thread: Mastering...
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Old 9th April 2007
  #4
Quote:
Originally Posted by Russell Elevado View Post
hey iwan,

all my mixes are mastered off 1/2" tape so i dont know how many people will be able to relate to this. i don't like printing stems nor do i like using them in mastering. a lot of poeple might disagree with me on this. but to me, there should be the fewest options by the time it gets to the mastering stage. a lot of poeple are now coming in with pro tools files and it's all stems and they re-do the mix. "let's bring the drums down" or "turn the vocals down in the bridge", etc. there should not be a "mixing" session when you go to the mastering facility. i like to really commit to the mix at the end of the session. i'll print a louder and lower vocal and every so often a drum or bass up pass or something, then the standard instrumental mix, no lead vocal mix, and an a capella.

i spend a good deal of time making sure my mix is as perfect as i can get it. so when i go to the mastering, it will usually just be a slight tweak on the top or bottom and usually not more than 1 db or so. sure there maybe a mix or two that needs a little more tweaking than others, but 90% of it needs only a minute boost or cut. essentially the sound is there so i don't want anyone to mess with it. if your mix isn't good, then you can save it in mastering, but if it's good why fix it?

Chris Gehringer at sterling sound in NY does the majority of my mastering. and i'll sit in the room with him and we master it together. i've been mastering with him since 2000 and he knows how particular i am. but chris always listens first before he tweaks anything. so we go song by song and i let him do what he hears. then i'll sit down and i'll A/B to the original. i'll bypass his chain, i'll try turning the top down one click, or boost the bottom from where he had it, or change the frequency that he had, etc. and i'll ask him "what do think of changing the top boost from 12k to 8k instead?" or "let's try it without boosting the bottom" and come to a combined decision.

i add the slightest analog compression to my mixes in mastering. i don't care that my CD is not as loud as Dr Dre's. i just turn the knob on my stereo that says "volume". when you turn this knob to the right, the song gets louder. hello, anyone with me on this???
what's up with this L2 plug-in that everyone is using. what a peice of crap. i've just spent 2 months recording and mixing an album. i've carefully selected the best mics and mic pre's and placed everything just right. i mixed it with all sorts of incredible gear. then you want to put a $200 digital plug-in to compress all those wonderful dynamics and depth that i toiled over. this just doesn't seem right to me. loud doesn't equal good! turn the f*ckin volume up!

for the ITB users:
if that's all you have, then make the best of it. i've been very impressed with some mixes that were done ITB. i just can't relate to that world, just the same as you may be able to relate to my world. if your staying digital then an L2 or other digital limiter might work great for you. it depends on your preference for sound...

i'll be back to talk about buss compression...

all the best
Hi Russ.

Nice post. I think most folks around here and in the recording industry in general would agree with you about the volume knob on the stereo and ridiculous slammed mixes but how does the unslammed master fly with he label and / or the artist?

Yeah we can say that it sounds better without getting slammed (and IT DOES) but when that CD is sitting side by side with a "slammed to an inch of it's life" CD and the mook or the artist (or both) has a "their CD sounds bigger than mine" caveman mentality, how do you work around that?

(what do you do about pre mastering mix copies for artists that ARENT so loud? - Jules)