|
Log in to post
|
Print Thread |
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: May 2008
Posts: 5,063
Veteran
|
OP
Veteran
Joined: May 2008
Posts: 5,063 |
Mastering questions. I think I know the answers but I want to be sure my understanding is clear on both scenarios in questions one and two below since I tend to over think things.
1. When having a mastering engineer doing all of your songs for an album, my understanding is that you should remove any home mastering effects ie., Ozone etc., from the tracks master buses first so the ME has more headroom. Does this include all FX so there's nothing on the master mix bus of each song - not any compressor or limiter?
2. If you are mastering the cd/album yourself instead of having a real ME do it, do you keep your homebrew mastering effects on each song and if so, how do you adjust volume across all your previously home mastered songs without getting an over processed sound?
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Jan 2013
Posts: 1,286
Expert
|
|
Expert
Joined: Jan 2013
Posts: 1,286 |
Howdy....
About (5) years ago I sent (3) songs to a mastering studio because I wasn't confidence I could massage them enough to my satisfaction for my CD and soundclick page.
I also wanted him to put lead axe and any other contributions he felt they needed.
I had about 8-10 tracks for each song.
His only request was to send all as dry wave files and recorded at -12db.
That was it....the rest was in his court.
He did a great job and it was worth the bucks.
That's my experience...hope that helps.
(A plug for Ted Perlman at The Ranch in So. Ca., previously Buffalo Sound. I'd had much dialogue with him since late 90's on the Cakewalk forums during the newsgroup days.)
Last edited by chulaivet1966; 07/24/15 07:39 AM.
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Jul 2000
Posts: 25,873
Veteran
|
|
Veteran
Joined: Jul 2000
Posts: 25,873 |
For #1, I agree: dry. However, have a separate MP3 with your effects so you can demonstrate what you think a good sound would be. Everyone has different preferences, and the mastering engineer can learn a lot about what will please you by listening to your effects on your rough mix.
#2, I've mainly worked with mastering engineers, though I have worked with CD Architect mastering software at home. That program is really great for having all your songs available quickly so you can 1) have a visual representation of the levels of all songs in front of you at once and 2) skip around, comparing the levels by ear all over the project, like it used to be when you could drop the record needle anywhere.
I know some software (like my Adobe Audition) will calculate weighted db average levels of each song and show the spectral analysis, etc. but that stuff is very much secondary to experienced ears in a good room with good monitoring equipment.
BIAB 2024 Win Audiophile. Software: Studio One 6.5 Pro, Swam horns, Acoustica-7, Notion 6; Win 11 Home. Hardware: Intel i9, 32 Gb; Roland Integra-7, Presonus Studio 192, Presonus Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Aug 2012
Posts: 11,694
Veteran
|
|
Veteran
Joined: Aug 2012
Posts: 11,694 |
You are asking 2 very different questions, as I'm sure you know.
If you are having an album mastered by a mastering house, it would likely be best to leave off that final Ozone pass - simply because it might over accentuate something that would be difficult to take back out (if that is what they felt was required). But you should not have to take everything off your master bus - since that is way you mix... You do the best mix you can based on what you have and your experience in using that. If that includes processing on the Master bus (bus or buss?) then so be it.
A true, full fledged Mastering house can handle a wide range of what is thrown at them. If you ever get the chance to visit one, I highly recommend it. To hear a mix played in "the perfect room" over "the perfect sound system" is eye-opening. To watch an experienced engineer is as well. Within minutes, they will dial in a sound that is noticeably improved (then they will spend a few hours doing little tweaks). They have 2 jobs - to make each track "pop" and to balance them against each other. (I watched this once at Final Stage - Randy LeRoy at the helm - until it got tedious after the first hour...). Keep in mind...that will cost you $1000. Is it worth that???
It all really just comes down to "ears". If it sounds good, it IS good. You don't need 200 plugins on a mix to make it sound good. (If you have 200 and you know exactly how to use every one... well... cool!) Things have changed a LOT in the last 15 years. We as home recordists have access to technology (plugins) that rival equipment that once cost thousands. You still needs ears and a bit of knowledge about how to turn the knobs...
If you choose to "master" your own CD "at home" there's no reason that you can't put out a viable product - If it sounds good, it IS good... it doesn't have to be tested on the best sound system in the world - we listen on iPods - with earbuds - that's a good listening experience. That's how I listen. I listen to Jason Isbell. Then I listen to my latest mix. I listen to Kacey Musgraves. Then I listen to my latest mix. I listen to Lee Brice... then.... get the picture?...
If you can produce mixes that stand up against the things you listen to (on your iPod) - then you are close. It is a good idea to have a couple of other listeners who aren't afraid to tell you "that sucks" - I have a few - my wife... "your vocal is scary!" My buddy Jon... "the note the acoustic plays at 1:03 is off". Bud. Tom. I trust them to tell me straight....
Ozone is an incredible tool. Even if you only use the presets - which I do often... The Waves Multiband Compressor is a great tool - a bit "softer" than Ozone... either one will give your mix "that little bump". The basics of either one are easy... and you can learn more as you go...
Leveling a CD is just a matter of listening to all the songs in a situation where you can compare them against each other. Load them all into your DAW - as separate tracks in the same "song". I will load all of mine into SoundForge - as individual files - you can then process whichever you choose...You can bounce around between tracks. You should be able to hear for yourself if any are out of balance with the rest. There are plugins that will allow you to increase the ones that are too low. Waves One Knob Louder is a nice one (I got that for $10 on sale!) - basically any good Limiter will do the job (again, you have to learn to use it - not hard).
It's not "magic". If it SOUNDS good... it IS good...
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Dec 2011
Posts: 14,080
Veteran
|
|
Veteran
Joined: Dec 2011
Posts: 14,080 |
As usual fj covered all the bases and then some. FWIW, I would remove everything but EQ from the master bus. So much of mastering is oriented around compression, limiting and perhaps some stereo imaging that I'd rather it start with my mix and only whatever, if any, EQ I put on it - nothing else. I've only had one project mastered professionally and that was a CD we released with Randy Howard back in the analog days. They asked for a dry mix and I had to make sure they meant nothing on the master and not that I should remove any effects from the tracks. They meant just any effects on the stereo out.
J&B
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: May 2000
Posts: 21,636
Veteran
|
|
Veteran
Joined: May 2000
Posts: 21,636 |
I'd even remove the EQ, as your system may have certain characteristics that influence that when you listen to it.
Sending an mp3/wma of your mix with FX can help if you think you were getting close to how you want it.
Let him do what he does; he likely will have a better solution and having your EQ first in the chain (by virtue of it being included in the mix) may make things more difficult.
Make your sound your own!
.. I do not work here, but the benefits are still awesome
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: May 2008
Posts: 5,063
Veteran
|
|
OP
Veteran
Joined: May 2008
Posts: 5,063 |
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Apr 2009
Posts: 9,326
Veteran
|
|
Veteran
Joined: Apr 2009
Posts: 9,326 |
Floyd covered it well.
Work on getting the mix exactly like you want it for each song. Use the FX in the tracks....such as guitar EQ or reverb,,,, don't use Ozone or any other "mastering" type plugs in the master bin.... you want to get this sounding as good as possible without and "help" from ozone or waves. Be sure everything is exactly like you want..... then...export it as a wave at least -6dB or more. Ask the mastering house what they prefer to work with.
They will handle the rest of the job..... getting the song levels to a respectable level between each song....EQ.... compression..... be sure of course to listen to their work on a good sound system that YOU will be using. It's one thing to hear the mix as Floyd said in their super duper tuned room ...... and another to listen to their work on your home system.
I've heard some so called professional mastering jobs that plain out and out were horrible. Over compressed to the max, EQ off..... not worth the time or the money.
On the do-it-yourself approach.... mix and master normally as you would do. Load them all up on a CD in the order you want.... carry the CD or play list with you and listen. Make notes.... song 3 is too low..... song 6 is a bit too hot coming from song 5....It is real easy to change the levels of the songs with a dB increase or decrease without using compression to get there. Also listen to the EQ of the songs.... be sure the lows and highs and everything else is really close to the same.... make the appropriate changes. Your goal is to make it sound like all the songs were recorded in the same studio and at the same time frame, with the same players.
Placing a mastering compressor in the final output (master buss) will allow you to apply the same overall compression to the entire project. This would be the final step. Do not over compress as many are tempted to do at this point to make it just a tiny bit "louder"..... because louder is better sounding..... leave the dynamics in the songs as much as possible.
That's essentially what the mastering house is going to do.
Last edited by Guitarhacker; 07/27/15 02:47 AM.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
|
|
|
|
|
|
|
|
|
|
|
|
|
Recording, Mixing, Performance and Production
|
Joined: Dec 2013
Posts: 954
Expert
|
|
Expert
Joined: Dec 2013
Posts: 954 |
Excellent insights from you Heavy Hitters!
|
|
|
|
|
|
|
|
|
|
|
|
Ask sales and support questions about Band-in-a-Box using natural language.
ChatPG's knowledge base includes the full Band-in-a-Box User Manual and sales information from the website.
|
|
|
|
|
|
|
|
|
|
|
User Video: Next-Level AI Music Editing with ACE Studio and Band-in-a-Box®
Band-in-a-Box® 2024 German for Windows is Here!
Band-in-a-Box® 2024 für Windows Deutsch ist verfügbar!
Wir waren fleißig und haben über 50 neue Funktionen und eine erstaunliche Sammlung neuer Inhalte hinzugefügt, darunter 222 RealTracks, neue RealStyles, MIDI SuperTracks, Instrumental Studies, "Songs with Vocals" Artist Performance Sets, abspielbare RealTracks Set 3, abspielbare RealDrums Set 2, zwei neue Sets von "RealDrums Stems", XPro Styles PAK 6, Xtra Styles PAK 17 und mehr!
Paket | Was ist Neu
Update Your PowerTracks Pro Audio 2024 Today!
The Newest RealBand 2024 Update is Here!
The newest RealBand 2024 Build 5 update is now available!
Download and install this to your RealBand 2024 for updated print options, streamlined loading and saving of .SGU & MGU (BB) files, and to add a number of program adjustments that address user-reported bugs and concerns.
This free update is available to all RealBand 2024 users. To learn more about this update and download it, head to www.pgmusic.com/support.realband.htm#20245
The Band-in-a-Box® Flash Drive Backup Option
Today (April 5) is National Flash Drive Day!
Did you know... not only can you download your Band-in-a-Box® Pro, MegaPAK, or PlusPAK purchase - you can also choose to add a flash drive backup copy with the installation files for only $15? It even comes with a Band-in-a-Box® keychain!
For the larger Band-in-a-Box® packages (UltraPAK, UltraPAK+, Audiophile Edition), the hard drive backup copy is available for only $25. This will include a preinstalled and ready to use program, along with your installation files.
Backup copies are offered during the checkout process on our website.
Already purchased your e-delivery version, and now you wish you had a backup copy? It's not too late! If your purchase was for the current version of Band-in-a-Box®, you can still reach out to our team directly to place your backup copy order!
Note: the Band-in-a-Box® keychain is only included with flash drive backup copies, and cannot be purchased separately.
Handy flash drive tip: Always try plugging in a USB device the wrong way first? If your flash drive (or other USB plug) doesn't have a symbol to indicate which way is up, look for the side with a seam on the metal connector (it only has a line across one side) - that's the side that either faces down or to the left, depending on your port placement.
Update your Band-in-a-Box® 2024 for Windows® Today!
Update your Band-in-a-Box® 2024 for Windows for free with build 1111!
With this update, there's more control when saving images from the Print Preview window, we've added defaults to the MultiPicker for sorting and font size, updated printing options, updated RealTracks and other content, and addressed user-reported issues with the StylePicker, MIDI Soloists, key signature changes, and more!
Learn more about this free update for Band-in-a-Box® 2024 for Windows at www.pgmusic.com/support_windowsupdates.htm#1111
Band-in-a-Box® 2024 Review: 4.75 out of 5 Stars!
If you're looking for a in-depth review of the newest Band-in-a-Box® 2024 for Windows version, you'll definitely find it with Sound-Guy's latest review, Band-in-a-Box® 2024 for Windows Review: Incredible new capabilities to experiment, compose, arrange and mix songs.
A few excerpts:
"The Tracks view is possibly the single most powerful addition in 2024 and opens up a new way to edit and generate accompaniments. Combined with the new MultiPicker Library Window, it makes BIAB nearly perfect as an 'intelligent' composer/arranger program."
"MIDI SuperTracks partial generation showing six variations – each time the section is generated it can be instantly auditioned, re-generated or backed out to a previous generation – and you can do this with any track type. This is MAJOR! This takes musical experimentation and honing an arrangement to a new level, and faster than ever."
"Band in a Box continues to be an expansive musical tool-set for both novice and experienced musicians to experiment, compose, arrange and mix songs, as well as an extensive educational resource. It is huge, with hundreds of functions, more than any one person is likely to ever use. Yet, so is any DAW that I have used. BIAB can do some things that no DAW does, and this year BIAB has more DAW-like functions than ever."
|
|
|
|
|
|
|
|
|
|
|
|
Forums66
Topics81,648
Posts735,430
Members38,526
| |
Most Online2,537
Jan 19th, 2020
|
|
|
|
|
|
|
|
|
Dansk
Deutsch - Windows
Español
Français - Windows
Italiano - Windows
Nederlands
Polski
Português
Svenskt
русский
Japanese
Simplified Chinese
Traditional Chinese
Korean