Having Mixes Squashed During Mastering

Drzayuss · 11th September 2005

Hello Michael, thanks again for moderating the forum. With records being mastered louder and louder these days, do you find yourself compensating for the sonic changes the massive amounts of "brickwall limiting" may make to your mix? If so, what are some effective general mixing strategies that can better insulate the sonic properties of a mix from the effects of extreme 'maximisaition' at mastering?

Thanks,

Justin

Michael Brauer · 16th September 2005

It’s simple, Justin, I don't abide by it. I insist on choosing the mastering engineer. My choices (Chris Athens, Greg Calbi, Ted Jenson, George Marino) are all at Sterling Sound or I use Ludwig. They'll get it loud but keep it musical.

I really hate the fact it's ok now for a mastering engineer to dictate to me how a mix should sound. I'm noticing there's now an “acceptable” amount of digital distortion allowed. What the fu*k Tony? The guys at Sterling all do my mix justice. It's not ok to turn my mix into what is essentially the dynamics of steady tone.

I had to vent, I feel good now.

Ok, that’s not all. Let me get back to your question. The advantage of Multi buss compression is that it helps give you a perceived increase in dynamic level. About all we have left now is about three db of dynamic level to play with but I can get it to seem like more. Did I say three db?, hah!! on a good day, if nobody’s paying attention!

So, if you want to insulate yourself from becoming steady tone, don’t make your mixes overly dynamic. Ten db isn’t going to fly very well. That much dynamic range sounds terrible on radio by the way. Let’s say you have a mix that has a really quiet verse and it goes into a stupid loud chorus and you’ve got at least a 10 db. dynamic change from verse to chorus. What happens on the radio is the compressors will bring up the level of the verse so that it’s reading “0”. Then, when the chorus comes in, the compressors kick it back down 10 db to keep it at “0” and your left with a teeny weenie little sounding rock mix on the radio. And you're gonna get teeny weenie little compliments from it.

11th September 2005	#1
Drzayuss Gear nut Join Date: Apr 2005 Posts: 77 Thread Starter	Having Mixes Squashed During Mastering Hello Michael, thanks again for moderating the forum. With records being mastered louder and louder these days, do you find yourself compensating for the sonic changes the massive amounts of "brickwall limiting" may make to your mix? If so, what are some effective general mixing strategies that can better insulate the sonic properties of a mix from the effects of extreme 'maximisaition' at mastering? Thanks, Justin

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16th September 2005	#2
Michael Brauer Past Guest Moderator Join Date: Sep 2005 Location: nyc Posts: 222	It’s simple, Justin, I don't abide by it. I insist on choosing the mastering engineer. My choices (Chris Athens, Greg Calbi, Ted Jenson, George Marino) are all at Sterling Sound or I use Ludwig. They'll get it loud but keep it musical. I really hate the fact it's ok now for a mastering engineer to dictate to me how a mix should sound. I'm noticing there's now an “acceptable” amount of digital distortion allowed. What the fu*k Tony? The guys at Sterling all do my mix justice. It's not ok to turn my mix into what is essentially the dynamics of steady tone. I had to vent, I feel good now. Ok, that’s not all. Let me get back to your question. The advantage of Multi buss compression is that it helps give you a perceived increase in dynamic level. About all we have left now is about three db of dynamic level to play with but I can get it to seem like more. Did I say three db?, hah!! on a good day, if nobody’s paying attention! So, if you want to insulate yourself from becoming steady tone, don’t make your mixes overly dynamic. Ten db isn’t going to fly very well. That much dynamic range sounds terrible on radio by the way. Let’s say you have a mix that has a really quiet verse and it goes into a stupid loud chorus and you’ve got at least a 10 db. dynamic change from verse to chorus. What happens on the radio is the compressors will bring up the level of the verse so that it’s reading “0”. Then, when the chorus comes in, the compressors kick it back down 10 db to keep it at “0” and your left with a teeny weenie little sounding rock mix on the radio. And you're gonna get teeny weenie little compliments from it.