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Loudness (pg. 2)
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| Rodri Santos |
| i have something very clear, better -2db than 0. You'll have some peaks of 0 during transitions most probably and 2dbs is something people don't notice, in any case i prefer that the music isn't very loud so people can also talk. |
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| johncannons1 |
I usually mix so my tracks peak at -3db-4db
To bump up the volume and "master" it i slap a compressor on. Just with gentle settings.
Then a i think its called L3 Ultra. put that on and crank up the volume (i acutally do put it on extreme analog setting hahaha).
Im sure there are better ways to do it. This gets me by and makes my choons close to retail level. |
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| -FSP- |
| One thing that has help me the most when doing a pre-master is looking at the whole master wav visually and comparing it with other files. Sometimes your ears can fool you. |
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| CReddick |
| quote: | Originally posted by Stu Cox
Any producer who knows this will always be tempted to push their master louder and louder. |
We're discussing a topic that should be left to a professional mastering engineer. Finish your mixes with enough headroom that a good mastering guy can work with it and not squash the out of your track's dynamics. |
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| Stu Cox |
| quote: | Originally posted by CReddick
We're discussing a topic that should be left to a professional mastering engineer. Finish your mixes with enough headroom that a good mastering guy can work with it and not squash the out of your track's dynamics. |
Very true. |
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| Richard Butler |
| quote: | Originally posted by CReddick
We're discussing a topic that should be left to a professional mastering engineer. Finish your mixes with enough headroom that a good mastering guy can work with it and not squash the out of your track's dynamics. |
Deadmau and plenty others disagree. Myself I do not know which is best tbh. |
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| EddieZilker |
| quote: | Originally posted by CReddick
We're discussing a topic that should be left to a professional mastering engineer. Finish your mixes with enough headroom that a good mastering guy can work with it and not squash the out of your track's dynamics. |
Some people are bringing mastering technique into the discussion to explain how they're getting the volume they're getting on releases they're putting up on Sound-cloud, and some people may be speaking to a mastering process they're employing, themselves, but that's not why this thread was started.
I actually agree with you, in principle. I don't think someone should ever do their own mastering because mastering is meant to polish a mix the mixing engineer/producer couldn't hear.
Kaih, I actually think I've seen that video but I'll watch it, again, and get back in this thread, this afternoon. |
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| kaih |
| You do that buddy - I consider it required viewing for any Dance Music producer. |
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| EddieZilker |
| quote: | Originally posted by kaih
You do that buddy - I consider it required viewing for any Dance Music producer. |
I have seen it! I watched it twice, before, and I watched the entire thing, again, last night, and I'm going to watch it one more time, today. I completely agree that viewing should be compulsory. |
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| Paul Welsh |
I think the quality of the tracks makes a big difference.
i only look for tracks with 320kbs rendering more or less every tune made these days represents that anyway.....but say you want to use your old Tunes i.e vinyl rips old cd's it can cause problems with the quality of the mix!
I use 2x pioneer 800 mk2's and a pioneer 800 djm mixer and record through my pc then when the mix is done thats when you start tweaking and mastering.
A good music programme helps!i use Sony Soundforge 8 or if you would like to clean up your old tunes-make them sound brand new-Magix cleaner
this programme is fantastic for restoring your old records wether there old Vinyls,Tape Cassette's.
Also this little beauty has a mastering section so after uv cleaned your tracks you can also make them sound (Digital)and which i find brilliant
(Radio mix)make them sound as fresh as you hear them straight from the Radio!:o) |
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| theterran |
http://books.google.com/books?id=A0...20scale&f=false
Hope you like reading ;)
I'm sure Rann will butt in here and sort everything out anyway.
Personally, with my most recent stuff (just got my production PC back outta storage yay) I've been mixing my loudest element to -3.0db using a digital representation of the k-14 (blue-cat ProMeter), and then everything else around that...Thanks to Raphie for beating that into my head. You can save your ears by mixing at a much quieter volume while you add content, and your ears pick up on mistakes at quieter levels more easily anyway. Then use them ears at 100% volume when you go to master.
Don't really care what people say...learn to master your damn self...take the money you'd be feeding the mastering engineer and buy the right tools for the job...All anything takes is practice, so if you practice alot of mastering you'll eventually get really good at it. Mastering chains are actually quite simple anyway, unless they're old school analog racks in a famous studio.
If you walk away from your track and come back after a couple of weeks, you should be able to do a pretty spot on job in the first go. (Or send it to a friend who's good at it if you don't have a few weeks :))
And speaker loudness =! Digital loudness naturally...
If you want to be 100% sure that the loudness you hear is relative/meaningful to every other professional track...setup a k-14 or k-20 scale for your speakers/DAW. |
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| CReddick |
| I think we've managed to confuse 'loudness' with meter readings on your DAW. I've heard tracks at a mastering studio that had a much higher audible (perceived) loudness, that didn't even come close on the dbFS scale as the track we compared it to. How is that possible? the expensive hardware being employed in the signal chain. If you guys wanna master your own material, on your own monitors with plug-ins... have at it. [unsubscribe] |
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