quote:

Originally posted by DJ RANN Remeber if you're having trouble layer a new kick on top of the old one, try to EQ out the old one as much as possible, so it's a replacement rather than a extra - this does avoid phasing and frequency clashes.

The kick's low frequencies will overlap to some degree with the low frequencies of the bass. Using EQ could quickly become quite messy.

I must admit, my first thought on reading the original post was that it's going to be like when people remaster classic albums and make them sound "modern" - overcompressed, all the dynamics, all the beauty gone.

I really liked the L-Vee and Fire & Ice tracks back in the day, and don't mind at all that they don't have the same sound as today's trance. They sound great the way they are.

If you had the time, I'd say a better option would be to get someone to create a new modern sounding remix rather than trying to add a kick over the top of an already mastered song (which may throw out the kick/bass balance).

The waveform doesn't need to look like a brick wall.

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quote:

Originally posted by Ry Thomas Surprised you replied with a reply like that Tom, i thought you'd say to forget the task altogether somehow. If you think ahead to the mastering, which will inevitably need to be done, you're gonna master a file which has already been mastered, basically the quiet parts are gonna be lifted(AGAIN), this may end up one very noisy mix, just my thoughts and something to think about, not a rant at all

I know, I know - I thought twice before posting but I thought that if he's going to do it anyway, that's what I'd do.

It's as far as I'd be willing to go and frankly to do "remastering" properly you need to have the source which is this case I doubt is an option.

That's exactly why I said precise EQ and very subtle compression. I've done it on tracks that I was dying to play out but just wouldn't go because of it's lack of kick/drive (and boosting the eq on a DJ mixer just makes the situation worse) so I very carefully and subtly layered another kick by doing the moethos I described before.

It's far from perfect but it's the best of a bad situation without the source.

I would calrify though - I'm not talking about taking the old track and mastering it again - that would, in it;s already mastered form just raise the noise floor without any benefits apart from more volume (which is why you have gains on channels outputs).

My tip was simply how add more kick, not how to add more mastering to an already mastered track.

Stephen - where was the rip from if it was taken from vinyl - maybe the rip is bad if your finding it has problems? I personally would take the vinyl version over the digital any day....

quote:

Originally posted by pwnage1 The waveform doesn't need to look like a brick wall.

Don;t start that again - that's not what this thread is about at all.

Why is it you can't have a discussion about mastering or levels without someone posting a flash card from captain obvious?

I would also like to point out that most mastering engineers who are worth anything don't drive it to the edge apart from on musically/integrity devoid commercial projects.

Well, here are the thoughts from the person who wrote the track...hopefully he doesn't mind me posting his suggestion here. He by no means said this would work, but said that if I was going to do it, this is the only way.


A tiny kick not below 300hz with a fast decay
Made note of the original being done in MIDI
Stressed zero warping in Ableton because of transient destruction
Re-pitching only with the microscope and must be extremely accurate
It must always sync
Use multiple sources to evaluate (I have HS80M, AKG 701, Sony MDR7506)

going to give it a go when im done working my hell for a work schedule....sleep for now!