Help for Mastering

Music creation & DJ mixing, how tos questions, discussions & help ~~~ Musical Software/hardware/skills etc...
Sandy Klaus
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Post by Sandy Klaus » Sun Jan 27, 2008 2:35 am

TAS wrote:Hehe... I really need to read and learn this things... "you people" are talking in some wierd language here that I don't understand.. :-?

...and sorry Nico for the tracks you got from me a while ago... was probably a nightmare to master since I have no idea of this kinda things :oops:

...and thanks Oxi for the link to the video.... hope I understand that one better! ;)

:cheers
Hey Jonas!!! how are you doing?

hehe, no worries, no need to blush. you probably understand now why it's necessary to let someone else correct your sound.
(not especially for you but everybody including me). a different ear is ALWAYS efficient after the final mix down.

Oxidelic: you're right (as often). you can learn how to "master" at home. one piece of advice: focus on make every track sound all the same. same output level and get some homogenic sound. even if it's not perfect, think of what it could sound like on a big sound system. (that's what we work for after all, isn't it?)

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Post by Toxic Anger Syndrome » Sun Jan 27, 2008 5:37 am

I´m just fine, thank you =) Hope everythings are fine with you 2 :)

Hehe... yeah.. sometimes I hear the track/s to much so I can't sort things out or hear it properly in the end. But still I should know these things or some of it anyway... only thing I get is db of all things ppl are talking about here so it's time to do some homework ;)

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Post by wi']['ch » Tue Feb 19, 2008 11:11 am

Tip of the day!

Let to do mastering to someone who has:

1. More experience.
2. Better equipment.
3. Better acoustics.
4. Better ears.

And life would be much easy for all of us, amin :cs

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Post by Sandy Klaus » Fri Feb 22, 2008 8:37 pm

wi']['ch wrote:Tip of the day!

Let to do mastering to someone who has:

1. More experience.
2. Better equipment.
3. Better acoustics.
4. Better ears.

And life would be much easy for all of us, amin :cs

and
5. bigger cock.

sorry..... :dontknow:

@ TAS: no worries, dude. well, once your track is ready (or almost), do not hesitate to listen to it on different speakers (living room stereo, car, shitty headphones, etc... in stereo, in mono also), leave it for a while if needed and come back to it days or even weeks after. that way, you can "reset" your listen.

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BEST MASTERING FAQ I'VE EVER SEEN!

Post by DJSHAFT69 » Wed Mar 19, 2008 4:30 pm

Lots of very good advice here.

I have to go with the most important thing... DO NOT MASTER YOUR OWN TRACKS!

I deal with demos and finished tracks almost 24/7, and the easiest way some one can mess up a track it to master it at home, or even on pro equipment, save it and erase the original version.

Once you do that, well 99% of the time I can't get the track mastered for an album, just that simple.

You won't beleive how many times I hear a killer demo or finished trrack, only to see that it has been mastered and ruined forever. I have to throw it out and not use it on an album, and that f@#king sucks when it's a killer track that deserves to be on an album and get DJ play around the world.

Here's the best thing I send out to artists
It's from 4CN Studios and the master of mastering Tim Schuldt himself.

This is actually what a pro demands before they even try to master for an album.

http://www.4cn-studios.com/index.php?id=40
(GO TO THE MASTERING F.A.Q. PORTION--LINK BELOW)
http://www.4cn-studios.com/77.1.html

Which level should I use while recording / bouncing my final stereomixes for mastering?

In general you should decrease the faders/level of the master bus of your DAW or recording machine in the way that the loudest peak of your complete track ain't produce digital overs (overs are often shown as red meter lights in your master bus).
As long as you take care of that, there is no specific level you need to record with, since no overs allow us to be sure of a certain headroom for us during mastering. Apparently we do NOT accept songs/tracks which are recorded too loud which are limited by over-gained output etc.!

Should I process the tracks before sending by myself ?

The audio-files sent by you should not already been processed by you and/or other persons with compressors, limiters or equalizers etc. in order to guarantee the best results for our part.
IN OTHER WORDS-- HELL NO!

I get about 50% of the tracks I have had rejected are because they aren't like this (check the right and wrong graphic on the 4CN page).

Check the graphic on the FAQ page to see what the submitted track should actually look like.

That's as simple and easy as i can ever explain it to anyone.

I have half an album right now that has to be rejected and then i have to let the people know we can't use the track, it f@#king sucks to have to do that when it's so simple to do it right.

Hope this helps anyone that is submitting to any record label. 90% of the labels i know use 4cn or someone like them, so it;'s a general overall rule to go by.

8)

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Post by Oxidelic » Wed Mar 19, 2008 7:24 pm

great posts here but i have a question.

if you are compiling a va f.e. and you receive all the traks as you state, no limiters, low volume - enough headroom, no peaks etc. just a good, clear and dynamic mixdowns, how do you manage to equal all the final RMS of all traks. sure some artists sent you traks as -15db before mastering, others -18db, others -14db... how do you manage to take all the traks to this so desired -9db... sure speaking aprx...

because at the end its very pleasant to hear a va where all the traks sounds approximately the same rms... as va DARKLOVE! and its very interesting as i know f.e. the equipment that my friends have, somarobotics, yara, darkohm and me. and we all use very diferent hardware. but the final mastering of Tim Shuldt brought all the tracks to very similar levels. How do you achieve this?


8)

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Post by DJSHAFT69 » Thu Mar 20, 2008 7:12 pm

OXIDELIC wrote:great posts here but i have a question.

if you are compiling a va f.e. and you receive all the traks as you state, no limiters, low volume - enough headroom, no peaks etc. just a good, clear and dynamic mixdowns, how do you manage to equal all the final RMS of all traks. sure some artists sent you traks as -15db before mastering, others -18db, others -14db... how do you manage to take all the traks to this so desired -9db... sure speaking aprx...

because at the end its very pleasant to hear a va where all the traks sounds approximately the same rms... as va DARKLOVE! and its very interesting as i know f.e. the equipment that my friends have, somarobotics, yara, darkohm and me. and we all use very diferent hardware. but the final mastering of Tim Shuldt brought all the tracks to very similar levels. How do you achieve this?


8)
God I am so glad guys like Tim Schuldt and others are out there, becuase I wouldn't have a clue how to master all the different tracks to one lebvel or sound value.

I am an old school analogue hardware guy and have years of doing some major live recording and studio stuff, but I just can't get all this digital stuff down right.

I have recorded live shows for Slayer, Megadeth, AC/DC, and many other big names acts, but that's something so far from the digital stuff it's not funny. I also didn't do a lot of in studio work , just a load of live sound and live recording, then let someone like Masterdisc or SoundDesign or others do the real studio mixing and final mastering stuff.

I am glad I don't have to figure it out, I would have another heart attack from the stress.

I know that Xenomorph and Tim Schuldt do killer work, so I love the fact that both of our distro companies use them or make us use them, heheheh!

And now we use Jesus Raves for our digital releases on Green Magik, so I don't have to worry myself to death anymore. I got a bucnh of software and hardwatre, but gave it up as a lost cause when i fucked up too many good tracks.

Having golden ears and sound to color vision mental abilites is not the same as being able to do the pre-mastering and mixing stuff.

I also burned out my Solaris, Sonic, Sontec and Genesis Pro-Sounds hardware, so I dont even have the tools if i wanted to do it. I lost all my UAD stuff when the drives crashed, and wow that is some expensive stuff to replace.

Got a really nice old ADAT and some really good Roland 2480 hardware, but it won't do much beyond getting great recorded sound now.

I used to have an analogue/digital studio setup from hell for people to use, but fires and thieves happen.

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Post by Mandari » Fri Dec 25, 2009 10:10 am

http://www.electrypnose.com/index.php?page=download

check the tutorial section, have fun,

cheers: stephan

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Post by ManiacPsychoPro » Wed Jan 19, 2011 12:04 pm

rawar aka dominus wrote:well i must say i dont use any limiters and no side chain on the bass kick , i just put the RIGHT EQ on every chanel on the mixer of cubase and work always with an analizer on the master so i can correct the hole track while i´m working on it , my tracks are -6 -7 db on the final render and with no limiters or compressores , all are clean and free of fx .

but like oxi says there are several ways to work and several ways to achive the correct sound .
100% 8)

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Re: Help for Mastering

Post by tymeworkbeats » Sun Dec 15, 2013 6:25 pm

Mastering is pretty complex to someone who is especially new to it. I'd also recommend outsourcing, unless you're willing to put in a lot of time researching how to do it halfway decent. However, a lot of the times, with the right Mix, not much mastering is even necessary.

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Re:

Post by Lfosex » Fri Aug 22, 2014 1:37 am

Not to be rude, or sound negative but these tips are garbage..

"First, you should work with lower levels of the sound, for example, around -4 or -5 dB."
No no no, go back and study.. Learn Gain Staging, Learn the difference between Gain/Volume and last learn what decibel is before you puke any numbers.

"You should use sidechain compression on the kick and bass, 100%!"
Just why?

"After you started low and fixed your kick/bass, you start to increase the volume of the channel steady, on base of the main line, the kick/bassline and hats."
All the sounds should have equal gain, thats why you have a mixer in your daw so you can manage the volumes...

"After that, wherever needed you equalize/compress the sound."
If you are not happy enough so you could leave the sounds without any processing, it means you should go back to the synthesizer and fix the sound.. I cant simplify it more than
this..

"MyckapuH said he puts URS Equalizer on the whole mix."
Never put a single thing on the master at all except a analyzer if you wish to use one..

"You should also 100% put a limiter on the master output channel, so there are no picks."
The answer is in the answer above.

"And for the end, Waves Multimaximazer L3."
The answer is in the answer above.

"When the mix is ready, its good to export it in max quality (for example 24bit, 44,1 sound) and put dithering on it in any good sound editing software, like wavlab or soundforge."
The least you could do with volume advices like these is export 32bit floating point to make the damage a tiny bit less.

"anyway here is a PRESENT for you, this is a fulllenght tutorial by mr. SYNSUN, you'll learn a lot secertes, if you can apply everything that is explained in this tutorial you'll be able to bring your sound and mixing techniques to another level, have fun:
http://www.udma.com.ua/academy/index.ph ... _Tutorial/ "

Do not listen to him in which order you should apply a compressor and eq.. Its wrong.

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Re:

Post by 4th Density » Fri Jul 29, 2016 6:32 am

PsyHye wrote:Thanks for your advice. But why is not a good idea to master your own tracks?
It's sometimes better to get a fresh set of Ears (someone elses Ears) to reference your master and to Master your tracks, You will find most people like other peoples Mastering more than their own, I understand Mastering really well but i always enjoy someone elses Master more than mine :)

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