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Would you folks all offer YOUR definition of what "mastering" is? Another discussion led to this question. I have heard many version of how that word is defined.
Edit to add: After I get some replies I will have questions but don't want to be every other poster in this thread so I will wait.
Last edited by eddie1261; 10/08/12 12:30 PM.
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To me, for the home recordist, mastering is taking a collection of tunes (wav files) laying them end-to-end in a new recording project and then applying compression and multi-band EQ to them to get a uniform volume between tracks and having a more unified sound. I am on the side where you don't really master a single song -- you master a collection.
Since you don't have a special room setup just for mastering, all you are doing is continue to "mix" individual tunes. If you can't get a good mix that translates to different sound systems, you will never be able to improve that by "mastering" them individually in your same room.
You could send out individual songs to a mastering service, but if your mix doesn't translate very well, then you have limited how much the mastering engineer can do for you. I am pretty sure mastering engineers are just going to use multi-band compression and EQ on your mix, but they are also in a well treated room with excellent monitors and that will help.
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Former definition:
EQ/Gain/Dynamics processing and manipulation of an 'albums' 2 track mixdown files for use on a compilation presentation of multiple recordings.
Today's home recordist definition:
Final 2-track mixdown EQ/Gain/Dynamics processing for the final form of the single 2-track recording. Often done with a 'mastering' plugin.
There are some similarities.
In the former, it was/is done by someone that specialized in that task. Think Bob Katz, for example. Yes, you've almost assuredly seen his name on some huge album from the 80's-present. Does he mix? No. He has two track files/tapes sent to him. He works exclusively in 2 track. Think of him as the guy who does final prep on a new automobile at the dealership before delivery to you the customer. Except way more specialized and outfitted with a set of those golden ears.
In the latter, it's often the repair work that some multi-band EQ/dynamics processing can do for a poorly EQ'ed two-track.
The DAW software I use comes bundled with a plugin called 'Final Mix'. It's the same plugin that Mackie sells for their big DSP-enabled recording consoles (not sure how many studios actually use these) There's probably 50 presets and doggone it, if they don't do what they say that do (like Country Mix) - they are really interesting to study how they accomplished. When Musician's Friend was blowing out Tracktion, several folks here bought it and I believe many of them use Final Mix for this second purpose.
Some call it a crutch. I call it a time saver for allowing me to work on composition.
Another popular 'mastering' plugin is Ozone, similarly equipped with useful presets.
If you look at Katz' setup, you'll see all manner of EQ and dynamics processors around, but I don't think you'll see a mixing board.
-Scott
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Perhaps things have changed, but in my day each track would be mastered individually on it's merits and the compiling into an album would be done by the balancing engineer.
The mastering process could include EQ, compression, or limiting and the amount of treatment would depend on how good the source material was. Sometimes, very little would be necessary.
Balancing would involve only volume changes to ensure that the perceived volume at the transition from one track to another remained the same. Think of an album, say Greatest Hits of whatever. The balancing engineer is never going to start applying EQ and compression to maybe twenty classic tracks where people have come to know and love those particular sounds.
It's a constant source of annoyance to me that the job of balancing engineer seems to have disappeared from TV these days, because most of the transitions between programs are appalling.
ROG.
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Quote:
It's a constant source of annoyance to me that the job of balancing engineer seems to have disappeared from TV these days, because most of the transitions between programs are appalling.
ROG.
I think LIFE should have a balancing engineer so transitions aren't so appalling.
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Pat.
You have this wonderful ability to be funny and thought provoking at the same time. Thanks.
ROG.
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Quote:
It's a constant source of annoyance to me that the job of balancing engineer seems to have disappeared from TV these days, because most of the transitions between programs are appalling.
ROG.
I think that here in the US, the imbalance is now intentional; particularly as it relates to audio level of commercial breaks versus program material.
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Scott.
I can assure you that here in the UK it's just a complete mess. There's no coherence at all between programs, announcements, trailers, or individual advertisements. I find the lack of professionalism, compared to say thirty years ago, to be worrying in the extreme.
It does not bode well for the future.
ROG.
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Mastering, for me, is the final step to creating a pleasing, unified sound across all tracks (not just volume), sequencing the tracks into a pleasing order & pacing, and making sure there is "digital black" in between each track.
After that, making sure all the artwork is correct, the tracks are listed in order, and the final ISO is correct, with no flaws.
I consider this a separate process, and usually wait a week or so before doing it to clean my ears out.
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Home single song mastering can be done using Final Mix, Ozone, and T-Racks. These are popular because everything you need is prepackaged together with presets to tweak.
If you read around Waves is also popular high end but expensive.
Home multiple song album/cd mastering can be done using Sony software - I think it's Sony Architect or something like that and probably some others.
Real mastering is done by a mastering engineer. They polish the sound. They also embed the codes and make sure all is industry standard for you. Cost varies depending on who you get.
Using any of the above - the better the mix the better the master.
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Okay, many good answers later, let me weigh in with some thoughts.
When I see the reply that addresses "taking your collection of songs and getting them ready for mass production and sale", or words to that effect, here's what I have a problem with.
The songs for the country album I have written were written over 2 years, during which my gear saw MANY changes in direction and rethinking of philosophy. My skills in recording have also grown as I have learned about using effects more adeptly. Given all of that, the 11 songs are at ALL different levels of quality. (And honestly, this is a home studio project that was never intended to be printed and sold so I am not about to record any of them again.)
When a touring, active band decides to record a new album, that all gets done over a period of a couple of weeks, where you go back to the same studio conditions every day with the same producer and recording engineer doing things their way, another constant. Those 11 songs are a MUCH more level, even, "smooth" product to start the process of final mix and master. As I listen to my stuff on a thumb drive while I drive I can hear DRASTIC differences in how they are EQd, which ones were done before I discovered (after some gentle nudging) onboard effects and in the box mixing. I have never even touched a comp limiter before, and the 13 songs on the thumb drive are ALL over the place.
So this next project will see me take more accurate notes and screen shots of how the EQ, reverb, limiter, etc.... are set when I have the sound I want. For most of those original 13, it's too late as I was doing outboard verb and EQ and it was destructive editing, and I don't have clean tracks to start over with. (Yes, dummy Eddie edited originals instead of making a copy.)
It does bum me out that when that stuff plays, track 1 is okay, track 2 lacks highs, track 3 is okay, track 4 lacks low end.... and so forth. Hindsight being 20/20, I know better now. The 4-5 I am really at all proud of for content were really only be meant to send to lower level recording artists looking for material to sing for their demo. Remember, as I have said all along, I don't care about playing. I want to write.
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Eddie,
In this case, I think I will highly recommend that you try a 'mastering' plugin and use the same preset across these 11 different songs. You may be highly surprised at the outcome being much more consistent than you would expect.
Did you buy Tracktion when it was $19 at Musician's Friend? If so, then you have Final Mix - which is worth much more than the $19.
Actually, even if you don't, I will do you a favor - send me a CD with .wav files on it of the songs and I will send you back a CD with 320 kbps .mp3 files, each in a folder for which I've applied a different preset or tweak of a preset for the 11 songs. It might take me awhile to get it done, but this might help out somewhat for you to appreciate the power of multi-band EQ, multi-band dynamics processing with limiting that most of these plugins combine with finesse.
To make this a shorter undertaking, perhaps limit the tracks to 3 of the 11; 3 drastically different sonic signature tracks.
-Scott
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Ed, go grab the free 21 day trial of AAMS & start running the tracks thru it. It WILL take some time for each one to be analyzed, depending on your system but after the first time thru you can start trying out all the Reference Files to see if you can find one to use. AAMS works best on an XP x32 system, but can be made to work on Win7 x64. What have ya got to lose? You can always take Scott up on his offer if ya don't like the results...
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I am actually going to heed BOTH of those posts. Scott, if you will PM me a mailing address I will get that done, and JC I will grab that trial download.
Even when the stuff is just for me, the over achieving geek in me wants it perfect.
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Eddie you have said many times and in many different threads, you're a perfectionist and you really like knowing exactly what's going on and how it all works. Very laudable. With that in mind, here's the correct, classic definition from Wikipedia. This is what you would get from graduates of those Audio Engineering schools we talked about. Big difference between working pros in the field and us hacks at home using our little setups. You want to be a pro, then here it is. http://en.wikipedia.org/wiki/Audio_masteringYou also mentioned in the other thread in response to someone suggesting you get Ozone that you don't want simple software presets, you want to know the why's and wherefore's of all that. That's great but the presets in these top mastering programs are pretty darn good and are specifically designed for folks like us who don't have that formal education. I would be using those presets for now while you're busy signing up and working those classes. Otherwise, you're getting nothing done for the next few years. Bob
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Even with formal training, the presets are nice to 'start from'. If I know a certain preset has the effects I want in it (in Ozone there are about a dozen possible effects) sometimes it helps save time, as opposed to starting from scratch.
Same with any of my effects, as you use them more you'll learn certain presets. Reverbs, mastering effects, guitar amp sims .. tinkering with them over time can be a good way to learn them. The more I use them the more I know about them.
YMMV
Grab a 10 day free trial of Ozone. Try it.
Look at the presets, find a couple you 'kinda' like and see what they are doing. Look at each effect being used (and how). There is a lot to be learned right there.
Then analyze how it can be improved.
Take notes.
I like Ozone. Nice tool. Awful handy to have a collection of effects of that quality that work in one FX slot (grin).
You can have all that and three empty slots for meter, analyzer ... whatever.
I do not work here, but the benefits are still awesome
Make your sound your own!
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Yah, thanks guys.... that's why I recommended Ozone 5 for him on the other thread. I just didn't have the motivation to explain and try and convince, and probably couldn't have done it as well as you and Bob did.
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Eddie,
You can dl the FREE guide "Mastering With Ozone" from the Izotope site.
There's a lot of helpful info in it covering the different effects and how to use them.
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Man, I am LOVIN' all this awesome input!!! Once this annual show is out of the way this weekend I can get back to concentrating on the home studio and put all of this to work.
Thanks to every one who has chipped in so far!
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Mastering is a BIG topic on its own, and IMHO, using presets is a wrong approach to mastering audio, for several reasons. For example: "The difficult part of mastering (and trying to create a guide like this) is that every effect, setting, and parameter is entirely dependent on the content of the mix, the genre, the desired result, etc. With this in mind, we don’t believe in products that fool you into thinking you can just select the “Hot Pop Master!” preset and you’re done." That quote is taken from the "Mastering with Ozone" guide, an excellent introductory text to mastering, very useful and informative even if you don't own Ozone. You can download it for free here: http://izotope.com/products/audio/ozone/support.asp
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New! XPro Styles PAK 9 for Band-in-a-Box 2025 and higher for Windows!
We've just released XPro Styles PAK 9 for Windows & Mac Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 29 RealTracks/RealDrums!
We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
Special Pricing! Until July 31, 2024, all the XPro Styles PAKs 1 - 9 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 9 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
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