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Have How was your guys' year in writing music? (2010) (pg. 4)
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| Eric J |
| quote: | Originally posted by Mise
now I understand why, in much of EDM, there isnt space for getting creative while writting a track |
I'm not sure I understand what you mean by that. Are you suggesting that EDM producers cannot be creative? |
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| Mise |
I mean,, It seems to me that having a chain of plugins is more of an automated process, kind of constrained. But if you already got a type of sound you are after, and you already know the final result is ok i guess,, a matter of workflow..
but most of the music, is very similar |
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| Eric J |
| quote: | Originally posted by Mise
I mean,, It seems to me that having a chain of plugins is more of an automated process, kind of constrained.
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I'm not sure how one can surmise that having a set of plugins on the master can possibly have any effect on creativity. There is a generally accepted standard (like it or not) regarding track loudness. The plugins on my mastering chain do the following things:
- Bring the track up a few db to a reference standard.
- Add a tiny bit of compression (1-2 db max)
- Apply mix-level EQing such as rolloffs at certain frequencies.
- Add a tiny amount of "sheen" to polish the final output.
This is exactly the same thing any mastering engineer would do to any track in the modern day and age. If that is some how "limiting my creativity", then you must be under the impression that the choice of plugins on the master or the choice of signal path from a mastering engineer has a significant impact on the composition, arrangement, mixing and general "tone" of the track. If this is truly what you believe then you have a broad misunderstanding of what mastering actually accomplishes in the grand scheme of making music. The truth is that the processing that happens at the master accounts for about 1% of the sound of your track.
| quote: | Originally posted by Mise
But if you already got a type of sound you are after, and you already know the final result is ok i guess,, a matter of workflow..
but most of the music, is very similar |
The "type of sound" one is after is far more influenced by composition, arrangement, sound design, and mixing than anything that happens at the "mastering" stage. As had been stated before, "mastering" does not rescue a bad mix, yet too many inexperienced producers put out poorly composed, arranged, and mixed tracks with the disclaimer that "it needs to be mastered", when in fact then need to go back and fix the elements that make up the track.
Mastering is like the cherry on top of an ice cream sundae. The sundae should still taste good without the cherry, but the cherry just makes it taste a little bit better. |
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| Mise |
| quote: | Originally posted by Eric J
I'm not sure how one can surmise that having a set of plugins on the master can possibly have any effect on creativity. There is a generally accepted standard (like it or not) regarding track loudness. The plugins on my mastering chain do the following things:
- Bring the track up a few db to a reference standard.
- Add a tiny bit of compression (1-2 db max)
- Apply mix-level EQing such as rolloffs at certain frequencies.
- Add a tiny amount of "sheen" to polish the final output.
This is exactly the same thing any mastering engineer would do to any track in the modern day and age. If that is some how "limiting my creativity", then you must be under the impression that the choice of plugins on the master or the choice of signal path from a mastering engineer has a significant impact on the composition, arrangement, mixing and general "tone" of the track. If this is truly what you believe then you have a broad misunderstanding of what mastering actually accomplishes in the grand scheme of making music. The truth is that the processing that happens at the master accounts for about 1% of the sound of your track.
The "type of sound" one is after is far more influenced by composition, arrangement, sound design, and mixing than anything that happens at the "mastering" stage. As had been stated before, "mastering" does not rescue a bad mix, yet too many inexperienced producers put out poorly composed, arranged, and mixed tracks with the disclaimer that "it needs to be mastered", when in fact then need to go back and fix the elements that make up the track.
Mastering is like the cherry on top of an ice cream sundae. The sundae should still taste good without the cherry, but the cherry just makes it taste a little bit better. |
ah, sorry I just misunderstood what you where referring when you talked about a chain of plugins already inserted, I thought you had, let say, exciter, multiband compression, etc already plug.. |
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| Eric J |
| quote: | Originally posted by Mise
ah, sorry I just misunderstood what you where referring when you talked about a chain of plugins already inserted, I thought you had, let say, exciter, multiband compression, etc already plug.. |
Well I dont use those exact set of plugins, but I do have a fairly static set of plugins that goes on my master. These plugins are there from the start. When I go File | New Project, these plugins are already in my template. Here is an explanation of what I use and why:
- Sonalksis SV-315 Compressor - This plugin applies very light compression (1db or less) to help tame any sharp peaks in the track. This plugin usually gets triggered by the kick drum more than anything else.
- UAD Cambridge EQ - This rolls off gently starting at about 30HZ at 24db/octave. It also has a fairly sharp roll off at 18kHz, one of the sharper EQ curve types in the Cambridge (cant remember which one). Helps with taming the extreme low and high ends of the track.
- UAD Neve 88RS - This plugin only has the EQ and compression sections engaged with a slight dip at 1Khz (a particularly nasty frequency) and a tiny, tiny boost at about 73Hz. This is mostly about adding a tiny bit of color and applying a different type of EQ with different curves. The compressor grabs a little bit more of any spikes.
- UAD Pultec Pro EQ - This plugin also adds a tiny bit of color and applies a little simultaneous boost and cut (a unique property of the Pultec) at a couple of frequencies. This plugin is mostly about restoring a little bit of the high end post compressor (some compressors will shave off a tiny bit of the highs) and adding that Pultec color.
- PSP Vintage Warmer - Adds a bit of drive and that oh-so-warm VintageWarmer color. This one compresses relatively heavily at about 2-3 db and is responsible for a majority of the boost in level.
- Waves L1 Ultramaximizer+ Final dithering and limiting to -0.2 db. This thing barely registers at all if things are balanced correctly. I can usually tell if something is off if this thing is limiting more than 1db.
Now this list will sometimes change slightly if the track warrants it, but I've been using it for so long that I have been able to tweak it to be pretty much universally acceptable for the type of music I make. This is pretty comparable to the types of software or hardware any mastering engineer would use, I just happen to start my tracks off with it engaged all the time. I know a lot of producers who are regularly putting out work who use the exact same methodology. |
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| Mise |
nice pro plugins!, should cheek some maybe in the future!, Im working with oem logicīs one, not bad at all really,..
Ps: do you do mastering service too? |
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| Eric J |
| quote: | Originally posted by Mise
nice pro plugins!, should cheek some maybe in the future!, Im working with oem logicīs one, not bad at all really,.. |
Logic plugins are very, very good. I find myself using the stock Logic Compressor and Channel EQ more than anything else. Space Designer is nice as well, but get the Briscasti Acousticas impulses. |
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| Mise |
Ps: do you do mastering service too?
Space designer and time designer are cool!, the complex patterns are nuts! really fun tweaking,, |
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| Eric J |
| quote: | Originally posted by Mise
Ps: do you do mastering service too?
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Nope, sorry. I have enough trouble finishing my own project commitments with limited amounts of time. I did try to help a few friends out a one point by giving it a go, but their tracks were so poorly composed and mixed that mastering wasn't going to save them. |
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| johncannons1 |
great :D
ive progressed quite alot as a "producer" haha
in other words every new song that i **actually complete has been better quality wise than the last.
AND i re did a old song i made when i first started making choons. and it sounds sooooooo good i heart it!
i think that 2011 is going to be a GREAT year music wise!!
glad to hear some of your progressions as well!! (: |
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| MrJiveBoJingles |
I think my musical inspiration has dipped way down since I started working this year (used to be in school). Work dulls my brain, gets me used to endless boring routine.
:( |
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| theterran |
Quite happy, learned a ton of and made some definite improvement.
Lots of thanks to the TA members who helped me out as well (Eddie, Raphie, Rann etc...:))
Tempting to post my completed tracks for the year, but I'll save that for Dec.30 as I'm still trying to iron a few out.
Only completed about (8-10) 5 minute+ tracks this year...so room to improve in terms of workflow I guess.
And learning how to master was a fun rewarding process. I just wish people didn't get so bent outta shape about it. |
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