|
How to master a track in 15 minutes
|
View this Thread in Original format
| itsamemario |
| I would imagine someone not knowing how to use those tools could just rape an otherwise fine mixdown. |
|
|
| itsamemario |
| ing hulu:whip: |
|
|
| meriter |
sounds bad even if you listen to the .mp3s from the download
, they are 128kbps which is useless as an example for something like this. The original mix sounds bad and the mastered version sounds really bad
I'm no mastering engineer but
bus compression
multiband compression
brick wall limiting
really 3 separate instances of compression for this mastering job, am I wrong thinking this is complete overkill? And why would you use logic's low cut plugin instead of just rolling it off on the linear phase eq. And the stereo spread utility... I've never had any luck just slapping this thing on the final mix, it works well sparingly with 1 or 2 sounds (like pads and ambient effects that need more life) in the mixing stage but on the final mix, and on the high end? Sounds very dull and lifeless to me which is a signature of that plugin
And why even make an article like this. There's no reason to master a track in 15 minutes unless you are some ty label. Who is this even for? |
|
|
| itsamemario |
| Probably rock bands, or something. |
|
|
| Rodri Santos |
| well if you know what you are doing a simple master is useful to receive feedback or to show it to some label, if it is decent enough and adds something to the dry mix if you are screwing it up no ofc. This is similar to the reason why radio stations slap a compressor on their signal. |
|
|
| itsamemario |
| I thought they used it to boost the perceived volume of sound while reducing the dynamic range of source audio to a range that can be accommodated by the narrower-range broadcast signal. |
|
|
| Rodri Santos |
| too technical the simplest explanation is that if you are quickly moving from frequencies in the radio you instinctively choose the louder signal |
|
|
| itsamemario |
| Yeah, but an A&R listening to demos aren't tuning between channels, he is pressing eject buttons and inserting a cd and pressing play. if it's not loud enough he'll just turn up the volume. So I'm not really seeing the comparison. But I do agree on sending the best possible sounding material to labels. |
|
|
| Rodri Santos |
| quote: | Originally posted by itsamemario
Yeah, but an A&R listening to demos aren't tuning between channels, he is pressing eject buttons and inserting a cd and pressing play. if it's not loud enough he'll just turn up the volume. So I'm not really seeing the comparison. But I do agree on sending the best possible sounding material to labels. |
Valid prior 2000, nowadays very few labels have physic supports as prefered method, most will ask you to drop a 320k mp3 (or even less as long is 192k+) in their Sc dropbox.
And what they will be doing is listening from the 1:00 min mark, breakdown, drop and making a quick judgement if they should listen to the full track and then decide.
If your track isn't as loud as the others it is instinctively neglected they are going between tracks quickly, like you do when tuning radio stations. Most labels told me "now send us the wav without anything in the master channel" they assume you did something. |
|
|
|
|
