Mastering

[SR1200]

I was just wondering if i could get a few ideas from some engineers out there.

After my sessions of recording are done, all the edits are completed and the mix is brought down to 2 tracks... What plugins do you use to compress it just right, or EQ it, Or enhance the stereo field, normalize.

I use a whole bunch of things (mainly WAVES plugins and magneto- love that thing!) and sometimes I get good results, sometimes not so good. (the nature of the beast) But I just wanted to get an idea of what other people were doing (differently than me) to get to that FINAL product.

[cmchamp]

I use MOTU's Digital Performer 3.1 for everything presently. I've been known to use an 8 band parametric EQ, slight compression (1.25:1 set between -24db and -30db depending on the noise floor, and the MasterWorks Compressor with the threashold at -.15db and other settings to get a gain reduction of somewhere between 3 and 5db. Nothing too harsh or it sounds too flat.

[Michael]

I put everything through an SPL Vitalizer. It's not an exciter, generates no extra harmonics. It makes everything more transparent, cleaner, and has the most amazing bass I think I've ever heard. I heartily recommend looking into one. I recommend and use the Stereo Vitalizer, one set of controls for both channels, available in balanced and unbalanced versions.

I see them on the net every so often for several hundred dollars. Here's a link to SPL's site at the Vitalizer page. Shown is the MK II. I have the model before that and I don't think there's a great deal of difference. The page has links to reviews.

http://www.soundperformancelab.com/V_MK2/in_short.html

[cjogo]

We are using the SPL TUBE M2Kt and a Manley & RNC for compressors to a Masterlink.works great

cjogo

http://fp2k.redshift.com/cjogo/crystalrecording.htm

[grahampro]

I hear you on the waves plugs. Theyre great. I usally use the L1 UltMax, and use roughly the same settings on every final mix. The important thing is getting your mix up to par before throwing it into any sort of maximizer/compressor/limiter. Outboard may also be the way to go if you want to sweeten up the sound. Avalon, UA, Manley are all good for this purpose. Make sure if youre using the UltMax, that you dont have to hit too much over -3. This will keep the sound loud, while not changing the mix completely. Keep your out ceiling at around -.3 as well, and remember that if you have too much low end in your mix, that it will offset the overall sound after applying this plugin, so again, make sure your mix is on point before trying to send it into any "mastering" plugs. Good luck, hope i could be of help. Peace.

[Ernest828]

If I`m mastering...

I usually send my mixes out to two Avalon 737s to get some dirt on them and then send the Avalon stereo track through the Waves Renaissance Compressor and then the L1 Maximizer.

The Avalons are compressing very mildly if at all:
Threshold -5
Ratio 2:1

Tha Avalon 737 EQs are so transparent so I use EQ here.

I push the pre amp gain to get more tube (if thats the style). If not, I`ll lay off and use more output to get a cleaner sound.

Once in Waves Renaissance I compress more seriously/ it depends on the project but my first setting for rock is:

Threshold -10
Ratio 2:1
Attack depends on the effect I want
Release 40 - 100ms

L1 Maximizer is worth the price of the Gold Bundle alone but don`t tell Waves.
I always set the ceiling to -2 and threshold at -3. Anything beyond -3 just starts to kill the dynamics.

All of this is so subjective. I finished a CD last week where I had to set the threshold to -25 and the output on the Renaissance to +10. It worked but the music was piano and choir, a live performance with lots of audience noise. It all depends on the material and the effect you want.

The good news is that professional results can be accomplished using $1000 worth of plugs.

Ernest

[Scott Gould]

If I feel my final mix needs a little over-all 'polish' I send it through the following chain:

AES/EBU (out of d8b) > Z-SysQ2 > Crane Song HEDD(D/A) > linked pair of Crane Song Trakkers > Crane Song HEDD (A/D with dither to 16bits) > Masterlink [I use a little bit of analog tape emulation, and maybe a touch of pentode on the HEDD, and vintage optical settings on the Trakkers with no more than 4db of reduction]

If the track(s) are going out for commercial distribution, I skip the whole chain and burn 24 bits on the Masterlink and send it to a mastering house.

Scott

[xstatic]

Right on Scott. A lot can be learned from what you said. Crane Song is excellent stuff. But the most important thing I heard was.... "If the track(s) are going out for commercial distribution, I skip the whole chain and burn 24 bits on the Masterlink and send it to a mastering house. " Two reasons for that, 1) Let the mastering guys (with their $200000+ mastering setup) do what they do best - master-, and 2) SOmetimes it is very important to get a second set of professional, fresh, NEW ears in on a project.

[Ernest828]

I agree with Scott as well. I master if someone asks or if I`m burning CDs for other musicians who are playing on my stuff. I`m working on a CD right now and I have 2 producers and an engineer working on the project with me. I`m going to sell this CD to the public and they should get the best product possible even if that means spending a grand to master it.

I don`t think its professional of anyone to expect people to shell out $15 bucks for an unprofessional sounding CD.

Ernest

[Sessna]

T-Racks is pretty cool. I start with a gentle master template and tweek from there. It gives it a solid, loud sound with some tube and tape saturation thrown in. Great software and a great deal for under $250! Think about it. These mastering studios pay that much for a patch cable!

[Ernest828]

Theres something experience has over trying ones best and with best intentions. I do alot of services throughout the year for religious functions and people usually don`t know what they are doing when it comes to music so they hire someone like me. I do hundreds of these a year rather than the couple getting married and doing this once and then moving on. Not that they don`t have good ideas, but they often leave their song selections up to me. What does this have to do with mastering? Leave it to the pros, the ones who make a living doing this hundreds of times a year.

Ernest