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| quote: | Originally posted by Raphie
I mentioned very clearly not to mix in a limiter all the time, just for getting reassurance oyu need for forcing mixing decissions, should ALWAYS mixdown without a limiter. So RAN we're in agreement on this one.
2nd point: not EVERYTHING can be bright, this means that a lot of sounds already have enough brightness and it actually helps, shelving off some highs from conflicting sounds whicc take the space, rather than boosting that lead just a tad more.. this wlll ovenbrighten your mix eventually. Also dulling some sounds, will actually create more depth in your mix as well.
about -8dbrms, this (whether you like it or not) currently is the avg loudness of a commercial EDM track, ofcourse this will affect dynamics, but it's the sound of now. NOW you don't have to mix into K14/12 directly but again raising it's doesn't hurt to see where you track ends up at those levels once mastered.
I am fighting the loudness war myself, but you don't want Armin to grab your track, having the fader of this Pioneer maxed out and still your track doesn't match the level of the previous track mixed into  |
Fair enough but your first two points were misleading the way they were stated in the post.
Frankly I feel that even mentioning a limiter on a master is a bad advice when speaking to a beginner. I just think that should not come in to a conversation about mastering for someone who doesn't know exactly what they're doing. A lot of people read the advice on here and then post up questions about what settings the limiter should have etc.
Now you clarified about the dull and bright thing in that you were talking about a a specific mixing method effect, which is dull certain elements so other things stand out. That's a lot more specific than dull = good, Bright = bad.
It can work great with vox: One of the best examples of this is Samantha James - Amber skies. The whole intro lead in is so dull, almost filtered and when the vocal kicks in it's so damn clean and clear. The psychological effect is very clever but in truth you can only get away with it so much because your brain begins to realise that some things are actually muffled in comparison to the bright things.
-8db RMS is a lot different to what you were orignially saying about between -6db to -12d which I and probably most people took for max PEAK, Bear in mind that -3dbfs RMS is actually 0db at PEAK (as a pure sine and slightly over simplified etc).
So here's my point: As the K system dictates that 83db SPL regardless of which K reference you're using (K14, K18, etc), why would you not mix to 0DBFS?
All you're doing is not using all the available headroom that the system is designed to give, and effectively raising the noise floor proportionately relative to your signal. Yes, it won't matter is your entire track is all synth, but if there's even one sample or rompler sound, you're not being as efficient as you could.
And remember, if you mix to 0dbfs peak, you can always just gain change the master file to suit your mastering engineer's file specs - at least you know you have mixed to your best point of reference.
@fsp - I totally agree. IMO mastering should be left up to mastering engineers in most ocases and if you do it yourself it should really be subtle and just a final polish.
I see waaaaaay to many people on here saying "what do you think about this mastering attempt", which I actually feel in 99% of cases the problems would be better solved during the mix.
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