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 Now online (1)dariusgriffin ...and 167 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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I have heard many engineers/producers voice their dislike of current mastering techniques, particularly the loudness war, as also applying high pass to most of the mix. I have been guilty of hot mastering, may be pushing it to far, I am reconsidering a few techniques I have employed in the past. How do you master? What are some techniques you consider bad practice and those you consider good practice? |
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I have heard many engineers/producers voice their dislike of current masturbating techniques, particularly the loudness war, as also applying high pass to most of the mix. I have been guilty of hot masturbating, may be pushing it to far, I am reconsidering a few techniques I have employed in the past. How do you masturbate? What are some techniques you consider bad practice and those you consider good practice? I masturbate in the shower my sperms go down the drain it drains all of my power it stuns me in the brain it takes almost an hour know what I am say'n' I want to deflower Celery Man and Tayne |
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creative response. |
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what tecniques you use? |
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we've done them all before, remember the episode where qrter got a pony, we did that at least 3 times |
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anyways don't turn down the threshold too much and try playing with the release time. Too short makes it too crunchy, too long makes it too mushy, and you should always adjust that before making the threshold even lower. God bless and good night! |
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how can you trust what you hear |
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the myth of natural talent springing whole from the egg |
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The bulk of my tracks were mastered approx 10+ years ago using techniques i know mostly consider bad practice and is most likely the result of my inexperience. Some examples include standard presets for things like compression, did not always cleaning up samples, quite often concentrated on loudness (sometimes resulting in clipping and loss of dynamics) and eq settings that sometimes produced a muddy mix. I do not have any examples of current tracks yet, however i have begun to pay more attention to things i did not in the past. I see the value in decent monitors and headphones, not applying a general rule to every track, allowing sufficient headroom, defining the range of frequencies and paying attention to the dynamics so each instrument/sample has space to breathe. This and more, even down to the preparation of a mix to master. |
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lets do a 2015 xlt comp to liven/dampen the mood |
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It has been quite some time since I contributed to a xltronic comp. What would you suggest the theme to be? |
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tha sound of dancing bums in a room coverd in jam squishin against each othr but the rooms an electric cage an theyll all be dead soon last party // fried bums |
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I am interested in how you would translate that to audio. |
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do what most ppl do and add far too much echo and fucking ruin all the sounds it took you months to create. |
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I mastered with headphones predominantly in the past, which presents many problems. One in particular being reverb. The level can be tricky to judge and listening to some of my earlier audio, some instruments/samples seemed to be drowning in reverb. |
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you've answered your own question. sorry to be flippant. |
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if you want to understand how reverb works properly listen to ulrich schnauss. he overkills it and its not to everyone's taste. but he certainly knows what he's doing. |
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i suggest you compare and contrast. it's your music so essentially it's up to you. but ulrich takes it to the extreme, so it would be a good benchmark, plus he makes great music. |
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This is a fav+ topic for me at the moment. I spend a lot of time trying to educate myself about mixing and mastering via the internet and it's rather confusing and overwhelming. The best explanation I've heard of the deeply mysterious mastering process - well, one I can understand anyway - is that it is "photoshoping for audio". It's certainly not something I'm particularly good at or equiped for or blessed with special skills for...I only have headphones to monitor with - AKG K-701 - and that's probably my biggest mastering obstacle, even though they are pretty decent cans. So, I try to keep my levels low, cut out low frequencies where they are not needed and then gently compress the mix to make it "coherent" before turning up the volum with a maximizer/limiter but I basically have no idea what I'm doing. I'm still totally blank when it comes to applying eq to a mix. I can tweak this and that forever but I have no idea if it makes anything sound any better. I had a listen to Portishead's "Dummy" the other day and boy, does some of the tracks on that album sound seriously fucked up from a mastering engineer perspective. So, I guess there are no rules set in stone or anything but I would like to have my tracks meet some kind of minimum industry standard requirements, and then be fucked up according to my personal taste. |
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I have a better of an understanding of the process than I did many years ago. Headphones are problematic to master with for many reasons such as detecting phase cancellation, which only really becomes apparant on speakers. It is far better to have monitors to master with, so I would invest in some ifuyou can.Headphones can be useful in mixing, detecting hiss? Crackle etc. Having a track of an artist that sounds similar to your music and a sound you are happy with can be a useful reference point when mastering, as can playing your track through as many different speakers as possible. Giving your mix plenty of headroom will help with eq'ing, but really it's down to your ears and you. From what I have learnt, there is no general rule, just practice and work on training the ears. |
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I am relaxing a bit in the reverb. As mentioned earlier, I think the problem was relying on headphones. I don't mind a large amount of reverb for atmospheric black metal, if used well it can really emphasize the mood, however with my music, I more interesting in using reverb to put an instrument in space. |
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Well, in my case, to be able to introduce monitors I would have to set up a space dedicated only to mastering because my so called "studio" is just a large table with a lot of equipment and a computer on top of it and it would not work at all. I have already reached the threshold of what my wife is willing to accept from my adolescent daydreams of improving as a so called music producer... I would love a decent plugin that would emulate monitors for my headphones though...I use Reason so the choices in that department are rather limited. I tried but finding the right head model is simply a case of trying all 50 of them an decide which one works best. Impossible. |
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I have a similar problem as the lil' lady doesn't mind my music, but can't handle hearing the same sample played over and over whilst i am tweaking something. So i am quite often on headphones too and my 'studio' at the moment is a laptop on a coffee table connected via hdmi to the tv. Not very desirable, but my audio port is damaged from gigs and am getting an external soundcard soon and will move back into my room. If i want to make some noise, I generally wait until I have the house to myself. It sounds as if you don't have many options. I am not that familiar with the monitor correction, however I can only assume that any calibration that attempts to match a monitor may be an improvement. Maybe someone else knows more about this. |
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I actually bought that thing just now...I can't go THAT wrong for 15$... Listening to a loop while I browse through the head models with extreme panning, I guess I might be able to pick the one model that most realistically seems to emulate the sound coming from in front of me. I have some research to do here... I'll report back on the headphone monitoring correction experience later :-) |
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I'm reading a lot of good things about working on mixes in mono. I think it might help me a bit in my lack of studio monitors. It's said to improve EQing since you can't pan your way out of problems with conflicting elements. It's also the way to go to detect phase cansellation issues in the mix. It's definitely something I will try very soon. |
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Yah, it's pretty tough to not get too loud. I've been working on techniques for getting loud but not retarded. I think my compressors are basically making every track too flat. Defo need to study more 1980's pop music to get that snap and pop, without the in jer face explosion. This "loudness problem" has also been one reason for more minimal direction in my music, starting from a few years ago. I used to be into the wall of sound type production with pretty tight mixing, but I always did it pretty flat (and subsequently, loud). So I figured one direction was to simply have less tracks and try to say more. Pretty tough/fun challenge, which results in pretty strong elements, due to not being able to hide behind tons of effects or other tracks. Everything becomes a main element! |
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just listen 2 ur music as much as possible on as many music playign systems as u can for like 1+ months. like its the only music ur listening 2 that whole time. by the time u release ur music u will h8 it but at least u know how it sounds |
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obviously as u do this u should make daily tweaks to it |
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