|
Squeezin the nuts out your mix
|
View this Thread in Original format
| Sonic_c |
I got a track that I want to send to a label and I asked the advice of a seasoned proffessional that I know. His advice was
Kick to -3.0, everything else behind that mixed to taste
then export to 24 bit wav
run through ozone 4 and proper drive it hard
then run though waves api 2500 stereo set to mastering preset and manually turn gain up on the compressor
Export again eq a little of hats as process makes them a bit fizzy
mix down again
and your done.
My mix was loud as hell real pumpin had to lower my speakers volume but is that right the wav looks like a black brick. He said its pretty standard nowerdays to compress the crap out of things.
Have i fell victim of the "loudness war" I prefered my mix first without ozone or anything? |
|
|
| MrJiveBoJingles |
I hate hate hate the ultra-compressed style of mastering. Even if I like the sounds and melodies in the track, the noisiness of the mastering is tiring and annoying to my ears. It's a perfect way to damage otherwise nice tunes.
My favorite period for mastering was probably the early to mid 1990s. I always liked the sound of The Orb's tunes. They have a really "open" quality to the mix, with good use of stereo field and no stupid "pumping" in the bass regions or hyper-noisy perc loops on top:
http://www.youtube.com/watch?v=yyMZDBdoe8g
http://www.youtube.com/watch?v=FHixChYgGRI
Of course, now people listen to tunes like this and complain that they sound "dated" or whatever, but I think they sound excellent. It's hard to get the best impression from YouTube, of course, but listening to the CD version is wonderful. |
|
|
| RichieV |
| the problem is not so much the act of manipulating dynamics but rather his standardized approach which results in people not doing what is right for the actual track. Compression is not the problem, it is people not knowing when it starts to make the track sound bad. |
|
|
| MrJiveBoJingles |
| quote: | Originally posted by RichieV
Compression is not the problem, it is people not knowing when it starts to make the track sound bad. |
I agree. Compression is a useful tool. But IMO most producers now don't know when to stop and they end up squashing their tunes, making them sound like . |
|
|
| Knowland |
| i find a good trance set to have the mids matched between tracks and the bass and treble to be the pocket of sound that accompanies. the music is in the mids. compressing the mix according to the kick is a stylistic decision, and it works well. i just think a different texture would be fresh. of course i also hear tracks that have no subbass in the kick. its about the music overall and the dominant element is the drive, so if the kick is what makes the song flow pump it up |
|
|
| xphonix |
| quote: | | the problem is not so much the act of manipulating dynamics but rather his standardized approach which results in people not doing what is right for the actual track. Compression is not the problem, it is people not knowing when it starts to make the track sound bad. |
Completely agree!
I would never ever just open up ozone or the Waves EQ and use a preset. Its the worst thing to do. Mastering isnt easy. It takes a lot of skill. Every track will require a completely different process from the next track.
Its people like the guy you spoke to who are ruining todays music. People who automatically think they have to limit the crap out of their master buss is a joke imo. |
|
|
| Waza |
F**K I hate all this lets totally screw up everything you've worked hard at for the last month or so and just compress the out of it so it sounds like garbage and then we will release it. Why are we still doing this when today's technology is for us trying to achieve the most clarified and un-touched sound from any noise possible. After that what do we do yip lets just destroy what we've done by losing all the dynamics.....
So lets just stop this Loudness War and bring back good old Dynamics to our ears without them bleeding.
Ahh thats better. |
|
|
| Subtle |
| In my opinion, you have to check what the mix actually needs before you do anything at all, if you dont know why your doing the things you do then its better left undone. |
|
|
| DJ Robby Rox |
When I listen to a lot of my favorite tracks none of them are block waves, you can see how the producer really made an effort to preserve the dynamic.
As a matter a fact I rarely see the block wave thing, I get it too but I think that means you're over doing it or you need to start treating things in their own channel and not in the master. |
|
|
| Kismet7 |
| Do you need to squeeze the out of the music? If you are sending to a label, I would avoid sending overly compressed music. Just send the original bounce, maybe do some light compression post bounce through T-Racks or Ozone, and tell them clearly that it is unmastered with some post bounce processing for demonstration purposes. If they have a good set of ears and monitors they can tell the difference and envision what the track might sound like mastered. |
|
|
|
|
