Mastering equipment is so damn expensive that it seems like it's better to just book some studio time at a real studio when you come up with a final mix of some songs that are worth mastering.

EXACTLY!

Dr_Willie_OBGYN wrote: Mastering equipment is so damn expensive that it seems like it's better to just book some studio time at a real studio when you come up with a final mix of some songs that are worth mastering.

I agree with the cost of the gear being so high,but In my opinion,any "good" recording gear cost a bunch of $$$$.
I plan on recording for a long time----which means,alot of songs.
Ive taken my songs to get mastered,and was so-so impressed with the outcome--------with that being said------I figured Id give it a go for myself--------i realize Im not gonna become a studio mastering engineer,,,by no means,and i dont expect to,i do---however,expect to learn as much as I possible can,spend time taking classes,spend time in the studio,with engineers,and be able to master-------you gotta start some where :lol:

In the analog domain, I find that the Millennia Media Twincom (TCL-2) to be one of the most favorable units. This is also the case among some of the most respectable mastering engineers. Though I see a lot of postings about the Manley, I find it much less useful than the Twincom. Since the Twincom allows both all discrete J-FET solid state operation OR Class-A vacuum tube operation at the touch of a button, it allows the unit to be utilized on a broader range of material. Furthermore, one can choose to place different tubes into the Twincom for a different flavor of coloration. The twincom is also fully balanced throughout the unit...a rarety these days. The Manley really is innappropriate on many types of acoustic music in my minds eye, though a useful tool on what I term 'heavier' music genres (rock, rap, grunge, etc.). Not that I have anything against the Manley, I just find it too limited (no pun intended) when having a tool that can really deal with a wide palette of music genres. Keep in mind, I mostly work with acoustic music (jazz, folk, classical, spoke word, etc.). Even when I do work with other music genres, I have never found the Twincom to be innappropriate.

alexaudio wrote: In the analog domain, I find that the Millennia Media Twincom (TCL-2) to be one of the most favorable units. This is also the case among some of the most respectable mastering engineers. Though I see a lot of postings about the Manley, I find it much less useful than the Twincom. Since the Twincom allows both all discrete J-FET solid state operation OR Class-A vacuum tube operation at the touch of a button, it allows the unit to be utilized on a broader range of material. Furthermore, one can choose to place different tubes into the Twincom for a different flavor of coloration. The twincom is also fully balanced throughout the unit...a rarety these days. The Manley really is innappropriate on many types of acoustic music in my minds eye, though a useful tool on what I term 'heavier' music genres (rock, rap, grunge, etc.). Not that I have anything against the Manley, I just find it too limited (no pun intended) when having a tool that can really deal with a wide palette of music genres. Keep in mind, I mostly work with acoustic music (jazz, folk, classical, spoke word, etc.). Even when I do work with other music genres, I have never found the Twincom to be innappropriate.

Alex,

I am suppose to try one Millennia Media Twincom (TCL-2) from a friend. Do you find the release slow and not fast enough? Anyway, I will hopefully try it during next week for a few days. On analog side, I have a Manley vari-mu which I like pertty much and the Crane STC-8 which I love also. Lots of people that have the tcl-2 seems to like it a lot so the best way to check this out is to play with it for few days... I will let you know.