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L2 only? Dynamics Plugins
Old 17th September 2011
  #1
L2 only?

So, I know nothing (absolutely nothing) about mastering. I tried to use Ozone 4 for a while (presets) just to get by, but it was gating off reverb tails, and also Logic wasn't calculating the latency correctly, so on low latency mode I still had quite a bit of delay.

For a while now, I've only been putting L2 with the Hi Res CD preset... just to get the loudness somewhat acceptable.

Is there a huge different when you start putting a mastering compressor on before the L2? Can someone suggest one that has decent presets? I'm not interested in becoming a professional engineer, I'm just interesting in creating high quality demos.

Also, I've noticed that if I mix with L2 on, sometimes I won't realize that the output level (with L2 bypassed) is in the red. Obviously this means my sound is getting quite screwed up (ex. my drums won't come through at all because my guitars are too loud)...

What is the *proper* way to work with mastering?
Old 18th September 2011
  #2
Here for the gear
 
Ricardo Stap's Avatar
 

One tip:

If you are not want to become a mastering engineer, you don't need a limiter.
My advice, just us onto your master channel a multiband compressor if you produce dance related styles, and don't us any compressor on the master if you record stuff like pop and rock.

Your demo must be dynamic, not loud. loudness they put in just before they release it.

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Old 18th September 2011
  #3
Gear Maniac
 
Laarsø's Avatar
 

Quote:
Originally Posted by dingobiatch View Post
...Is there a huge different when you start putting a mastering compressor on before the L2?

Can be, dependink on settings.

Quote:
Originally Posted by dingobiatch
Can someone suggest one that has decent presets? I'm not interested in becoming a professional engineer, I'm just interesting in creating high quality demos.

Most engineers don't work in audio, so there's no reason to get your degree if music recording production is something you're thinking about specializing in. Experience and connections and credits are the only criteria which truly matter.

Compression and limiting are supposed to make the mix lower in quality. If either actually improves a track, then there's something wrong with the track (good news for compressor manufacturers: there's usually something wrong with a track). Non-professional stereos are just the kind of lower quality playback that might benefit from compression and limiting of otherwise high quality program.


Quote:
Originally Posted by dingobiatch
Also, I've noticed that if I mix with L2 on, sometimes I won't realize that the output level (with L2 bypassed) is in the red. Obviously this means my sound is getting quite screwed up (ex. my drums won't come through at all because my guitars are too loud)...

What is the *proper* way to work with mastering?
The process you are referring to is not mastering, since you are not making a disc that will be finished (as in, silvered and nickel-plated). Anyone who is not wearing anti-static booties is not doing CD mastering. This always happens in a Class 100 Clean Room. You are asking about premastering a file (with signal processing) that will be cloned and possibly, one day, mastered (without additional tone adjustment or dynamics processing). You may wear any kind of footwear you please while premastering. (:


The best way to premaster a master mix is to do it in a separate studio from the one in which you mix. This means that the acoustics will be different and, therefore, the problems you encountered (without realizing it) in getting the mix to work outside your particular studio have a chance at being corrected. Without a new space in which to do the premastering, you are shooting in the dark.

Do not apply premaster processes during mix-down. That would surely be premature. During mixink, apply whatever process you feel is essential to getting the sound you desire without any concern for absolute level or in any way to match a finished (i.e., premastered) CD track. You will have to crank up your control room monitors in order to hear the mix at the Munson sweet spot, especially since you are not going to be using compression and limiting for loudness at this stage.

Once you are done with mixing and are ready to make a premaster, start by listening to good, finished reference material (in a separate work space). In the separate work space, invoke Renaissance EQ, Renaissance Compressor, and L2. Set L2 for a ceiling of -0.3 dBFSD. Set the threshold for -3.0 dB. Set the Renaissance Compressor for Make Up gain of +4 dB. Set the threshold on the Renaissance Compressor for -20 dBFSD. Then try to get all the other parameters of these three plugins to get out of the way of the good sound of your, now louder, mix playback.



Cheersø,
Laarsø
Old 18th September 2011
  #4
Lives for gear
 
Laurend's Avatar
 

Quote:
Originally Posted by dingobiatch View Post
I tried to use Ozone 4 for a while (presets) just to get by, but it was gating off reverb tails
In the multiband dynamics section, you just have to set the expander ratio values to 1 to keep your reverb tails. IMO the limiter section of Ozone is cleaner than the L2.
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