and also very important: always compare to tracks you like during mixing, to prevent you from going in a wrong direction.. the ear is getting used to what it hears and after hearing a shitty mix for 2 hours you will like it
yeah here u right...
also one of the mastering engineer from T-Racks said: " if u want your track to sound clear and with a great harmony before mastering try to listen it at 5-10% volume with your headsets and if u hear all sounds like it use to be then is ready for mastering" . i think this is a gd tip....
Here is an interesting article on the Resident Advisor site. Thomas Penton (quite a well known techno/trance artist) is interviewd on the subject of loudness. It has a little bit on mastering. A lot of the advice he gives goes against the notion that the quest for "loudness" in music (dance music at least) is a bad thing. [Only registered and activated users can see links. Click here to register]
Hi Guys! Actually I'm looking for a good musician/band who's interested in uncommon mixing/producing.
As an engineer/producer I work in my own studio, Centrala. To be honest, my service isn't for everyone, as my main focus is alternative music. From offbeat country, psychobilly, Caucasian free jazz, through punk, post-rock, noise, to rap, glitch-hop, techno, and ambient.
I'm a member of avantgarde electronic band called kIRk.
I agree to your article. I´ve tried to improve my mixdown/mastering for one year. And one thing is real - i know my tracks now and i´ve started to rework them. But the main problem with my music is, that i use a lot of different reverbs & delays (i like it spiral and hypnotic). And i dont get it cleaner at the mastering process. And the problem is, that i cant bring the sounds backwards, because the have yet delay on it.
If you have a tipp for me please post.
Technically, the result will be the same. BUT the difference is how you mix. Because the mastering is constantly adjusting what you're listening, mixing becomes very difficult. Every time i've tried this solution, i spent much more time to obtain an average quality.
I really prefer the 2 steps workflow.
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I've tried doing mastering in the mixdown project. For me the biggest difference was that
once in the process of mastering, I got tempted to readjust the mix,
instead of focusing on the mastering and listening to the changes that happened due to the adjustment of mastering settings. Therefore, I also prefer the 2 steps workflow. Nevertheless, mastering directly in the mix project should give the same results as mastering the mixdown in a separate project.
My final solution has been to set up a studio where I can record, arrange, mix and master at the same time, so that i can get an idea of the final result straight. I mix with a thermionic culture fat bustard valve summing mixer (i can switch the bass to mono there and it also has a stereo spread filter and an EQ where you can boost 50hz or 10k) and then go into my analog mastering chain which is for the moment
-api 5500 eq
-maselec limiter - de esser
then I riconvert with a cranesong hedd (it has very nice mastering features such as tape emulation) This way i can both monitor my mix and the final master (through a mastering controller).
I finally found out how to make each track I make sound exactly as I want. will try to post some videos soon.
I master everything inside my Roland MV-8800. That machine is a life saver. I actually just use the mastering presets but they are very useful. For example, the "cassette tape" mastering preset is awesome. You get very deep multi-band compression that I think sounds great on a final mix. I don't go for a pristine sound myself so I'm able to master my own tracks and be happy with the end result. The end result is the tracks sound pretty good!
Currently Listening To:George Marauder - The C64 Sessions