Masterer's

Discussion in 'Mastering' started by BlackTalon, Aug 17, 2003.

  1. BlackTalon

    BlackTalon Guest

    Not sure if this has been covered anywhere in the forum, couldnt find it anyhow. For all you masterers here what are your biggest pet peaves for mixes you get the are overprocessed . In other words what can us amature mixers get away with without making your job harder to do? I'm wondering about using izotope ozone 2 or some mastering programs? or is it best just to add slight compression to the overall mix and leave the rest?
     
  2. Michael Fossenkemper

    Michael Fossenkemper Distinguished past mastering moderator Well-Known Member

    The biggest problem is over processing on the 2-bus. when you slamm your mix through a compressor and eq and limiter, you kind of lock it in and flatten it out and that leaves little room to correct anything that might be wrong. Most of the time this is done in less than ideal monitoring conditions and less than ideal equipment so there will be problems. Once you crank that eq on the 2-bus, it's nearly impossible to undo it. if the kick and snare has been squashed into the mix, it's really hard to bring it back out. Spend more time on the mix and less time on the 2-bus. so to answer your question, don't make the mix on your two bus, make it in the mixer.
     
  3. BlackTalon

    BlackTalon Guest

    What is a 2-bus? is that the master send?
     
  4. falkon2

    falkon2 Well-Known Member

    It's your resulting 2-channel (L/R) that's produced after you do your final bounce out of your software/mixing console
     
  5. Don Grossinger

    Don Grossinger Distinguished past mastering moderator Active Member

    Aside from what Michael has posted, the other major problem I face is uncontrolled sibilence: those nasty T's & S's that sound really harsh. Those are so much more easily controlled by watching the vocal tracks & high hats in the mix than dealing with them as a complete mix during mastering.

    Also mixes that have not been listened to anywhere but one mix room. These sometimes have "tunnel vision": problems that are major & obviously would be heard in other playback systems.
     
  6. CliqueUK

    CliqueUK Guest

    All the mastering that I have had done has been for vinly only - the last engineer I used told me me sibilance was a pain to fix on my masters.

    Also I was once told in a mastering session that there were 'phase problems' with a bass sound I used. He said the needs to sit dead center in a stereo mix - some spatial enhancers (like stereo widening effects) can mess it up if its not mono.

    I used to put my tracks thru soundforge & use the 'increase volume' controll to make snares and kicks hit the rails. They sounded tight played loud in the studio and compared well with the clients 'brought this to compare it' cd - but when I listened at a more moderate level on a masteing engineers system I could hear the tiny fizz of distortion on cymbals & bass/kick drum notes. I dont do that anymore...
     
  7. invisibl

    invisibl Guest

    I hate the overly bright vocal and underly bright or dark snare that seems common in electronic styled music.
    So many times I hear this. arrrrrgh!!!

    Or the Huge sub build up that is a terror to deal with

    and the premastered t-raxxed tracks that come in squished as fcuk with no impact and no definition.
     
  8. CliqueUK

    CliqueUK Guest

    I work for new/unreleased clients who expect to leave the studio with a finished product and need the production on their tracks to sound comparable to that of the genre. For R&B HipHip this often means loud bright and punchy - but mostly just LOUD. To get this you will need a reduction in dynamic range and some distortion - however you look at it.

    As a producer I can imagine this process as the 'icing on the cake'.

    As a client this must seem like a major confidence boost for when they present their product to A&R - which is nearly always done before the final mastering

    As a mastering engineer this is an extra headache - having to undo the damage before starting to enhance the mix.

    So now I give two mixes. one for their confidence - to play, one to take to mastering.
     
  9. CliqueUK

    CliqueUK Guest

    I work for new/unreleased clients who expect to leave the studio with a finished product and need the production on their tracks to sound comparable to that of the genre. For R&B HipHip this often means loud bright and punchy - but mostly just LOUD. To get this you will need a reduction in dynamic range and some distortion - however you look at it.

    As a producer I try to imagine this process as the 'icing on the cake' but its really just to keep the client happy.

    As a client this must seem like a major confidence boost for when they present their product to A&R - which is nearly always done before the final mastering

    As a mastering engineer this is an extra headache - having to undo the damage before starting to enhance the mix.

    So now I give two mixes. one for their confidence - to play, one to take to mastering.
     

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