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Your ITB mastering chain?
Old 7th July 2019
  #1
Gear Maniac
 

Your ITB mastering chain?

I'm really proud of a new chain I have been using.

Engineer Filter
Waves V-Comp
Waves C4
Izotope Ozone 8 (Standard)

Tell me what you got.
Old 7th July 2019
  #2
For me, it depends on the project but when I work ITB I almost always use Neon HR and Stealth limiter and a very clean compressor in between, like Kotelnikov for example. Oh, and Airwindows' Notjustanotherdither.
Old 9th July 2019
  #3
Lives for gear
 
rectifried's Avatar
I’m not a mastering guy but....
Bassroom>gullfoss>Ozone8
Old 12th July 2019
  #4
Lives for gear
 

Ozone 8 Dynamic EQ >
Eiosis Air EQ >
Waves S1 Imager>
UA Shadow Hills Compressor (or Ozone 8 Vintage
Limiter>
Ozone 8 Maximizer

I’m still experimenting with various comps or
limiters placed right before the Maximizer.
And sometimes I leave the pre-Maximizer
limiters or comps out, if its spare “soft”
music based on acoustic stringed instruments.
For any genre with “rock” in the name (hard
rock, country rock, pop rock, etc.) and EDM
and urban, I have to use the pre-Maximizer
comps/limiters to get the consistent
level those genres demand. Otherwise
the clients just complain that their track
isn’t loud enough.

The Eiosis Air EQ is my go-to mastering EQ,
it is seriously precise and I can boost without
adding too much noise, its even better than
Fab Filter’s EQ and that was my mastering
EQ for a long time.

Disclaimer: I’m not a pro mastering engineer,
and would always prefer to send projects
to pro ME’s. But 99% of my clients can’t
afford an ME so they throw me a few extra
bucks and say “you do it”. Even if I’m
sending rough mixes to people, I still
“quickie master” them before sending so
I don’t get the “it’s too quiet” complaint.
Old 12th July 2019
  #5
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Hamburg58's Avatar
 

I still do not understand how people are asking about "mastering chains." The guys that I know that do it daily and for good money never do the same thing twice. Sure they have their line amps they can switch between or their compression if they need it, usually the only thing that stays the same is the capture limiter. Most guys who actually do it dont use a "chain" for everything. EVERY SONG IS DIFFERENT. You should never just put a chain up and expect it to work. I never approach it the same, I am not a mastering engineer but have done it and have done things with advice from guys from large mastering houses in la to try and achieve something presentable when I had to master for a friend.


And the Ozone stuff is a one and done shop. Its good for your rough mix to listen to for a week or so loud... If you're using Ozone to actually "master" your mixes, I think you've got the formula/idea behind mastering wrong.

Last edited by Hamburg58; 12th July 2019 at 09:34 PM.. Reason: spelling
Old 12th July 2019
  #6
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thermos's Avatar
Quote:
Originally Posted by Hamburg58 View Post
I still do not understand how people are asking about "mastering chains." The guys that I know that do it daily and for good money never do the same thing twice. Sure they have their line amps they can switch between or their compression if they need it, usually the only thing that stays the same is the capture limiter. Most guys who actually do it dont use a "chain" for everything. EVERY SONG IS DIFFERENT. You should never just put a chain up and expect it to work. I never approach it the same, I am not a mastering engineer but have done it and have done things with advice from guys from large mastering houses in la to try and achieve something presentable when I had to master for a friend.


And the Ozone stuff is a one and done shop. Its good for your rough mix to listen to for a week or so loud... If you're using Ozone to actually "master" your mixes, I think you've got the formula/idea behind mastering wrong.
Very agreed with the first point, but not the 2nd. I could definitely master with just Ozone if I had to, every processor ranges from good-excellent.
Old 14th July 2019
  #7
Lives for gear
 

Quote:
Originally Posted by Hamburg58 View Post
I've never been able to get anything loud enough with Ozone. Also never been able to get anything loud enough just ITB. It's always far short of reference material without sounding like it was smashed to bits.... Most of the guys I know who do it and have been for many years don't even use compression unless they have to.

I did an LP last year with Richard Thompson and I think we compressed on one tune. Everything else was gain staged and run through the different custom line amps of this particular mastering house to get level. I couldn't come close to that level with my fake masters for reference with any plugin, including Ozone. I did manage to setup a capture system with my B2's on another computer and did get closer.

I know many guys that do it everyday in big houses, I don't know a single one that would be happy with mastering with just Ozone if they had to. It's not made for that. It's made for ITB masters which In my mind are never loud enough, never clear enough and never good enough.
Whatever.
Old 14th July 2019
  #8
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Hamburg58's Avatar
 

Quote:
Originally Posted by Dave Polich View Post
Whatever.
Thanks for that super useful comment!
Old 14th July 2019
  #9
Lives for gear
 

Quote:
Originally Posted by Hamburg58 View Post
What are your mastering findings Dave? Do you have anything to contribute ? Or are you just going to say “whatever.” Some people are just too stubborn to experiment. Can’t teach an old dog new tricks. Plop a Ozone on their mix and be done with it. Have you experimented with mastering techniques Dave or just wtahever? Have you picked the brains of well known mastering engineers about their techniques or how they can get louder than any plugin on a master without distortion ? I do it because I love what I do. And now I remember why I haven’t posted on gearslutz in a couple of years. People like you.
I’ve mastered seven albums and around
150 songs. While I am not a professional
mastering engineer, I’ve been recording
and producing music for over three decades.
Yes I have had the opportunity many times
to converse with mastering engineers who
mastered some of my projects.

My whatever comment wasn’t so constructive,
of course. But neither was the post that I
replied to. To dismiss any software as “no good”
is the kind of post we see all too often
on Gearslutz. It isn’t the software, its the
person with the skills (or lack of skills)
using it.

Ozone 8 has a vintage limiter. Put that on
your chain before the maximizer. That is one of
the ways pro ME’s do it..use more than
one limiter. Correct that O8’s Maximizer
may not get you as loud as your favorite
super loud tracks..so put the limiter on
before it, and then the Maximizer doesn’t
have to work so hard. If you want a
list of starting parameters for the limiter
and Maximizer, PM me, I’ll be happy to
respond.

It isnt just your EQ’s, comps, and limiters
though..its also your monitors and audio
interface. And your room.And your experience.
Do anything over and over for a long time,
you’ll get good at it. Or at least you’ll
learn what NOT to do.

I suggest before you assume someone
is a know-nothing dick, you take some
time to find out more about them.

Go to my webpage. You can see my
credentials there.

www.davepolich.com
Old 14th July 2019
  #10
Lives for gear
 

Whatever.
Old 4 weeks ago
  #11
mpr
Lives for gear
 

Quote:
Originally Posted by Hamburg58 View Post
BECAUSE THEY CANT MASTER IN THE BOX AND GET THE SAME RESULTS.
I do agree but I disagree with the absoluteness of your tone. I have done some ITB mastering in a pinch and as long as you know how to preserve the tone you can produce some excellent sounding stuff. Perhaps not as alive sounding as analog masters, but certainly solid enough that many would assume were done in analog.

And this whole 'I cant get stuff loud enough in Ozone' just irks me. Yes we all use multiple limiters / clippers now when we need loud, but the best sounding records ARE NOT LOUD. If you disagree, please let me know of one and I will bring it up over here on my ATC 110s and if I hear that limiter choking the mix I will judge your ears accordingly.

Listen to the new Black Keys record. Whoever mastered this one (clearly not Lucey unless he was on drugs) just ruined the record IMO. Im hearing the limiter way more than I want to and its sapping the energy of the tunes. So sad.
Old 4 weeks ago
  #12
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RedBaaron's Avatar
My question to the guys who say they don't do mastering for a living is "why not just fix it in the mix"? Perhaps we should distinguish whether they mean effects against an already-rendered stereo file or whether they also are including Main/2-buss processing within the mix.

Personally, I always end up keeping nothing but Invisible Limiter at 16x on the Main Buss in the mix, and then only to catch the occasional errant transient. That said, I'll usually have a couple different parallel comp/sat "glue strips" that some groups get routed through...but the list and order varies and is too long to mention. Weiss and Alex B's stuff are good places to start.


I never understood putting much over the whole thing when it could be done more selectively, though. Seems to mess with the cymbals and verbs too much.

As far as a "master"? Don't need and if I did, I'd just add it to the mix. Best argument for doing "mastering" is either about cohesion among different tracks or just to have someone with better monitoring/gear/ears/experience do it for you. Adding plugins to one's own stereo mixed track after the render never made sense to me except if CPU was an issue. Problem is, whatever extra loudness you're getting in that stage is going to be more useful during the mix stage so you can adjust individual tracks as needed to compensate. So it always seems like a compromise to render and then master that vs. doing it all in the mix.
Old 4 weeks ago
  #13
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thermos's Avatar
Software takes the same experimentation you mention that hardware does. Especially with mastering. The mastering of the Richard Thompson album sounds like basically what I do when I run my hardware or ITB chain. Barely ever compress (because everyone uses 2 channel compressors) and you get level from different sources. Not just 1 final limiter doing 1,000,000 db.

More people are mastering completely ITB than we know. Glenn Schick was the 1st to be so open about it, but I know there are others. Once you figure it out, yes Ozone will do just fine. It'll sound different but it'll do.
Old 4 weeks ago
  #14
Gear Maniac
 

I write and record music as a hobby. I prefer using Ozone instead of LANDR. I think ever situation is different and an unprofessional track isn't going to benefit from mastering engineer.
Old 4 weeks ago
  #15
Lives for gear
 

I agree you cannot master your way out
of a bad mix. A well-mixed song leaves
the mastering engineer with little to do
except make it louder. I’ve had ME’s tell
me they were relieved that they had
nothing to repair.

A good mix is a function of a good arrangement,
which is a function of a well-written song
or composition.

I don’t understand why people get downright
irate about whether something is mastered
ITB or OTB. People who buy the music
really don’t care..they focus on the vocals
and whether the song relates to them.
There are plenty of hit songs that one could
argue sound “bad”. A very wise person
once said to me, “the definition of a good
song is any song you like”. I still haven’t
heard a better description.
Old 4 weeks ago
  #16
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Hamburg58's Avatar
 

Quote:
Originally Posted by Alrod View Post
I bet you charm the socks off of your customers

Seriously, your comments are rude, unnecessary, and hypocritical. You question the comment "Whatever", and then comeback with your juvenile 6th grade bully nonsense?!?

I am not impressed that Bernie Grundman lives across the street from you, but you dropped his name as if that makes you important (total fail)

Back on track... The person behind the tools makes a huge difference. Regarding the names you dropped, let me say this. Any of those people would put out a better master with software then an inexperienced engineer in the best room with the best analog gear. In fact, given their experience and documented work, they would put out a better master than you.
I do admit i came off a bit hot on my opinion. I apologize. Didn't mean to come off that way, I guess I get fired up about mastering ! I didn't make the dick comment by the way, that was Dave Polich. All I am saying is that from my experience, I could never get loud enough in the box. And loudness is definitely not the best thing for a master these days... That was just my comparison.

Most mastering guys I do know start in the box with some stuff but ultimately get it out of the box. Im just saying an all in one plugin like Ozone doesn't do it for me. Take it or leave it. Apologies again for being rude, I guess I was thinking about other things when I wrote those comments.
Old 4 weeks ago
  #17
Lives for gear
Quote:
Originally Posted by Hamburg58 View Post
I do admit i came off a bit hot on my opinion. I apologize. Didn't mean to come off that way, I guess I get fired up about mastering ! I didn't make the dick comment by the way, that was Dave Polich. All I am saying is that from my experience, I could never get loud enough in the box. And loudness is definitely not the best thing for a master these days... That was just my comparison.

Most mastering guys I do know start in the box with some stuff but ultimately get it out of the box. Im just saying an all in one plugin like Ozone doesn't do it for me. Take it or leave it. Apologies again for being rude, I guess I was thinking about other things when I wrote those comments.
Truth be told, I was being rude to you as well. My hypocrisy pretty much defeats my argument against you. I am sure you are a respectable person. Please accept my apology. I let passion for what I felt was right/wrong get in the way. I will be deleting my previous post.
Old 3 weeks ago
  #18
Most of my mastering process is done on the way in as my stereo bus processing. Using Pom's Fairchild, Curve Bender, RND MBP, Overstayer MAS, Rockruepel limit one and a Knif Soma for instance.

Once I'm in the box I might use some plug ins to match things up etc. The TDR Bundle, Sonnox stuff, Fabfilter Q3, Softube Weiss, DMG's, Acustica's El Ray + others, Fabfilter MB, Fabfilter L2, Nugen Monofilter, Nugen MasterCheck, Loudness Penalty, GoodHertz Dither.
Most of it is metering and light balancing, nothing heavy as that lifting has already been done in the analogue domain and most plugs introduce artefacts I don't like.
Some plugs blow my mind though and they are definitely improving in general imo.

Last edited by Paul_G; 2 weeks ago at 02:27 AM.. Reason: additions I forgot
Old 3 weeks ago
  #19
Gear Addict
 
Sybille's Avatar
 

Serve the song. Adapt your chain ... always.
Old 3 weeks ago
  #20
Gear Nut
 
Christopher Ridley's Avatar
 

Wavelab - Sequencing, metering, analyzing
TDR Slick EQ M - Broad EQ moves
TDR Kotelnikov GE - Bus compression and saturation
TDR Nova GE - Surgical dynamic EQ
Master Rig - Saturation and stereo imaging
TDR Limiter 6 GE - HF limiting, clipping, limiting
Bounce Boss - Upload for client approvals
Old 3 weeks ago
  #21
Gear Nut
 
mnawara's Avatar
Ozone 8 for the rough mix

For the final mix, if i will master ITB, i will use the following:
- UAD SSL G
- UAD Brainworks BX V3
- UAD Shadow Hills Mastering Compressor
- UAD API Vision 550
- UAD Precision K-Stereo (If Needed)
- UAD Manley Massive Passive
- Fab Filter Q Multiband Compressor (If Needed)
- UAD Dangerous Bax
- UAD Ampex Tape (If Needed )
- Fab Filter L2 Limiter
Old 2 weeks ago
  #22
In regards to earlier discussion about Ozone... I believe that Ozone 9 should be released, due to other things that have hit the market & surpassed its capabilities. Thus, I use other things in tandem with it. If you're not getting paid to master, then Ozone 8 alone will do just fine. If I mix my own music, I hire a separate mastering engineer... period.

Get ready for a long read... or turn away, quickly!

In December of 2018, my buddy, who owns a nice studio in Vegas, hired me to do mastering for stuff that he recorded and mixed. His reaction to ITB mastering was "wow, this sounds great!" He went to school at Fullsale, in 1999, and has nearly 30 years of experience.

I recently changed my ITB mastering chain. I always try moving things around, and I always A/B with things on/off, blindly. On a perfect mix, I literally use nothing.

Here is the my most recently saved go-to starting point chain, in Cocko's REAPER:

0) Airwindows BitShiftGain (if needed)
1) Airwindows PurestGain (if needed)
2) Soundtheory Gullfoss
3.A) Airwindows UnBox (sometimes, or 3.B)
3.B) Other plugin for harmonics (sometimes)
4) Kush Clariphonic MKII [usually] -- (rarely, Maag EQ4 used in tandem)
5) Softube Saturation Knob [usually]
6) FabFilter Pro-Q 3
7) TDR Nova GE (Sum)
8) TDR Nova GE (Diff)
9) Ozone 8 EQ [might switch to TDR Slick EQ GE]
10) Ozone 8 Dynamic EQ
11-pre) clipper, usually Airwindows ADClip7
11) Ozone 8 Maximizer #1
12) Ozone 8 Maximizer #2 [optional]
12.3) Sonnox Oxford Inflator (almost forgot to list this)
13-pre) clipper, usually Airwindows OneCornerClip
13) Ohlhorst Digital DeEdger #1 [usually]
14) Ohlhorst Digital DeEdger #2 [if needed]
15-pre-A) [optional]
15-pre-B) [optional]
15) Ozone Maximizer #3 (final maximizer)
16) Airwindows NotJustAnotherDither or NotJustAnotherCD

** 1 DMG Limitless can be used, instead of 2 or 3 ozone maximizers (but i've only spent 60 something hours learning Limitless and it seems to take a while to dial in)... it can sound more clean/transparent that the Ozone Maximizers. I would probably still use the slow Ozone maximizer, with it... if I get back into studying it.

*** Plugins that I wish I had: Soothe, DSM v3, and Weiss. Weiss seems to be in its own realm of greatness, because the algorithms of the 3 tools work in a way that pretty much automatically compliment each other.

**** ProAudioDSP DSM v3 may find its way into my chain, soon.

***** I have Elevate and EQuivicate, and they're impressively great for having tons of coloring options... but the clipper blows and I find it hard to find one good setting that is my favorite (or that is what the client wants)... and I get stuck cycling between 8 great settings & spending hours of tweaking). I think that Elevate is in its own classification of awesome sauce... but it would take tones of hours to get very good at.


done.

Additional plugins for metering/visual guides/etc, are:

17) Ozone 8 Tonal Balance
18) Mastering The Mix LEVELS
19) JS Frequency Analyzer
20) SWS extensions Loudness (replaced iZotope Insight or Youlean for analyze integrated LUFS)
21) Youlean Loudness Meter
22) iZotope Insight
23) Voxengo SPAN Plus
24) FabFilter Pro-Q 3 (calibrate/balance my headphones with a curve that matches what Sonarwoks does)
25) Sonarworks, for when on studio monitors (calibrated to my room, with their microphone)
26) Ozone 8 (for using Mastering Assistant, at several stages)

27) I turn to Waves Q-Clone, when testing things out. I may look into Plugin Doctor.


To add more details:

On channel in which stereo track is playing from:

0) Airwindows BitShiftGain (if needed, to reach -6 dBTP values)

1) Airwindows PurestGain (if needed, to reach -6 dBTP values)

2) Soundtheory Gullfoss (very minimal effect) -- [This is a new addition, I am unsure if/when it should be used, and I can easily tell that its very easy to do too much]

3.A) Airwindows UnBox (around 0.23-0.32 input, around 0.18-0.27 Unbox) -- [and/or 3.B]
3.B) Other plugin for generating harmonics, without causing aliasing from bouncing back from Nyquist.

4) Kush Clariphonic MKII (very small airband boost, wet % turned down) -- [This seems to help more than 60% of the tracks that I have mastered].

5) Softube Saturation Knob (wet % must be 100%, or Waves QClone says that it does some radically bad stuff; often better if placed before #4 , especially if highs are not preserved as clean) -- [optional, but usually works and rarely hurts]

6) FabFilter Pro-Q 3 (small bell boost at 19912 Hz or near 20 kHz, at a frequency that is in key with the track; and a sharp LPF cutoff, above 20 kHz & just a bit before Nyquist frequency (at 21,111 Hz on 44.1 kHz sample rate material), and before 30 kHz... The Ozone EQ listed below can be removed, if I add a similar curve to what MA suggests, in Pro-Q).
** [the cut below Nyquist is only necessary if the Kush MKII or maag eq4 airband boosts are used, or if other high shelf boost is used... because boosting highs causes damage to the mids & body of the track... bits within the higher frequencies become more and more narrow, so many more bits are present in highs than in lower frequencies... there are only so many bits in the audio file, and that does not change... so boosting highs causes random bits to be "borrowed" from the rest of the frequencies & mostly from the mids... thus, it causes damage... so cutting off some information before Nyquist can effectively allow airband boosts to cause their magic without "stealing bits."]

7) TDR Nova GE (Precice+ mode, Sum, 50-100% of suggested dynamic deresonanation, usually in the LF mode, but sometimes full spectrum).

8) TDR Nova GE (same as above, Diff, add HPF at 89 Hz, with cutoff slope of 120 dB/Oct... seems to be the best sounding HPF that I have heard, other god bass mono-izers that I'd recommend are from Brainworx & Nugen Monofilter).

9) Ozone 8 EQ (broad moves, use MA suggestions again & tweak to my likings... usually no more than +/0 0.5 dB gain cut/boost... change gain reduction/elevation values to at 1/6th to 1/20th of the MA's values, use mid-side mode, Sides cut again at 89 or 91 Hz, generally sides can often be dipped a tad, between 1-2.5 kHz, and again after 10 kHz... sides are also boosted with sharp bell around 110 Hz, less sharp around 137 Hz, and dips at around 200 Hz).


Then, due to CPU limitations, the rest goes on my Master Buss:

10) Ozone 8 Dynamic EQ (use MA suggestions, adjust settings so that it barely touches it: broaden Q, lessen GR, raise threshold [to a value that is closer to zero, usally about 95% of what it suggested... and frequency can be adjusted by ear; usage of static sharp bell-curve boost around 19912 Hz /w dynamic cuts [loudest signals dip it back to 0 dB], with high-shelf static cut with dynamic boost [loudest signal cause boost and quiet signals cause cut].

11-pre) clipper, usually Airwindows ADClip7 (can shape the bass)

11) Ozone 8 Maximizer #1 (IRC IV Modern, slow character, usually doing a max of 1 to 1.5 dB of GR; shapes & tames bass better than compressors have -- sounds unique... I didn't list any compressors, because of this one).

12) Ozone 8 Maximizer #2 [optional] (usually IRC IV Modern with character around 3.68 to 4.44, unless MA suggested IRC IV Classic [then, whichever sounds best is the one to use]).

13-pre-A ) clipper, usually Airwindows OneCornerClip [optional, single band, doesn't effect character]

13) Ohlhorst Digital DeEdger #1 [usually]

14) Ohlhorst Digital DeEdger #2 [if needed]

15-pre-A) Airwindows NC17 (if I want to slam it to insanity) [optional]
15-pre-B) Haven't tried out Airwindows MOJO, yet. [optional]
** these two can go after the last maximizer.

15) Ozone Maximizer #3 (final maximizer, usually IRC IV Modern and fast character, sometimes Transient)

16) Airwindows NotJustAnotherDither or NotJustAnotherCD (don't use any other dithers for your final master, but don't do any further processing after using them)





Notes:

I was using Ozone EQ & dynamic EQ first (with mastering asssistant suggestions, and then my alterations) and then using TDR Novas towards the end... and I was using Waves Maxxbass (but I figured out that it was doing damage to the bass, even at very very low levels of adding the synthetic bass frequencies). Airwindows clippers have also replaced KClip 3 Pro or Standardclip... Standardclip is good but high CPU usage & generally I can get a better sound from a combination of Airwindows clippers, with very little CPU usage. Ask Chris about his opinion on plugins that use over-sampling...

Gullfoss, SmartEQ 2, and ProAudioDSP DSM v3 are new additions (DSM v3 has not been put to use yet, but I have the demo & will live stream my testing of it... soon).

Why I don't use emulation plugins: they suck. Get over it. Don't waste your money on it. Don't make snake oil plugins that don't actually emulate hardware & mislabel it as emulations. And, stop spending all of your precious time as an audio software developer, trying to mimic hardware analog models... instead, spend the time developing plugins that sound better because of they're usage of simple and unique mathematical processes that are only possible in digital processing. Lastly, take a page out of Paul Frindel's or Chris Johnson's books, and then make your own. I have found that softube, waves, etc. all sound fairly nice for SSL/API models... but I prefer those to be used in mixing, and Airwindows Console5, Console6, and PurestConsole... pretty much blow emulations out of the water.

*EDIT* seems like Airwindows Mojo might do well as one single plugin that works fine, for some material... but its still in its baby stages.

Quote:
Originally Posted by Dave Polich View Post
The Eiosis Air EQ is my go-to mastering EQ,
it is seriously precise and I can boost without
adding too much noise, its even better than
Fab Filter’s EQ and that was my mastering
EQ for a long time.
I forgot about AirEQ, and I have it! How would you compare it to DMR EQuilibrium, TDR SlickEQ GE, and Kush Clariphonic MKII? I've found no replacement for MKII (for airband boosts), and I used to use Maag EQ4.

TDR Nova, to me, has the best sounding LPF/HPF functions... all though Airwindows Hermepass could easily be the best easy HPF (if one ignores the fact that there is no GUI or precise frequency readings).
Old 2 weeks ago
  #23
Lives for gear
 

Verified Member
Quote:
Originally Posted by Hamburg58 View Post
And the Ozone stuff is a one and done shop. Its good for your rough mix to listen to for a week or so loud... If you're using Ozone to actually "master" your mixes, I think you've got the formula/idea behind mastering wrong.
Ozone is a collection of almost everything used in mastering and then some AI type stuff for those who are attracted to that.

It has a high quality limiter, EQ with tonnes of settings per band, MB compressor, pultec type EQ, fairchild type compressor, saturation / exciter type processor, a stereo image processor with some of the best metering available without spending $$$$s, a very good dither / bit meter / DC off set module.

It's basically an entire shops worth of plugins, but because it has the AI stuff and is sold to bedroom musicians alongside pros people think it's somehow not a top quality bunch of plugins.

I never use the master assistant coz I've already got a good one in my brain, but the rest of it is very usable in a pro mastering studio.
Old 2 weeks ago
  #24
Lives for gear
Quote:
Originally Posted by theMuzzl3 View Post

** [the cut below Nyquist is only necessary if the Kush MKII or maag eq4 airband boosts are used, or if other high shelf boost is used... because boosting highs causes damage to the mids & body of the track... bits within the higher frequencies become more and more narrow, so many more bits are present in highs than in lower frequencies... there are only so many bits in the audio file, and that does not change... so boosting highs causes random bits to be "borrowed" from the rest of the frequencies & mostly from the mids... thus, it causes damage... so cutting off some information before Nyquist can effectively allow airband boosts to cause their magic without "stealing bits."]
Uh....wow.

You know bits refer to dynamic range not frequencies right?
Old 2 weeks ago
  #25
Gear Addict
 

Verified Member
I have a Cubase project template with a series of group tracks in a chain, each one containing my favourite plugins of a certain type.

ie pre eqs > tape sims > compressors > enhancers > post EQs > maximisers/limiters > dither

Each track also has a copy of oZone (now 8) there are also some reference tracks pointing to the output bus (with no processing) for me to compare with loved mixes.

This way I can quickly engage/defeat/compare various plugin chains.
Old 2 weeks ago
  #26
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johannburkard's Avatar
Quote:
Originally Posted by theMuzzl3 View Post
Ask Chris about his opinion on plugins that use over-sampling...
I've seen most AirWindows plugins alias like crazy, especially the "Purest" plugins (how ironic) so I think I know what you mean.

I've been using the following as of lately, not for flavour, but purely for clarity and volume:
  • Gullfoss
  • Waves LinEQ for DC removal (settings attached, there is a story behind those, LMK if interested)
  • Experimenting with Waves MV2 as a replacement for the Ozone 8 Vintage Limiter I was using as a leveller
  • Waves L3 -- only if I'm serious about volume, Waves L2 occasionally if I'm not
  • Ozone 8 Maximizer (IRC IV Modern, true peak mode, everything else on, occasionally Transient mode)

(Not a pro BTW)
Attached Thumbnails
Your ITB mastering chain?-waves-lineq-1.png  
Old 2 weeks ago
  #27
Lives for gear
Sonoris Mastering Compressor

DMG Equilibrium EQ

TC Electronic Brickwall Limiter

What else could one possibly need :-)
Old 2 weeks ago
  #28
Gear Addict
Quote:
Originally Posted by Hamburg58 View Post
I still do not understand how people are asking about "mastering chains." The guys that I know that do it daily and for good money never do the same thing twice. Sure they have their line amps they can switch between or their compression if they need it, usually the only thing that stays the same is the capture limiter. Most guys who actually do it dont use a "chain" for everything. EVERY SONG IS DIFFERENT. You should never just put a chain up and expect it to work. I never approach it the same, I am not a mastering engineer but have done it and have done things with advice from guys from large mastering houses in la to try and achieve something presentable when I had to master for a friend.


And the Ozone stuff is a one and done shop. Its good for your rough mix to listen to for a week or so loud... If you're using Ozone to actually "master" your mixes, I think you've got the formula/idea behind mastering wrong.
I think you're trying to be ironic and as standard practice, introduce controversy into a thread. It's safe to say one can make mention of their "mastering chain". Yes, things change and maybe introduced or pulled out for a purpose, but every ME does have base chain ...so-to-speak that they would identify themselves with.

You don't master so what entitlement allows you to say up is down or down is up with Ozone in regards to mastering?

Get a clue.
Old 2 weeks ago
  #29
Quote:
Originally Posted by scraggs View Post
Uh....wow.

You know bits refer to dynamic range not frequencies right?
Oh yeah, duh. Maybe Chris J was talking about the frequency rate? He was saying that higher frequencies take up more data, so I could have sworn he was talking about bits. They become more narrow... whatever it is, and it relates to the amount of data in the audio file.

Quote:
Originally Posted by thehightenor View Post
Sonoris Mastering Compressor

DMG Equilibrium EQ

TC Electronic Brickwall Limiter
How would you compare those 3 to other top plugins on the market, in their respective categories?

I actually have all 3 of those, but EQuilibrium is the only one that I've had time for.

Quote:
Originally Posted by johannburkard View Post
I've seen most AirWindows plugins alias like crazy, especially the "Purest" plugins (how ironic) so I think I know what you mean.
Which Purest plugins are aliasing? I haven't used the consoles yet.

He does allow some plugins to be pushed beyond breaking point (for weird people like me), but then some others are controlled by gentle roll-off's (like UnBox).
Old 2 weeks ago
  #30
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johannburkard's Avatar
Quote:
Originally Posted by theMuzzl3 View Post
Which Purest plugins are aliasing? I haven't used the consoles yet.
All of the ones I checked. Easy to test, too. Just generate a sinewave in Audacity at a good level and then run it through the plugin.
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