Your ITB Mastering chain. Facts only.

[Filthrill]

Originally Posted by j-madd

I think I'm about to start using the toontrack ezmix mastering plugin. Crap I can just hit one of the presets and call it a day!

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I ain't gonna lie man. I've used Ozone 4's presets on quite a few occasions when I was in a hurry & it worked out great. Just clicked thru them til I found the one that sounded great (a lot of the presets sounded great) & printed it as a "mastered" version. Sometimes staying ITB is the way to go as opposed to proper mastering. Of course, this is when you're in a real time pinch. Has a certain edge to it.

[_Haarp]

Sonnox Limiter and a cherry.

[PaRaNoId]

My last ITB master signal chain-

-source was mixed through analog summing and an analog buss compressor (Cham Labs 7720) getting 3-5dbGR, and very slightly clipping A/D converter when returning mix to Pro Tools...then-

1) VOXENGO Marvel EQ (linear phase EQ, tiny adjustments (1-2dB))
2) WAVES linMB (linear phase multi-band, to compress under 100hz a bit)
3) VOXENGO Elephant (In clip mode, getting 1-3 dbGR)
4) UNIVERSAL AUDIO Pultec Pro ("color" EQ, and restoring balance after clip)
5) WAVES L2 (final limiter, getting under 3dB)

The resulting sounded very loud, clear and definitely "better" in every way, when compared (even volume-matched) to the source...The first rule- DO NO DAMAGE! The key here is small changes in many steps, great monitoring and a clear mindset....

[Filthrill]

That's a pretty powerful ITB mastering chain if I do say so myself. Good call on the Pultec Pro. I used Waves PuigTec in parallel a few times in mastering to add a lil' color to a mix that was a lil weak. It did the trick.

Minds are open on this thread!

[Laurend]

Nice to read here all the shared dirty little secrets. But most looks like self finalising receipts than real mastering solutions.

[Filthrill]

Originally Posted by Laurend

Nice to read here all the shared dirty little secrets. But most look like self finalising receipts than real mastering solutions.

Of course. I'm all in favor of "real mastering." A skilled ME w/ only a handful of plug-ins will still do a way better mastering job than someone who is just mediocre w/ a handful of top analog gear. I've witnessed this fact on many occasions. There are lots of real mastering studios that aren't that good..

[tablo]

1) DMG Equality (Minimal phase; sometimes analog phase)
2) Waves De-Esser (not always)
3) Waves API-2500
4) iZotope Ozone 5 Maximizer
5) GClip (15% softness, I think there are better soft clippers out there though)
6) Waves De-Esser (if the mix gets sibilant because of clipping)
7) DMG Equality (high-shelf cut the treble)

[thedigitalgod]

Originally Posted by Laurend

Nice to read here all the shared dirty little secrets. But most looks like self finalising receipts than real mastering solutions.

such irony

[work2do]

Originally Posted by tablo

1) DMG Equality (Minimal phase; sometimes analog phase)
2) Waves De-Esser (not always)
3) Waves API-2500
4) iZotope Ozone 5 Maximizer
5) GClip (15% softness, I think there are better soft clippers out there though)
6) Waves De-Esser (if the mix gets sibilant because of clipping)
7) DMG Equality (high-shelf cut the treble)

Looks as if you are creating the problems then fixing them. A mix that needs all that in the mastering stage needs to be mixed again IMO.

And you still have to limit it again at #8.

[trakslasha]

1. Fab Filter Pro-Q
2. Waves SSL Comp/ Elyssia Master
3. Waves Center/ DrMs
4. Waves kramer Tape/Waves NLS Buss
5. Fab Filter Pro-L/ Waves L316

[Scott003]

There is no absolute answer, but I usually put the polish on with a cla2a or 3a, sometimes sweeten with one of the abbey road brilliance plugs. Sometimes a brainworx eq if more shaping is needed. I find most of the time a cla will balance tone with dynamics.

[Scott003]

Originally Posted by Filthrill

That's a pretty powerful ITB mastering chain if I do say so myself. Good call on the Pultec Pro. I used Waves PuigTec in parallel a few times in mastering to add a lil' color to a mix that was a lil weak. It did the trick.

Minds are open on this thread!

Interesting, how does that work exactly? What sorta settings do you use/ how is it different from just using a very mild boost/ cut?

[ultra171]

1) Nebula 5088 (Neve 5088 console)
2) Nebula Doc Fear (D.W. Fearn VT-4)
3) Nebula Boeing 747 (Avalon 747, make it sing..)
4) Nebula NAG 30ips (some high end tape machine, modern sounding)
5) Nebula Mammoth (Manley Massive Passive)

Usually no EQing needed

[Philosopher]

1. SONORIS Mastering EQ
2. SLATE DIGITAL Virtual Tape Machines
3. SLATE DIGITAL FG-X (level only)

[tablo]

Originally Posted by work2do

Looks as if you are creating the problems then fixing them. A mix that needs all that in the mastering stage needs to be mixed again IMO.

And you still have to limit it again at #8.

Where am I creating the problems? I don't use the de-Esser usually.

[Laurend]

Originally Posted by tablo

6) Waves De-Esser (if the mix gets sibilant because of clipping)

Avoiding any clipping is the best answer to this issue.

[Subaquaria]

I'm an aspiring ME and have been shocked by this combo.
Softube Trident A-Range and FET Compressor(rewired from Reason 6.5)
Slate VTM
Chandler EMI Abbey Road Mastering Pack
Slate FG-X
Sometimes Harrison Mix Bus

[greggybud]

Originally Posted by thedigitalgod

such irony

yes!

Blame this on the power of marketing. And now more recently user disclaimers saying something to the effect of 'this is for demos' or 'i realize this isn't pro mastering.'

There is nothing wrong with a home brew. But a lot of these ingredients have a much greater potential to screw things up as opposed to making them better. I'm a true believer this parallels user experience.

Question: For anyone using anything 'multiband' on a regular basis, why do ME's normally not use multiband? Is the answer because they got "the good hardware, monitoring and audio environment?" Since a home brew is all or mostly software does multiband somehow magically make up for the lack of good hardware?

I know a lot of commercial ME's that are using some of this same software when they have over 100k in hardware and equivalent high end tools at their disposal. Most of them however tend to use what they are comfortable with and have learned to know over many years.

Bruce uses a Harrison. Bob, Greg, Brian, Doug...if they ever thought a Harrison was needed, they would call someone like Bruce. It's a mix issue, not mastering.

I apologize for sounding pious, but some of these lists are comical.

[greggybud]

Originally Posted by ultra171

1)
3) Nebula Boeing 747 (Avalon 747, make it sing..)

I have never used Nebula. But at home I have an Avalon 747. So in the MASTERING process, just how does this tool "make it sing?" Wait...maybe I need a second one to make it stereo

[ultra171]

Originally Posted by greggybud

I have never used Nebula. But at home I have an Avalon 747. So in the MASTERING process, just how does this tool "make it sing?" Wait...maybe I need a second one to make it stereo

Well, at first I wasn't too impressed by it.. you just have to crank the setting just right to find the sweetspot (usually ~2 dB of gain reduction, 180-300 ms release, depending on the material of course). I love it mostly because of the tone and the firm, detailed low end.

When working on acoustic/beatless material, I usually use the Neb VM-Comp (Manley Vari-Mu). It's just really coloured (high end gets about a 2 dB boost), so it doesn't suit everything. When it does, it sounds great.

Sometimes I use Struder A81 instead of the NAG, but usually the NAG sounds better, more modern.

[TimDolbear]

Originally Posted by Fabmaster

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

Fab

Originally Posted by dcollins

While mostly OTB, I find that chain very common here. Maybe 50% of the time I have the second EQ in. 20% the compressor, maybe less.


DC

Yes. each project is different, but I will start with this. Less is more. I would like to keep the integrity of the original mix, if the mix is good. But just adding 6 different things just because thats what you do is not my style. Simple and pure.

[Scott003]

Originally Posted by TimDolbear

Yes. each project is different, but I will start with this. Less is more. I would like to keep the integrity of the original mix, if the mix is good. But just adding 6 different things just because thats what you do is not my style. Simple and pure.

Exactly. Should be purpose driven, and just a final polish. Anybody do anything specific for digital (on the computerz) release? (assuming that's the distribution medium). It seems to me the new boom box is YouTube/ smart phone, interesting end game ha

[TimDolbear]

Originally Posted by Scott003

Exactly. Should be purpose driven, and just a final polish. Anybody do anything specific for digital (on the computerz) release? (assuming that's the distribution medium). It seems to me the new boom box is YouTube/ smart phone, interesting end game ha

Yep, But I really try not to think about it...and just make the best sounding possible. The mediums will change it, kinda always has been like that.. LP VS Cassette sounded totally different...

All my releases that I have mastered are done ITB. Mixing here is hybrid analog/ITB. And I have stuff out on the radio all over the world. More and more the releases are for digital only release.

[Filthrill]

Originally Posted by TimDolbear

Yep, But I really try not to think about it...and just make the best sounding possible. The mediums will change it, kinda always has been like that.. LP VS Cassette sounded totally different...

All my releases that I have mastered are done ITB. Mixing here is hybrid analog/ITB. And I have stuff out on the radio all over the world. More and more the releases are for digital only release.

You're totally right. Especially if u have a client who has a really tight mastering budget (of course some don't have one at all) the last thing you want to do is go all out & use all of your analog gear w/ all the patching, filling out multiple recall sheets & all that with the time that goes along w/ it also. Just do it ITB man. Think "recalls being simple". Mainly save the full-on mastering for clients who can actually pay for that unless you have a personal desire or reason to justify going all out on their project.

[greggybud]

Originally Posted by ultra171

Well, at first I wasn't too impressed by it.. you just have to crank the setting just right to find the sweetspot (usually ~2 dB of gain reduction, 180-300 ms release, depending on the material of course). I love it mostly because of the tone and the firm, detailed low end.

Is the Nebula version of the 747 2 channels? Or do you set up 2 Nebulas, right and left to compress?

I really like the Avalon, and use it for many chores at home, but have never considered it for mastering because it's a mono unit.

[DrAudioBot]

The order varies, but often looks like this:

1. TB Reelbus (Not always, but often rounds off or enhances in a pleasing way)
2. TB Equalizer (Perfect first EQ for me, with M/S/L/R per band and analyzer)
3. MStereoProcessor (Multiband stereocontrol and exciter like in Ozone. Used gently)
4. PSP Oldtimer ME (Almost always sounds good and musical to me)
5. MDynamic EQ ("After compression EQ" with dynamic function for de-essing or enhancing/expanding a band)
6. MDynamicsLimiter (Tried most, staying with this one)
7. Airwindows Dither

[thehightenor]

Sonoris Mastering Compressor

TC MD3 EQ

TC Brickwall Limiter (what else is there :-)

If I've recorded and mixed the tracks then "one" mastering chain will most definitely work for all the tracks on the album.

tht

[wcb123]

Originally Posted by dropd9

ok I'll bite...

SADiE 6 Native and the occasional use of the bundled Prism and/or iZotope plugins>

(in no particular chain or order)

Sonnox: Inflator, Limiter, Supressor
Sonoris: Mastering EQ, Mastering Compressor
Voxengo: Elephant, R8BrainPro, MSED
PSP: Old Timer
Cytomic: Glue
Algorithmix: reNOVAtor, PEQ Classic Blue, K-Stereo
RNichols: Inspector
Fabfilter: ProG, ProC

Why why why are you using a gate on the mb?



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[ultra171]

Originally Posted by greggybud

Is the Nebula version of the 747 2 channels? Or do you set up 2 Nebulas, right and left to compress?

I really like the Avalon, and use it for many chores at home, but have never considered it for mastering because it's a mono unit.

Yeah, it's apparently the VT-747SP, which is stereo. I'd choose this over the TC Phoenix any day, which I really wanted to like, but what was quite a disappointment for me (these are Nebula versions of course, not exactly the hardware).

[Rudiger]

I only master sets of songs. My mixes are masters only peaking at around -10dBfs.

If I need a "one song album", I'll print a different version of the mix with master buss dynamic processing (usually just soft limiting).