Advice on a Mastering dynamic controller...

[cojo67]

I'm definitely NOT a mastering engineer, but I would like one good tool to use in order to control dynamics in my final mixes during mix down. Many of my clients don't have the money to spend on a mastering engineer, so I would like to be able to do a "mock mastering" job myself.

First question, on the master outs, would it be better to use a limiter or a compressor?

Secondly, and more specifically, which unit would work better? Universal Audio 2-1176, or the UA 2-LA-2 or the Dual LA-3A? And if you can, why it would work better than the others?

Thank you for your help

[wado1942]

I wouldn't use anything during a mix personally. It's a sure fire way to ruin an otherwise good mix or learn bad habits. Now, if you want to apply compression in a second pass, that's cool. If you're looking to do quickie, pseudo-mastering, I'd suggest an RNC 1773. They're cheap and sound decent.

[cojo67]

I think I know what you are saying, and yes, I would mix everything first, then take that audio file and play it through the stereo compressor in order to get good dynamic control on the song.

[Adam Dempsey]

Originally Posted by cojo67

I'm definitely NOT a mastering engineer, but I would like one good tool to use in order to control dynamics in my final mixes during mix down. Many of my clients don't have the money to spend on a mastering engineer, so I would like to be able to do a "mock mastering" job myself.

First question, on the master outs, would it be better to use a limiter or a compressor?

Secondly, and more specifically, which unit would work better? Universal Audio 2-1176, or the UA 2-LA-2 or the Dual LA-3A? And if you can, why it would work better than the others?

Mastering does not equal compression.
If it helps the mix, compress for the sound of compression, but not for loudness.
All compressors sound different, due to design, transformers, tubes, VCA, variable ratio with input level, etc... There is no one good tool to use to control dynamics with all mixes.
No peak limiting on the master buss, other than for a "mock mastering" job (provided clients are aware that's what it is).
Always keep a mix version without such master buss processing – that will a be service you'll be thanked for when (not if) a client takes their project to the professional mastering stage.

[Adam Dempsey]

It might also be worth a quick look at this recent thread for an idea of the extent of the 'rules' and how often they can be broken – with experience.