussed a sound is, regardless of dynamic range, the more perceptible it will be. It that sense, clear perception equates to recognition which equates to perceived loudness, which equates to a loud master regardless of streaming service standards. So how can you achieve this magic? That is exactly what this course is designed to teach you.

The Loudness Course Includes:

8 Classes (2+ hours for each class)
Email access directly to me for any course related questions
Each class offers hours of loudness demonstrations.
1 Year Access to all Course Videos

The Program

Each of the 8 Classes itemized below includes over 2 hours of detailed information and audio demonstration. The lessons will be divided up into individual videos as listed below. You do not need to attend the Live Classes to participate! All Live Classes will be recorded and available on the website the same evening. You are free to watch each class at your own convenience.

Live classes will begin Thursday, July 6 @ 4 PM US-Pacific Time. Links to the live classes will be provided 30 minutes before the start of class by email.

Class 1: Mix Preparation for Loudness (July 6)

This class starts by defining loudness. and demonstrates the most common fundamental mix approaches used to create loud mixes.

Loudness Perception, Measurement & Online Streaming Standards
Setting Loudness Targets
Sonic Density and Loudness
Loudness Mixing Technique #1: Dry Mono – Wet Stereo
Loudness Mixing Technique #2: LCR Mixing

Class 2: Compression Techniques For Loudness (July 13)

Compressors are the most powerful tool for controlling the dynamics of music. This does not mean you are necessarily removing the dynamic, but rather, making the dynamic more perceptible by making it more consistent.

Averaging (RMS) Compression for Loudness
Rhythmic Compression for Loudness
Vintage Compression Techniques for Loudness
Vintage Limiters Techniques for Loudness
Digital Compression Techniques for Loudness

Class 3: EQ Techniques for Loudness (July 20)

All frequencies are not created equal. Each frequency area has a specific role to play in the perception of loudness and must be processed accordingly.

Frequency Target Zones for Loudness
Vintage & Digital EQ Techniques for Loudness
2 Point EQ Techniques
3 Point EQ Techniques
Dynamic EQ Techniques to Achieve Loudness

Class 4: Creative Loudness Processing Techniques (July 27)

This class demonstrates the many ways you can use loudness techniques to shape sound sources creatively and establish a unique tonal character for your mix.

Defining Creative Loudness
Creative Loudness for Drums and Percussion
Creative Loudness for Bass
Creative Loudness for Guitars
Creative Loudness for Keys
Creative Loudness for Vocals

Class 5: Tape Saturation & Distortion Processing (August 3)

Tape saturation is a powerful way to preserve warmth and dynamics while achieving loudness characteristic. Distortion processing expands on the creative processing techniques realm.

Tape Saturation Basics
Multitrack Tape Saturation
Tube Saturation for Loudness
Solid State Saturation for Loudness
Digital Saturation for Loudness

Class 6: Parallel Processing for Loudness (August 10)

One powerful way to achieve loudness while maintaining control of the dynamics of your mix is to use parallel processing. It allows for quick adjustments to your loudness approach without deconstructing the mix.

Parallel Processing versus Wet/Dry Inserts
Techniques for Focus and Hype
Techniques for Density and Solidity
Techniques for Depth and Movement
Parallel Saturation Techniques

Class 7: Mix Buss Processing for Loudness (August 17)

Mix stem and Mix Bus processing are the final stages before mastering and the best place to pull together all of the loudness work from the previous techniques. There is always room for loudness here if you need it.

Mix Stem Processing for Loudness
Parallel Stem Processing for Loudness
Mix Bus Processing for Loudness
Parallel Mix Bus Processing for Loudness
Mix Bus Limiters

Class 8: Mastering for Loudness (August 24)

Whether you are mastering your own work or not, you must understand these essential mastering techniques. Processing at this level is very different than on the stereo mix buss and it will help to solidify the mix and meet your loudness target.

Framing the Mix
Mid Band Compression for Loudness
Low Level Compression for Loudness
Tape Saturation and Exciters
Brick Wall Limiting – Reaching Your Loudness Target

MPG Music School

Here is a sample tutorial as Mike makes many available on youtube from his weekly free online class on Wednesdays 'Mixing with Mike' :

Choosing a Reverb

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