Mastering plug in

[Audioholic]

Does anyone have a favorite mastering plug in that works great? I am only using the waves gold plugs (C4, L1), and getting moderate results. Now I hate the trend (and sound) of squashing the crud out of the audio to get it louder, but unfortunetally it's a trend that is going to be hard to kick, so I would love some advice on a plugin for pro tools to help get levels to commercial release level. for most of my work (composing) it doesn't matter, but I will be hopping on as producer, and also probally mastering the final product. Thanks for your input!!

(stuff I have used)

Master x
Waves C4
waves L1

( I understand that a mastering house will have some great tools that I will not, but any suggestions to get me closer would rock!)

[DAS]

I like L1 & L2 a lot, but lately I have been loving this:

http://www.sweetwater.com/store/detail/OxLimiterTDM/

[Audioholic]

DAS

I have been interested in checking out that plug. It looks like it does hard knee limiting like the L series as well? How would you say this ranks with the L3 that just came out (particuliar the multimaximizer). thanks for your input...

[Audioholic]

Sorry, one more question for the professor, despite obvious differences, what does the inflator do different then the limiter??

[michaelhoddy]

Inflator's not a limiter. It's sort of a compressor, but it's not that either. It's closer to a "euphonic" tape-saturation plug in of sorts. I guess the idea is to increase the apparent loudness of a track without destroying the dynamic range. Whatever it does, I usually like it.

I have it, and I do use it on the stereo and sub busses often, but it's not a limiter or compressor.

[dpd]

Why not kick the trend in the ass and make a recording with loads of dynamic contrast?

[DAS]

Originally posted by Audioholic
DAS

I have been interested in checking out that plug. It looks like it does hard knee limiting like the L series as well? How would you say this ranks with the L3 that just came out (particuliar the multimaximizer). thanks for your input...

I haven't used L3 so it's hard to comment on it. I do like to use multiband compression on grouped signals though - it's a great mastering tool, especially for the "fixing" part of mastering.

I really like the Sony limiter. You should dig in to the literature and understand what it's doing - it's much more than "just" a limiter, and it really sounds good (retains the illusion of dynamic range, which I quite enjoy). I've never heard anything quite like it.

[Audioholic]

dpd,
It would be nice to kick the trend, the problem is when your client hears thier cd next to another and wonders why theirs is not as loud (and professional in their mind). So it's hard to explain that louder is not better. So the loud trend will probally be here for awhile. It's interesting to hear how squashed and brittle some cd's have become, (Especially in a studio monitor). The extremely exaggerated brightness as well, I was listening to a cd, and the acoustic guitar hurt my ears, it was bright. but then again it is so weird how the same brittle squashed cd sounds decent in a stereo. I guess the speakers are more forgiving maybe. So I usually find the middle ground, loud enough to somewhat compare, but yet still retain some of the dynamics. Not that all cd's have this brittle sound, some are very well mastered, and I am amazed at the skill (and equipment) Well sorry to stray..

DAS
Yes, I also love multiband compression, I use the c4 ALL the time with wonderful results. I used a trial version of the l3, and it seamed pretty kewl, like combing the C4 and l2 with some added features, but couldn't justify the sticker (600 at the time), but now it has come down so I may take another look, I will also try a demo version of the sony limiter. I love the Oxford EQ!! thanks for pointing me in that direction!

[dpd]

My limited time and access to reasonable talent makes learning this stuff all the more difficult. Just learning how to use these things as 'tools' is hard on my brain.

But, in my earlier audiophile days (getting back there bit by bit) one of the things I prized most in a recording was dynamic contrast - this on vinyl, mind you, where it was truly difficult to achieve, both in recording, cutting, and on playback.

I empathize with your dillema. But, finding better and better ways to make square waves with crest factors under 10 dB doesn't interest me as a consumer nor as someone trying to learn a small part of this craft. I am amazed at those who can do so and still have some semblance of good sonics.

But, Keith Johnson and Wilma Cozart/Bob Fine, among others, are still my heroes.

[DAS]

The overcompressed issue seems more prominent in certain styles of music. Realizing how popular it is right now to speak out against doing it, I must say that in certain styles it doesn't bother me. I think it is part of that genre to a degree, and the music seems almost created with that final result in mind. So there is a place for it. Where it irritated me most is when it began to creep into nearly all styles of music. I think that trend is reversing itself somewhat these days. We had new toys, we overused them -- like we always do (synths in the '70's, sequencers and reverb in the '80's, etc.) --, and now things are returning to normal. Part of this is because the tools themselves are getting better. They do less harm to the music while achieving the results we "really" wanted in the first place.

At the end of the day it is a competitive business, and if your stuff sounds too out of context it can create an uphill battle for the artist. You have to balance that with staying true to what you really believe sounds best.

[Audioholic]

DAS,
I just wanted to also say that I also like the sound of a hot mastered track, it has punch and can really rock. Especially on certain tunes, it can really bring the mix together. I guess what the issue is for me, is the tools that I have to use to get it to competitive loudness, starts to take away from the musicality of the process. That is why I was wondering what others could recommend. Thanks all for your replies! I respect all of your hard earned knowledge.