Your ITB Mastering chain. Facts only.

[huejahfink]

Although it does vary from project to project, these are definitely some plugin staples in chain order....

TC Dynamic EQ (for solving any unruly resonances, sibilance etc if nec.)

TC MD3 : EQ section
& / OR
Algorithmix RED EQ
(I don't tend to use RED in the lower register too much. They are both clean sounding EQs but certain boosts or cuts can sound better in one or the other depending on the material.)

Waves C1-SC (as a gentle upward comp)
& / OR
Slate FG-X (often just as a gentle expander only, but sometimes as a comp too)

Fabfilter Pro-L
OR
Voxengo Elephant
OR
TC Brickwall Limiter
(Choice of limiter generally depends. Pro-L seems to be getting most of the work at the moment. But sometimes I would use two - for example, Elephant with a soft knee and a healthy bit of release time first for more of a light leveller followed by TC's BWL to catch the odd peaks.)

There's much more left in the bag, but these are seeing a lot of action these days.

Oh... and Izotope RX2 for final touch ups, glitch removal if necessary - but almost always final SRC (if necessary) and dithering to 16bit is done here.

[Laurend]

Exciter
32 band de-expander
Limiter

Proprietary algorithm everywhere and close interaction between every stage. More than 100 parameters are signal dependent.

[Slug1]

Usually:
UAD2 Fairchild 670
UAD2 Massive Passive Mastering
UAD2 Studer (30ips, GP9)
PSP Xenon Limiting (sometimes Flux Pure or ProL)
Ozone Mid-Side EQ and dithering

Sometimes (rarely) just all Ozone processing.

[Virtalahde]

Originally Posted by Laurend

32 band de-expander

It hurts my head when I even try to think what this does. What goes in, comes out?

[dcollins]

Originally Posted by Virtalahde

It hurts my head when I even try to think what this does. What goes in, comes out?

More comes out than goes in. No, wait, it's a de-expander.

So maybe it's less?

Hope this helps!


DC

[Cegor]

Q1 to roll off the bottom end
SSL Compressor
Lin Broadband Eq
Ozone for the harmonic exciter
RSO Extreme Warmth - Love this one
L2

Still working out my own method. Threads like these give me plugins to google lol

[Virtalahde]

Originally Posted by dcollins

More comes out than goes in. No, wait, it's a de-expander.

So maybe it's less?

But that would make him Minimal Sound Mastering.

[Laurend]

Google may help you.

[Ben F]

Originally Posted by Virtalahde

It hurts my head when I even try to think what this does. What goes in, comes out?

For 5 euro you can find out...

Beer...mmm...no, mastering

[SASMastering]

edited

[Jerry Tubb]

Originally Posted by Factorysounds

I invite you to show your ITB mastering chain.

"What's your favorite plug-in?" threads pop up almost daily here on GS.

I don't remember the last time I kept it strictly ITB.

but if I did... would consider using these tools, as needed:

Sonnox SuprEsser for DeEssing, or other peaky vocal control.

Spitfish is also does a nice job of DS'ing, for freeware that is.

Dave Hill's Crane Song Phoenix for a little analog tape simulation (TDM only).

Flux EPure II, PSP Master Q, or Sonic EQ for EQ

PSP Xenon as a limiter.

Sonic NoNoise II for restoration work.

RX2 for spectral editing.

I've eliminated the use of ~any~ Waves plug-ins due to their various objectional policies.
(although their classic Ren stuff still works pretty well)

The thing that's always been missing from the list is a good iTB broadband compressor,
never heard one I liked, except maybe UAD's version of the Fairchild 670.
That said, I haven't actually tried the SuprEsser in broadband mode.

Never been a fan of any ITB/OTB digital multi-band compression.

During 2012 I'll be looking to update all the plugs in my "pitching" DAW to 64-bit processing only,
which may require a revision of the list.

Best, JT

[johnjogurt]

Originally Posted by superwack

The BEST, simplest, and most effective ITB mastering chain I've ever used was...

DAW > FTP > PRO Mastering Engineer

works wonders !

[johnjogurt]

i tend to use :


brainworks vertigo, uad neve 33609, uad fatso, neve 88 chan strip, elsya mastering comp, api 2500, psp master compresor, psp oldtimer
uad manly massive passive, pultec eq, precision eq
uad precision maximiser, Studer A800 tape simulator, uad limiter
nebula, ozone harmonic exiter
uad roland dimenision d


i tend to think this way:
eq lowend (somethimes, it depends on a mix; the great mixes are ones that don't need eqing the lowend, or just a little , of just tightening)
little bit of compression 1/2 dbs;
then paralel compession with warmth (tape simulator, pultec etc for colour)
then sidechaning the whole mix with a hp filter and a compressor(for punch)
then sidechaning the whole mix with a lp filter and a compressor(for clarity)
then soft clip compression/peak comp
then deal with transients, widening/narowing and dimension
then another eq( for optional brightening and sweatening)
then maximising, and harmonics
finally limiting
dither

if you mix itb, using only soft synths and have no recorded material at all in your songs , my advice is to always pay a ME to master it OTB!!!

i never do a itb master for my songs(for electronic music), never!

you can get the best master from a really good balanced, not overcompressed, tight and separated MIX.

if i'm forced to do an itb master, i tend to do as little as possible processing as i could.

the chain is always different, it depends of a material, sometimes i use only one compressor then maximiser then limiter, sometimes no compression at all, sometimes im using mulitibend compression( only when mix i bad; i tend not to use multibend compression, or to use it slightly), etc, etc

the 4 bigest things you should know about mastering are:

1)try not to master something that you mixed( mastering is essentially paying money for a pair of extra ears!);

2) try not to master in the same room where you mixed;

3) fix everything in the mix, not on the master( u could try to do a master, than find whats wrong, go back to the mix, correct it , then do a master again);

4) the most important tools for mastering are good threated room and good pair of mastering monitors, NOT THE PLUGINS;


hope this threet helps..

[Wave theory]

Originally Posted by dcollins

But that's the thing. I get mixes of all types, and have rarely felt the need for even four things in the path, let alone 40.

Maybe I'm just slow to get with the program?


DC

Or maybe you listened to the song first and decided that's all it needed... What a concept.

[jruberto]

I usually use this chain

mix -> send to pro ME -> say "wow that sounds great"

But when pressed into service as a ME (which i'll only do grudgingly and with many warnings because i just can't do it as well as a pro -- not that it isn't pleasant work) it's often something like:

1 corrective EQ / subsonic hygiene (if needed, usually)
2 a bit of compression (sometimes)
3 sweetening EQ (usually)
4 a bit more compression (often a "color" comp)
5 mid-side EQ (often)
6 brickwall peak limiter (sadly, just about always)

It's hardly ever all of these and not always in that order. The fewer plugs the better -- the amount of processing applied is inversely proportional to the quality of the mixes.

Also any number of other things if the material "wants" it. I'll rarely use a multiband comp, never use an "exciter" or "enhancer", sometimes parallel comp, de-ess if needed, sometimes a reverb is just the thing, but mostly i just shut off the screen and listen, make a few notes, tend to them & repeat. Also send the mixer back to the drawing board if there are egregious mix errors.

I've found that I get better sounding results using several comps gently rather than slamming the b'jeez out of one unit.

[Laarsø]

I love the new look of the background, all matte.

Anyway, the 5-band de-expander was explained to me thus: Broad-band, there is expansion goink on all the time. But you can nix that. Here and there, in up to five qualitied regions you can say, stop expandink this. Keep it more like how it used to be, in terms of crest, slew, and recovery. I forgot all knobs he ched on this box, but it was like cross between GML, Sontec, and Flickinger channel strip dynamics option. All Alps continuous, but to change things you don't normally see, and I don't mean Funk Logic or Dave's funny custom switch. More Thrust, or was this root2? Oh, yes Phi.


Laarsø,
Cheersø

[DamZ]

keeping the fact that hardware is hardware and WE know, i noticed a bit of time ago that some plugs, maybe eq also, can damage dynamics, especially working in high digital dbsf like in daw mastering. An old guy told me that waves plugin have got dither also for 24bit process just like for this purpose. TDM technology provides stable dynamics, also cause is used in the HD environment, which has got
sayin that i dont like waves limiter, this is mostly my chain when ITB:

1) linear phase eq, got psp neon hr and his quite great. FabFilter Pro-c can be better cause it permits linear and non linear eq'in. Linear phase sometimes carries to over-eq.
2) some parallel FX if needed, maybe lexicon pcm vst or a maserati drum (i use it in send on dance dark tracks to make them more brillant)
3) stereo image. brainworx or ozone stereo imager or a an eq in MS
3) compressor. here i use some. a lot of times the Manley Slam! convolution on a liquid mix. the common thing here is that if i have to use a lot of GR, i will use more compressors in chain instead than only 1 working hard. always for the dynamic thing...
4) color eq. u know..
5)ozone limiter with mbit+ dither

my 2 cents

[electricthing]

Originally Posted by Jerry Tubb

(ca. 1994)
Waves Q10
Waves C1 & and Richarde MDT
Waves S1
Waves L1
All in Sound Designer II
And burned with MasterList CD.
Thank Goodness those days are long gone...

JT

Hi,

I used Q10 one time on the mixbus and that track turned out way too soft compared with the tracks before that (I am not a pro, just finishing my songs and remixes myself). When reading in the waves RenEQ manual I found something about it, stating that the RenEQ can handle more input than the Q10 and therefore is better for the mainbus.
I prefer the sound of Q10 on the mixbus but couldn't get the gain right so I'm back to RenEQ (my options are limited)
What's you're idea about this? Or do you have a way of dealing with it?

regards

[Jerry Tubb]

Originally Posted by electricthing

Hi,

I used Q10 one time on the mixbus and that track turned out way too soft compared with the tracks before that (I am not a pro, just finishing my songs and remixes myself). When reading in the waves RenEQ manual I found something about it, stating that the RenEQ can handle more input than the Q10 and therefore is better for the mainbus.
I prefer the sound of Q10 on the mixbus but couldn't get the gain right so I'm back to RenEQ (my options are limited)
What's you're idea about this? Or do you have a way of dealing with it?

regards

Hi,

Yeah the Q10 was notorious for overloading and clipping with that full scale THWOK sound. Lowering the input would help. It was the first 3rd party plug-in back in '93, so many of us used it for awhile.

IME the Ren EQ sounds much better (hi-res) and is more intuitive to use.

There are so many high quality digital EQ choices now, that you might want to demo.

Best Regards, JT

[electricthing]

Originally Posted by Jerry Tubb

Hi,

Yeah the Q10 was notorious for overloading and clipping with that full scale THWOK sound. Lowering the input would help. It was the first 3rd party plug-in back in '93, so many of us used it for awhile.

IME the Ren EQ sounds much better (hi-res) and is more intuitive to use.

There are so many high quality digital EQ choices now, that you might want to demo.

Best Regards, JT

Hi, thanks for your reply,

I have to stick with what I have now, and found that the Q10 brings me more clear vocal tracks then the RenEQ with about the same cuts and boosts.
So I'll check that out on other sort of tracks and keep RenEQ on the mainbus with just a bit of tweaking.

Regards

[diogo_c]

ITB mastering chain? This is all you need!

[jruberto]

Originally Posted by diogo_c

ITB mastering chain? This is all you need!

Now you can listen what you expect!

[Laurend]

Originally Posted by diogo_c

ITB mastering chain? This is all you need!

I've spent few hours demoing this software. I never obtained the sound I expected.

[Ben F]

Originally Posted by diogo_c

ITB mastering chain? This is all you need!

How about those fake "Five star" awards!

[j-madd]

Waves SSL EQ
+/- Ren EQ
H Comp (lightly for parallel Compression maybe 30%)
+/- (usually minus) Flux stereo tool
L2
Elephant then dither

Thats typically what is or is not in my chain.

Justin

[Kayo]

Originally Posted by Fabmaster

One EQ followed by one limiter is all I need (most of the time).

Fab

Sometimes, it's exactly and actually just that!

KAyo

[hank alrich]

Originally Posted by CJ Mastering

+1 as I agree with Greggybud. These threads are usless in my opinion. Every song will need a different mastering chain.

Chains for some, whips for others.

[LeibnizLover]

Originally Posted by yllet

I often find Nebula r2r or Waves mpx (minimum input gain) useful on the 2bus when dealing with digital sounding mixes. Other than that I like Elysia alpha (just started to dig into it) if compression is needed, maybe 1-2db gain at most. The soft clipping section is just gr8 btw! Cuttertone is real nice when you want to deal with high freq peaks and soften the mix. Any limiter will do most of the time as well as eq when needed.

/Jon

just curious which r2r programs on the masterbus you are liking most, and for what genre. have you ever used the tapebooster on it too?

[mattg082]

I'm not a pro at mastering...but I keep it simple.

Fab Filter eq(or dmg equality)
PSP Noble(for color)
The Glue 1-2 db compression, Sometimes side chain the bass or most dominant low end and use the hpf on the glue around 200hz, but it varies.
Sonnox Limiter.

Sometimes I may use some tape sim, but I nail a lot of my mojo in mixing on separate tracks that add up. Just depends every song is different.

One thing I tell anyone, putting stuff on the 2 buss or really anything in mixing...If you don't understand what it's doing completely, then don't use it,stop and go find out! That's why things like Ozone scare me with people starting out! How the hell does one attempt to master even at a starter level, if they don't have a good concept of eq and dynamics to begin with in a mixing situation.

I won't use multibands much unless it's a remix or something I don't have stems for. Been getting into DSM from the guy who made the sonnox plugs lately and I'm really amazed. So far I'm only brave enough to use it on the guitar buss till I get some more time in with it. I'd probably only use a few of it's features on a 2 buss if I used it.

The Waves MPX is weird to me...Sometimes it;s hit or miss and you have to find it's sweet spot. It's very signal gain dependent for the final product. I'm just iffy about how much it does to the highs in a mix sometimes. Works wonders on low end though. In general screwing with the 2buss and not understanding it well, can throw an entire mix off without even knowing it. It can be dangerous territory imo.

[masteringdigital]

My ITB mastering chain is:

UAD-ATR-102 Mastering Tape Recorder (optional)
UAD-Neve 33609 Compressor/PSP MasterComp (optional)
UAD-Manley Massive Passive EQs (optional)
Tc- MD3 (most of the time)
Tc- Brickwall Limiter (most of the time)

I can do a great mastering only with the TC MD3 + Brickwall Limiter with great success!