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Do you use mastering software ? Dynamics Plugins
Old 14th September 2018
  #1
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jnorman's Avatar
Do you use mastering software ?

There are a number of mastering software suites these days from Waves and Izotope and others. Do you guys use prepackaged suites of plugs like this, or do you use a number of more specific individual plugins, or do you try to keep your recordings as unaffected by software processing as possible? I would appreciate your thoughts regarding the best way to post process to achieve the most professional results. Thanks.
Old 14th September 2018
  #2
I use Izotope for nearly all my projects.
The Monitor Bridge is very useful during recording for visualization, RX is the perfect tool for time or pitch editing (which I sometimes need) or noise removal, and Ozone is my favorite master EQ. The Maximizer is on every project for boosting the project to the desired volume while preventing clipping issues.
I have never used the Exciter, Post-EQ, Dynamics (compressor) or Reverb tools in Ozone.
If I need extra reverb, I mostly use Variverb, which is an excellent built-in tool in my DAW.
Old 14th September 2018
  #3
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YourBestFriend's Avatar
I like the mentality that a compressor is good and anything else is a band aid for mistakes made during the recording process.
Old 14th September 2018
  #4
I tend to pick and choose my plugins. I like using Flux Verb and Solera for compression, EQs from DMG audio, Izotope RX advanced for noise reduction, and a PSP limiter for, other than the obvious stray clip reduction, dither and final metering. Not a big fan of the all-in-one suites.
Old 14th September 2018
  #5
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jnorman's Avatar
Ozone has been part of my process for a while now but I started using a new compressor plug, so I just turned off ozone while I was fooling around and all of a sudden the mix sounded more natural to me. Then I turned the compression down some, and it became even more realistic sounding and less processed. I was more than a bit surprised since I have been using ozone for so long. The new mixes do sound a little more raw or something but they seem more true - maybe that is better. It’s like they always said, you never finish a mix, you just finally give up.
Old 14th September 2018
  #6
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Larry Elliott's Avatar
What is the "new compressor?"
Old 14th September 2018
  #7
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I would like to use compression more judiciously, but have not heard one that doesn't destroy the sound quality. Tried Ozone7, Flux.

I like the Ozone Limiter (transparent).

I use EQ routinely, mainly adding a subsonic filter, reverb very occasionally and of course RX for repair.
Old 15th September 2018
  #8
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I use the Ozone EQ and Dynamic Eq as plugins
in Nuendo, and Rx standalone for cleaning, loudness adjustment, SRC, dither, format conversion.
Old 15th September 2018
  #9
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jnorman's Avatar
Larry - I am using a fabfilter pro-c 2, with about 5dB of gain reduction. It seems pretty smooth and is much less noticeable than the dynamics portion of the ozone suite.
Old 15th September 2018
  #10
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sonnox eq and limiter but other than this, i'm sending everything to external digital hardware processors (weiss, jünger, crane etc.)
Old 15th September 2018
  #11
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jnorman's Avatar
Deedeeyeah - the Weiss eq1 looks like a drool-worthy piece of kit...
Old 15th September 2018
  #12
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Have any of you successfuly used the RX de-reverb module in reverse - to add reverb tail? It's an interesting way to approach adding verb...the RX learns the existing reverb then enhances it.
Old 15th September 2018
  #13
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Quote:
Originally Posted by jnorman View Post
the Weiss eq1 looks like a drool-worthy piece of kit...
have a laugh: yes, i'm still using that one for mastering, mostly live though as a house eq as one cannot beat it in terms of speed of use with lots of outo-touch potis. m/s ain't bad either when feeding a l/c/r-rig... - and what notches can your eq do?


p.s. wavelab here, with hardware inserts (eq, multiple dynamic tools plus quantec, tc, lex) and (rarely) some plugins - still waiting for an emulation of the jünger multiloop compressor...
Old 15th September 2018
  #14
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I prefer to draw volume envelopes rather than use compression. I've been using Spline EQ, transparent with excellent interface, and Bricasti reverb.
Old 16th September 2018
  #15
One of my mentors is now a mastering engineer, and likes Izotope so much he went to work for them part time helping to develop and refine their tools. I've always been a big fan of RX, and the advanced mastering suite does some very nifty stuff.

By the way, RX 7 just released, and I've upgraded the standard edition. Very nice.

Philosophically, I've always wondered what the point of "mastering" was in a digital world. When I started, the job of the mastering engineer was primarily to take your theoretically perfect final mix and alter it so it would fit inside the limitations of the delivery medium, whether it was vinyl or cassette. When CDs came out the job was to do all the coding and editing to make a red-book compatible product to send to the manufacturing process. Yes, the mastering engineers would have great ears, but their focus wasn't on making your mix better, it was making it survive.

Then when loudness became so important, it was again about making it loud without messing it up too much.

Nowadays, I'd have expected it to be about making the mix survive the MP3 and other lossy formats. But my mentor tells me that it's mostly about taking mixes done poorly and making them sound better, that's the bread and butter. The "good" projects are the minority that makes the rest bearable, and on those he says he does very little except making the product fit a specific streaming service standards.
Old 16th September 2018
  #16
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Tommy-boy's Avatar
 

I use wavelab. The included plugs and funtions work well. I use volume automation a lot.

Tom
Old 16th September 2018
  #17
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Quote:
Originally Posted by TMetzinger View Post
One of my mentors is now a mastering engineer, and likes Izotope so much he went to work for them part time helping to develop and refine their tools. I've always been a big fan of RX, and the advanced mastering suite does some very nifty stuff.

By the way, RX 7 just released, and I've upgraded the standard edition. Very nice.

Philosophically, I've always wondered what the point of "mastering" was in a digital world. When I started, the job of the mastering engineer was primarily to take your theoretically perfect final mix and alter it so it would fit inside the limitations of the delivery medium, whether it was vinyl or cassette. When CDs came out the job was to do all the coding and editing to make a red-book compatible product to send to the manufacturing process. Yes, the mastering engineers would have great ears, but their focus wasn't on making your mix better, it was making it survive.

Then when loudness became so important, it was again about making it loud without messing it up too much.

Nowadays, I'd have expected it to be about making the mix survive the MP3 and other lossy formats. But my mentor tells me that it's mostly about taking mixes done poorly and making them sound better, that's the bread and butter. The "good" projects are the minority that makes the rest bearable, and on those he says he does very little except making the product fit a specific streaming service standards.
I've always thought of mastering as the final stage of the project where an engineer hears your mix on a theoretically 'perfect' playback system and in a theoretically perfect acoustic environment (i.e. 'neutral') that enables one to hear, as close as humanly possible, what your mix truely sounds like so changes can be made before sending it off to the duplication plant, streaming service or what have you.
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