mastering software

[yoshitosser]

for all of you pwning ppls information I have a good job and a good life so I dont care how much I spend on this and that I have been really busy getting where I am today. so I would congratulate someone like myself not try and make fun of them or get jealous because they can go from $250 to $2500 without thinkin twice. that is just a difference of bank accounts.

Congratulations!

Could you lend me a tenner? I 'm skint and I need to buy drugs.

[Tarekith]

So you ARE using ProTools Mr. Bank Account?

[andydes]

I don’t think anyone’s ragging on you for being well off. The point is from your other posts, you seem to be fairly new to this game and top end mastering software may not be the best way to spend your cash. On top of that I can scarcely think of a more boring way to blow $2500. It really is no fun what so ever.

Unless by “good life and good job” you mean seriously minted, and $2500 really is nothing to you. In which case- well done, and good luck with the software. And make sure you have some real nice hardware to go with it.

[Angstrom]

for all of you pwning ppls information I have a good job and a good life so I dont care how much I spend on this and that I have been really busy getting where I am today. so I would congratulate someone like myself not try and make fun of them or get jealous because they can go from $250 to $2500 without thinkin twice. that is just a difference of bank accounts.

we are not making fun of you because you have the money to buy good things, but the way you have bought something that was totally not necessary.

here's an example:

Dear forum : I'm thinking of learning to ride a motorbike, does anyone have any tips on what bike to get? For my first attempt at riding I am thinking of buying a Kawasaki Ninja ZX-10r

You see - if you wanted to 'sound better' then there are a number of quite easy steps to take. These involve learning, understanding, trying out various demo tools, practicing, and then purchasing one that is appropriate to you. As with my ZX example, it is not about the cost of the purchase (who cares!), but what you purchased being appropriate to your needs/requirements.

If I buy a ZX-10r does that make me ride better?
No, because learning how to ride better makes me ride better.

Sorry, that's just the way it is. But have fun with your plugins anyway, at least they won't wrap you around a tree like a ZX would!

[andydes]

just got a bonus from my job and was looking into mastering software to finish a few projects any recommendations?
for windows pc? I have live too so I dont know if a vsti would be best?

And I forgot to ask: You’re not former RBS boss, Sir Fred “the Shred” Goodwin, are you?

Nevermind. UK humour.

Joking aside, I think you'll really want to pay attention to Tarekith's question, right here:

So you ARE using ProTools Mr. Bank Account?

[mpk49guy]

for all of you pwning ppls information I have a good job and a good life so I dont care how much I spend on this and that I have been really busy getting where I am today. so I would congratulate someone like myself not try and make fun of them or get jealous because they can go from $250 to $2500 without thinkin twice. that is just a difference of bank accounts.

we are not making fun of you because you have the money to buy good things, but the way you have bought something that was totally not necessary.

here's an example:

Dear forum : I'm thinking of learning to ride a motorbike, does anyone have any tips on what bike to get? For my first attempt at riding I am thinking of buying a Kawasaki Ninja ZX-10r

You see - if you wanted to 'sound better' then there are a number of quite easy steps to take. These involve learning, understanding, trying out various demo tools, practicing, and then purchasing one that is appropriate to you. As with my ZX example, it is not about the cost of the purchase (who cares!), but what you purchased being appropriate to your needs/requirements.

If I buy a ZX-10r does that make me ride better?
No, because learning how to ride better makes me ride better.

Sorry, that's just the way it is. But have fun with your plugins anyway, at least they won't wrap you around a tree like a ZX would!

actually my first bike was an honda 1100cc so I do jump right into to stuff like that

[mpk49guy]

yes I have pro tool hd just waitin for my key to use sonnox. but I also have ableton I find it a bit easier but the real reason I use ableton more is because my friends all have it so we share things and work on stuff together with lappys

[aisling]

yes I have pro tool hd just waitin for my key to use sonnox. but I also have ableton I find it a bit easier but the real reason I use ableton more is because my friends all have it so we share things and work on stuff together with lappys

Regardless of your highbrow status, silver spoon, or what ever the deal is, may you enjoy your gear, may it inspire your creativity, and hopefully arouse your humanity for the better.... Welcome to the forum. Please post some music when you feel the time is appropriate.

[TRS80]

I am no professional mastering engineer, but I sometimes need to 'master' my bootlegs for play in the club and posting online. I make a lot of boots, and don't have the cash to pay a pro for every mix I make. They are mainly for personal use in a medium sized dance venue.

My process is kinda simple. I try to get the piece sounding good in the final version on the DAW, either Acid or Live- making sure to leave myself a healthy bit of headroom. Then I hit it with the Waves Ultramiximizer L1 or L2. I bring the threshold down to where the limiting just lightly compresses the entire mix, then I export it as a 320 kbs mp3 and I'm done. Seems to hold it's own with Beatport releases, in terms of volume and punch.

Just this weekend I 'mastered' a bootleg with the Ultramaximizer and effected it with a much heavier hand- really compressing the shit out of it. In the club the kick sounded like a heavily compressed 808 kick drone- doooom dooom dooom. Really elongated the tone of the kick, and was unintended. I guess the Ultramaximizer and my fat fingers made it happen, so it's back to the light touch.

I read that some folks like to shave some subharmonic lows around 60 Hz; I will try that next. I want the low end to be clear, but don't want to remove any punch. Anyone have experience with shelving frequencies at 60Hz and below in house music?

[andydes]

yes I have pro tool hd just waitin for my key to use sonnox. but I also have ableton I find it a bit easier but the real reason I use ableton more is because my friends all have it so we share things and work on stuff together with lappys

Cool. Just checking. It's the kind of small point I'd have expected you to mention at the start of the thread.

Anyway, the oxford bundle should be quality for both mixing and mastering. Be interesting to know how you get on with it.

[leedsquietman]

OP,

I disagree about the tools being unnecessary. They are not necessary for everyone, but if you learn how to use them optimally, I'm sure you have the potential at least to be delighted. Although for sure, having good monitor speakers and trying to get your listening space tight / possible acoustic treatment etc., should take priority.

You got some real quality plugins there - however - now that you invested in this stuff, you owe it to yourself to really learn about the whole process of mixing, mastering and using EQ, compression, limiting.

Stuff like - 'I throw a volume maximizer on it' are symptomatic of many people's ideas on mastering, i.e. that pumping volume is the main function.

It is only PART of an extensive process, sequencing songs, edits, fades, EQ, checking for phase issues (checking in mono as well as stereo), and surgically mixing what you have out of a DAW mix or whatever so that it has optimal stereo and frequency balance which can include EQ, stereo tools (widening, narrowing, sorting out mono or stereo issues and more), phase correction tools, compression, limiting, sometimes subtle use of FX such as ambience optimizing (read this as 'mastering reverb'), (if doing an album or EP) making sure all track mixes have a uniform level, writing a red book compliant CD master disk, including track titles/artist/cd text, setting PQ lists, setting disc at once information for fades, or outputting to other formats for replication etc such as Exabyte tape (known for less errors than CD-R) etc, etc. I don't know about other people offering home CD mastering by software plugins, but when I do such a project, I do all of this stuff except for Exabyte tape (I can only do a red book compliant CD-R with PQ lists) I'm pretty sure that Tarekith and others pretty much do all of the above for you too. What I don't just do is throw on an L2 and crank the gain !!!

[TRS80]

I don't know if you're referring to me or not re: Ultramaximizer. For the record, I'm familiar with mastering and ran a studio in the early/mid '90s mastering CDs for local rock bands, local film makers, and some TV work. I understand PQ subcodes, SMPTE sync, EQ, compression, etc. In the day I used digidesign's 'Masterlist' software to code and sequence master CDs for duplication.

What's the diff between some dude who just touches it with an L1 and some dude who heaps about a zillion plugs on the track trying to make it better? I just don't want anyone being made to feel stupid for only using a limiter. If your mixdown is good, you can go a long way with just a limiter. Trying to do too much when you don't know what you're doing is a very common mistake in this area. Everyone seems to think they are somewhat of an expert. I don't, but I'll stand by my sentiment that lightly brushing a mix with an L1 is 'mastering'. Notice I used quotes in all instances I said the word.

Still haven't heard back about my 60Hz question. I tried it earlier, and thought that freq a little high to start cutting bass.

[Superchibisan]

cut at 30hz. most systems go down to 20. 30 is right before the rumble rumble area.

mastering means to make a track ready for distribution. and that means you do whatever it takes. sometimes it takes a lot (of plugins) other times... it takes very little (one plugin). it is all program dependent.

[ChiDJ]

Cut Below and 30 and above 16. This is a very good starting point to maximize volume and clarity of your mix.

Don't let the "Mastering Voodoo People" scare you.

It's not a Black, Mystical Art. But, it does take good ears and a lot of time to learn. I personally master all my commercial releases for radio, TV and Billboard CD sales. It took years, but I am capable. Take the time to learn the skill. It's worth it.

And yes, you can make a very good sounding commercial release with Sonnox and Waves plugs.

My .02 (actually .005 currently with the economy)

Tod

[leedsquietman]

I wasn't referring to any one person in particular re: throw on a limiter. Just mentioning that it is only one part of a process and that some people, seem to think that volume maximizing is all there is to mastering.

This is an example of a track I remastered last year. In-Yo Prism 'Self Expression' album, (available at amazon.com), a mixture of Monnie B's ambient soundscapes and Elektronz sampling and DNB influences merged together into one beautiful album.

http://www.distinguishedrecordings.com/mastering.wmv

this is a pretty long download at 64.9MB (about 16 mins of video) but gives a fairly detailed look into the processes and software plugins I used. I choose the plugins based upon experience and what the track needs, so these are not necessarily ones I go to every time. At the end of the video clip you can hear the original mix vs the remastered clip. It's not a particularly pro or elegant vid, using the freebie CamStudio application to record the computer screen and thrown together in 30 mins in Vegas just as a quick and dirty demo.

The mixes In-Yo Prism presented me varied from fair to quite good. The track in question 'Walking Spirit' suffered from too much low end, too dull mid-highs and also some parts suffered from lack of headroom. It came in already quite hot for a DAW mix with no master buss compression or limiting, in contrast to some of the other tracks on the album, which were at -20db RMS. I would have recommended some remixes, but unfortunately, a fire destroyed the master files, so I had to get uniform levels on that album with tracks that were super quiet, to others that were hot and had clipping. So the target reference for the album was -12db RMS, a bit quieter than usual for this genre, but as the tracks are dynamics rich with a wide frequency range, an appropriate one. I am not a fan of crushed to death music anyway, it's a myth that you need to have things cooked until they burn to sound good on the radio anyway, as dispelled in Bob Katz's 'Mastering Audio:The Art And The Science' (2nd edition) (focal press 2008)