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Logic for mastering?

Anyone use logic for their mastering as well as producing? I used wavelab when i was producing on a pc but until wavelab 7 is released i can't use it on a mac. Or can anyone recommend good mastering software for the mac?

Re: Logic for mastering?

quote:

Originally posted by sterilis Anyone use logic for their mastering as well as producing? I used wavelab when i was producing on a pc but until wavelab 7 is released i can't use it on a mac. Or can anyone recommend good mastering software for the mac?

I don't think that Logic really has any advantage over any other DAW for the purposes of mastering. I mean if you are talking about mastering ITB, which it sounds like you are, then the only real requirement is that you can load an audio track and apply plugins, which any DAW will do. many producers simply use a chain of plugins on a master channel or main bus.

http://musicians.about.com/od/music...ingormaster.htm

what about garageband for mastering

does edm really needs mastering at all? your track wont be playd on your car-radio, your Tivoli Pal, nor will it ever see the light on MTV (does MTV even play music anymore???). it wont be on vinyl (and if so, the label will take care of it for you), and it wont show up on a Spotify house-party with shitty stereos. your track might end up in a club, where the soundsystem can handle great dynamics anyway so why not just skip the overcompressed sound all together and keep the good mixdown? problem with mastering is that u need multiple soundsystems to try your mix on. big speakers, small speakers, detailed speakers, crappy muddy speakers. its just not worth it anymore. stick with doing your best mixdown as possible.

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Originally posted by 19503 problem with mastering is that u need multiple soundsystems to try your mix on. big speakers, small speakers, detailed speakers, crappy muddy speakers. .

That isn't a problem most mastering engineers have to deal with. They need one pair they know in a room they know. Your approach to mastering is a little apathetic. Why even bother mixing well if the general population will be listening to your track at 128 kbs. Some people might have standards and want the best for their music. You also seem to think mastering if purely about controlling dynamics.

And some people on here including myself , and Rann do things that have a very physical medium that has very strict guidelines as to overall rms, energy distribution over the spectrum and such. You are also wrong about mastering not being an issue for clubs. Having too much bass can trigger the amp protection scheme and make your track sound incredibly quiet.

You are quite the lazy one. You think theory is stupid, you don't care about the mastering process�. Is there anything you do care about ? Or is it all just Rock and Roll to you.

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Originally posted by Mad for Brad And some people on here including myself , and Rann do things that have a very physical medium that has very strict guidelines as to overall rms, energy distribution over the spectrum and such. You are also wrong about mastering not being an issue for clubs. Having too much bass can trigger the amp protection scheme and make your track sound incredibly quiet.

Are you talking about broadcast equipment?

What are the specifics on those or how would I go about finding them? The reason I'm asking is that I tried out a mix on my new TV, the other day, and it did something eerily similar to what you describe with the amp protection scheme. It was too quiet until the song got to the break and then the volume reverted. I know the mix was fucked but I'd like to be able to quantify just how fucked the mix was so I can avoid that, in the future.

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Originally posted by Mad for Brad That isn't a problem most mastering engineers have to deal with. They need one pair they know in a room they know. Your approach to mastering is a little apathetic. Why even bother mixing well if the general population will be listening to your track at 128 kbs. Some people might have standards and want the best for their music. You also seem to think mastering if purely about controlling dynamics. And some people on here including myself , and Rann do things that have a very physical medium that has very strict guidelines as to overall rms, energy distribution over the spectrum and such. You are also wrong about mastering not being an issue for clubs. Having too much bass can trigger the amp protection scheme and make your track sound incredibly quiet. You are quite the lazy one. You think theory is stupid, you don't care about the mastering process�. Is there anything you do care about ? Or is it all just Rock and Roll to you.

im not making surround 7.1 soundtracks nor do i make classical compositions or try to get a grammy lol. overall RMS isnt as important as it was anymore, just raise the volume if its not loud enough. too much bass in a club can be fixed with eqing on-site (u know live-engineers, or actually the dj). besides eqing imo is part of the mixing process. mastering is preparing the audio to sound as good as possible on all mediums, but with edm theres basically only one medium: big soundsystems. my point is: u can do everything in logic, u do not need anything else. and yes its "rock and roll" to me whatever that means.

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Originally posted by EddieZilker Are you talking about broadcast equipment? What are the specifics on those or how would I go about finding them? The reason I'm asking is that I tried out a mix on my new TV, the other day, and it did something eerily similar to what you describe with the amp protection scheme. It was too quiet until the song got to the break and then the volume reverted. I know the mix was fucked but I'd like to be able to quantify just how fucked the mix was so I can avoid that, in the future.

There is really no magic to it. Most broadcast systems have what amounts to a brickwall limiter at the end of the chain to prevent a spike anywhere in the signal from destroying the speakers and other equipment. You'll find this in everything from club sound systems to car radios to TV speakers.

All you need to do to prevent this behavior is have a well balanced mix, with a low end proportionally level with the rest of the track. This is not just limited to the low end mind you, but it is a common cause of an unbalanced mix so its a good place to start looking. Having too much bass is a typical rookie mistake and lots of beginner and even intermediate producers struggle with this for quite some time.

You have a limited amount of headroom, so you want to refrain from taking up any of that room with frequencies that do not contribute to the track. If you have a huge peak at 40 Hz taking up a ton of headroom, then there is not as much room for the rest of your track, so the average (perceived) level is lower.

quote:

Originally posted by EddieZilker Are you talking about broadcast equipment? What are the specifics on those or how would I go about finding them? The reason I'm asking is that I tried out a mix on my new TV, the other day, and it did something eerily similar to what you describe with the amp protection scheme. It was too quiet until the song got to the break and then the volume reverted. I know the mix was fucked but I'd like to be able to quantify just how fucked the mix was so I can avoid that, in the future.

Pretty much. Also general guidelines which adhere to the K system as a starting point. When you know the final medium and where the audio will be performed, mastering becomes especially important. You have to have strict standards when something will be played in many locations and you want to have some sort of control over the output. This is why engineers calibrate their environment and adhere to the K system and such.

To palm

I have to disagree that EDM's forum is solely the club. If you saw your market as more than just clubs and djs, you might actually be able to make a buck. I have said this so many times on here but limiting your market to just djs is like selling plus size clothing in japan. For a generation of producers that are starving, you'd think this little tidbit of common sense would be "common sense" . The potential for money is there but EDM producers tend to be stuck in the get signed , get a beatport release make 500$ trap. There are way more ways to sell your music.

Anyone else sick of all these 'mastering' threads?

Send it to a pro if you're serious about your track.

/thread

or just make a proper mixdown.

The mastering process is still a last check before finalizing the track.Even if you do it yourself, to take one day off and then give it a final check doesn't cost you anything and will train your ear and generally make your mix a little better.

quote:

Originally posted by Mad for Brad and generally make your mix a little better.

or worse. most of the time its getting a lot worse when amateurs adds master compression to think theyre "mastering" their track. which is one of the reasons edm sounds like shit today (since ASOT became popular). compression: dont do it if u dont know how it works. i must admit i have done it alot myself, and ruined many of my tracks.

failing is part of the learning process. Listening to your track in an objective way after a few days off and really searching for flaws will help train your ears and benefit you in the end. Just because a few have made some bad mastering decisions should make it a universal no no for everyone else. Learning to master will also help you to mix. You really are a defeatist.

learning to master requires a lot more than most of us around here have when it comes to gear, time, knowledge, skill/training etc etc. u seem to fail to understand that most of us are bedroom amateurs, and not as pro as yourself, we have more than enough getting the levels right or the proper eqing, or at worst finishing arrangement. of course its good training but not really before you are on that level, which many of us arent. the ones who are dont hang around here to get advice but to give advice, but most of them move on. we (edm-noobs) should rather use that extra day to look at the levels, arrangement or eqing one more time rather than adding a random maximizer/limiter, which is what most people around here think mastering is. leave it to the engineers who knows what their doing or just skip imo, focus on the actual track youre making instead. if its a bit raw, who the fuck cares, start a new track instead.

it seems we have a different understanding of what mastering really is though, might be why we totally disagree (as usual), or it could be the fact that u r totally unable to put yourself in others positions and therefore only use yourself or people at your level as example.

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Originally posted by 19503 learning to master requires a lot more than most of us around here have when it comes to gear, time, knowledge, skill/training etc etc. u seem to fail to understand that most of us are bedroom amateurs, and not as pro as yourself, we have more than enough getting the levels right or the proper eqing, or at worst finishing arrangement. of course its good training but not really before you are on that level, which many of us arent. the ones who are dont hang around here to get advice but to give advice, but most of them move on. we (edm-noobs) should rather use that extra day to look at the levels, arrangement or eqing one more time rather than adding a random maximizer/limiter, which is what most people around here think mastering is. leave it to the engineers who knows what their doing or just skip imo, focus on the actual track youre making instead. if its a bit raw, who the fuck cares, start a new track instead. it seems we have a different understanding of what mastering really is though, might be why we totally disagree (as usual), or it could be the fact that u r totally unable to put yourself in others positions and therefore only use yourself or people at your level as example.

Personally, although I am currently in my bedroom, making music as an amateur, I still want to be doing it at a pro level and any information that can help me with that, I'll take.

the info is imo: you must have a 10 grand setup to be able to do mastering properly. i might be wrong though lol.
im finished here.

I don't see how trying things has anything to do with skill level. The more you open yourself up to possible aspects of music, production , engineering, the better off you will be.

How is one to learn to mix unless they attempt it despite not really knowing how ? You learn by doing, failing , and trying again.
I recall that thread regarding your musical output which you mentioned was literally none. Perhaps if you weren't so preoccupied with what you can or should do and just do , you would have much more success.

Sometimes diving in is the best way to learn. You can read as much as you like but until you have practical experience to make the reading relevant, isn't of much use. It reminds me of alot of interns that show up thinking they know alot and by all accounts they do but they are usually overwhelmed by how fast things work. the point is that even professionals started doing something not being entirely ready and the only way they got past it was determination and doing what it is they do with a long history of failing and learning and not giving up.

i think alot of people are getting off topic. i no how to master i used to master my tracks on wavelab but the pc has crashed and wavelab is unavailable for mac as of yet. a good mixdown is all well and good but when your sending to the big labels a good 320 kpbs polished track is more appealing.

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Originally posted by sterilis the pc has crashed and wavelab is unavailable for mac as of yet.

then try to do it in logic if thats where you make your tracks anyway?
it comes down to what monitors you have and how well you know them.

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