How deep is your love ..

Discussion in 'Mastering' started by BobYordan, Jan 13, 2006.

  1. BobYordan

    BobYordan Guest

    .. for low frequencies??

    How would you treat an ultra deep synth bass during a master session?

    If it kind of rattles your speakers and your client likes it to be that way?
     
  2. elektro80

    elektro80 Guest

    Let the client hear how this will sound on consumer "hifi" gear, and then I am sure he will get the point really fast. :lol:
     
  3. BobYordan

    BobYordan Guest

    And what do you do to make the client satified with how it sounds in a consumer "hifi" gear? If he says, the balance of the sound is totally wrong now, the ultra deep bass was what made the mix shine, an hour into the mastering session. :?

    Are there ways to handles this without just cutting away the ultra low
    bass? :) Where do I draw the line of how much a consumer "hifi" gear
    can handle? And how will this effect the audiophiles with their big sub bass woofers?
     
  4. elektro80

    elektro80 Guest

    Re consumer gear, closed-box enclosures used to be quite popular in the 70s and even early 80s. You could get away with stuff back then that would sound very decent on both budget gear and it would sound great on those huge audiophile monsters. Making mixes for those very sloppy reflexed enclosures is a MPIA. One thing to consider is that most reasonably audiophile loudpspeakers will conform more or less to how studio monitors like the Event ASP8 behave. When the ASP8s will start to close in on a grand selfcombusion fest then you are obviously on the wrong track. Too much energy in the 50-80 hz range is also a bad idea. Try checking out some commercial releases. You will soon discover that there is far less bass than you think you are hearing.

    I am not an ME, so I wouldn´t know how to handle clients who have ODed on their magnificent basslines.

    Ah.. one issue.. if this is meant to be the next great radiohit, then I would suggest that building a song on a subbass hook isn´t what the doctor ordered anyway.
     
  5. Michael Fossenkemper

    Michael Fossenkemper Distinguished past mastering moderator Well-Known Member

    I let it go all the way, unless there is some garbage that isn't supposed to be in there. If you just put those subs in balance instead of taking them out, then people with better systems get a payoff and it doesn't crap out smaller ones.
     
  6. o2x

    o2x Active Member

    Not being an ME, i couldn't tell you how i'd treat sub bass. But from the other side of the fence - if I had mixed a song with a client with the sub pumping as per the clients wishes and the ME took it all away, i wouldn't be too happy.

    A good ME is there to make your mixes sing - to fine tune and add that extra gloss. They can also clean up your mistakes to a certain extent too (ahem), but that's another story.... :lol:
     
  7. RemyRAD

    RemyRAD Guest

    Put it on a cassette and go listen in the car. Then put it on a CD and listen in the car. Better still, go finish the mix in the car.

    Remy Ann David
     
  8. axel

    axel Guest

    MF wrote:

    yes it's ideal to make it sound equally good on both, crap stereos and decent ones, when in doubt or when not possible to achieve i rather crap out the cheap gear freaks, make it good for (super) good stereos, they are the listeners who actually appriciate a good sound in the first place, people who have $*^t stereos, don't give a damn about sound, and if they do then they are aware of that there stereo sucks... and not your mix / mastering.
     

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