Quote:
Originally Posted by thetalkinghead  absolutely.
to go on a complete tangent... and this may seem a very general.. but what would you recommend as the best way to learn how to master electronic dance music tracks? its a bit of a different game, is it not? |
Not really. The goal is "good sound" using the same tools as are used in any other genre - although admittedly familiarity with the typical sounds of the various sub-genres and how to get things to "thump" are generally necessary tools to have.
Quote:
|
since the goal is to have them translate to massive club systems. any general tips? perhaps always have a hi pass over 40hz?
|
What if the source track is seriously anemic in the below 40Hz "under the floor" zone where you want at least some energy to exist for a boomin' kick. Then that "default" HPF just made your master sound even thinner!
In other words: there should never be any "default" processing applied in mastering. Listen to what the source track needs in monitors and room that actually allow you to know what is truly going on and then only apply what is needed. Too much unmusical rumble shaking the woofers without actually creating any useful impact? That's the time to apply an HPF. Otherwise - most likely you should leave it off.
Quote:
|
any comps/limiters that really do the trick for a bumpin sound? im talking about tracks that are going to stay in the digital realm... not for vinyl.
|
I'd say the primary reason to compress is to glue elements that poke out over the mix in an undesirable way more into the mix. And the primary reason to limit is to increase the average level. But if these tasks aren't needed then there's no reason to apply them.
For a lot of dance tracks I handle I in fact don't apply any compression at all. Sometimes I'll in fact go the other way - with expansion on the initial transients to make things more punchy - and generally punch is a desired characteristic. Some amount of clipping rather than limiting is also one way to retain a perception of punch and snap while increasing average levels (albeit at the cost of increased distortion versus what you would get using an "intelligent" brick wall peak limitier).
Generally if you find yourself wanting to compress on dance music VCA based models set with a long attack as a starting point are the way to go as they generally can react quicker and sometimes give a desirable "pumping" sound to things.
Best regards,
Steve Berson