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Give em' what they want.. Equalisers (HW)
Old 29th September 2011
  #31
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Quote:
Originally Posted by minister View Post
I like to send mixes to Mastering sounding the way my client and I want them to sound. I don't want to bring a mix 80% there and say, "Hey ME! Bring it home!". So if that means I use a compressor or an EQ or a tape sim plug or a live chicken on the 2-bus I do it. One thing I'd recommend against is putting a brickwall limiter on just for "volume". That I would leave to the ME. Not to say processing in Mastering does not have its place, but where this idea came from that you can't get the sound of the rekkid in the mix room and have to "wait" for mastering is a bit of a mystery.
Worrrrrrrrrd! You have hit the nail squarely on the head with this post! I would add that as far as EQ, I leave only touch up EQing and "air" to the ME, they usually have outstanding hardware for that.
Old 29th September 2011
  #32
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Quote:
Originally Posted by StringBean View Post
The compressors I own are not high-end, so I would choose not to mix into them at all on the master buss.
That's fair enough, if your compressors don't sound good in that role then I agree you'd be daft to use them as such.

Quote:
Again, if the idea is to color the sound of the entire mix isn't that the job of the ME who has the expensive gear particularly suited to that exact purpose?
In my experience no. Allow me to explain where I'm coming from.
Mastering ( for me ) is the cherry on the icing on the cake. Fundamental stuff like how "warm" or whatever the mix sounds is down to the mix and if that means inserting a process on the master fader so be it. The band or client will want to hear it sounding all ship shape and Bristol fashion by the end of the mix session. It's certainly not a given that they will even be attending the mastering and saying it'll be ok once it's mastered is risky to say the least.

Quote:
Personally I prefer not to mix to suit a master compressor unless that is indeed the one I will use to master. If I had a G-buss then hellz yes I would use it.
For me mastering and mixing are two separate things. The compression I use whilst mixing is distinct from any subsequent compression the mastering engineer feels necessary. If you're obliged to both mix and master then perhaps I see your point.

Quote:
Of course this involves a level of trust with the ME to aim for the sound you seek, so I would probably send them one version with master compression, and one--which is the one I would want him to use--without.
I get where you're coming from, a relationship with your mastering engineer is important and if you've used them before and they know your sensibilities it might well be beneficial to send alternative versions. I can't say I've ever felt the need ( or been asked ) to do that though.
Old 29th September 2011
  #33
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Good stuff allstar, always happy to learn from a pro. What I probably need are some good "color" compressors that I can use on the master buss, I guess I don't trust myself and my tools enough
Old 29th September 2011
  #34
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Verified Member
Quote:
Originally Posted by minister View Post
I like to send mixes to Mastering sounding the way my client and I want them to sound. I don't want to bring a mix 80% there and say, "Hey ME! Bring it home!". So if that means I use a compressor or an EQ or a tape sim plug or a live chicken on the 2-bus I do it. One thing I'd recommend against is putting a brickwall limiter on just for "volume". That I would leave to the ME. Not to say processing in Mastering does not have its place, but where this idea came from that you can't get the sound of the rekkid in the mix room and have to "wait" for mastering is a bit of a mystery.
As is the suggestion that you shouldn't use any digital devices on the stereo bus, let alone compress it.

I think there are two situations. First is a mix that works without compression as presented. This may, or may not, benefit from a touch of mastering compression but it would be a dB or so GR anyway if it did.

Second is a mix that the client actually wants to sound compressed, yet did not compress it. This is a very difficult situation as the only way to do it right is to apply compression and make compensations in the balances as you go.

The latter is actually becoming more common............


DC
Old 30th September 2011
  #35
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Quote:
Originally Posted by minister View Post
So if that means I use a compressor or an EQ or a tape sim plug or a live chicken on the 2-bus I do it.
Sorry, that absolutely begs the eternal question: pre or post egg?

But seriously... one of the best sounding album projects I've had this month had a healthy dose of compression – even some light limiting – on the mix. Shock: it even came to me as 16 bit. But the mixer knew what he was doing, it suited the tracks and sounded great.
If you don't know what you're doing, simply supply both versions and at least talk to your ME. If I have to really contribute more than a few odd percent to the "sound" of a release then something's not right, but there's nothing like helping an artist improve their mix via honest feedback when needed for what only becomes a win-win outcome for all in the long run.
Old 30th September 2011
  #36
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Quote:
Originally Posted by StringBean View Post
Unless the compressor you are using is equal to or better than what the ME uses, why would you use it on the master bus(s)? It's squashing the dynamic range with an inferior product. Of course you may particularly like the sound of your own compressor but I know none of mine are as good as a $2k+ outboard.
If it works for the mix it works, if it doesn't it doesn't..... Price point strikes me as a largely irrelevant factor. Sounds like a fetish, actually. Mixing into a compressor is a valid technique.
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