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Finally got Big Bass Brian to Master One
Old 2nd March 2019
  #121
Lives for gear
 

Not sure how I feel about that high end white noise type sound throughout the track. It's nice and bright and airy at first (like a sizzle ride cymbal, a ride with holes drilled in it and rivets inserted) but it lingers for a long time at considerable volume - it becomes a distraction/annoyance, interferring with the chorus vox.

and Solid Mastering I like your version
Old 13th March 2019
  #122
Gear Maniac
 
Solid Mastering's Avatar
 

Thank you man!!

Quote:
Originally Posted by MogwaiBoy View Post

and Solid Mastering I like your version
Old 21st April 2019
  #123
Here for the gear
 
Adam Peter Shinn's Avatar
 

@ M2E , you are literally THE MAN for posting these before and afters! Thanks so, so, so much. Was always curious what all BBB was doing. He's my hero!

Here's a comment from another client who sat in on a session of his when he was at Bernie Grundman. Found it on a Youtube video...

"Brian's setup is fascinating. Every piece of gear is modified and improved (even if it's just the power supply), and most of his gear is a custom built analog mastering console, which features a compressor (based on the design of the SSL bus compressor) and a Passive Equalizer. When you bring him your digital file to get mastered, it gets converted to analog with a D/A Lavry Gold, goes through his mastering console, and then gets converted back to digital through his A/D Lavry Gold. Both Larry's are clocked by Antelope's flagship digital clock. He often doesn't even touch the compressor, and has a very minimalist approach to EQ. To get it loud, he slams the audio into the A/D Lavry Gold until it is well into the red (using it's "Soft Saturation" algorithm, with "DC Removal" turned on). If he needs more warmth, he has an Empirical Labs FATSO (which is usually turned off). If he needs even more volume, he'll add a decibel or so with the WAVES L2 after the A/D Lavry Gold. If he needs even more tweaking, he has some classic Steinberg plugins that he opens up in WaveLab."


Based on this, and one thing I noticed about his master vs. others (forget about the dynamics) is how "warm" and "analog" his mix sounds. A lot of the sibilance has been removed and the vocals in general sound a lot fatter. The bass is nice and round (not a surprise, this is "big bass" gardner we're talking about here). Pianos sound less digital and less fatiguing. And this is nothing against your mix M2E, which was great.... but I think these are the kind of things we've all come to know and love Brian for. Assuming he's using similar gear now that he's "retired", I wonder how much "soft saturation" he's getting from his console, vs. the fatso, vs. other gear.

Great song btw! I've already played it like 5 times in a row. Haha

Very eye opening!
Old 24th April 2019
  #124
Lives for gear
 
M2E's Avatar
 

Quote:
Originally Posted by Adam Peter Shinn View Post
@ M2E , you are literally THE MAN for posting these before and afters! Thanks so, so, so much. Was always curious what all BBB was doing. He's my hero!

Here's a comment from another client who sat in on a session of his when he was at Bernie Grundman. Found it on a Youtube video...

"Brian's setup is fascinating. Every piece of gear is modified and improved (even if it's just the power supply), and most of his gear is a custom built analog mastering console, which features a compressor (based on the design of the SSL bus compressor) and a Passive Equalizer. When you bring him your digital file to get mastered, it gets converted to analog with a D/A Lavry Gold, goes through his mastering console, and then gets converted back to digital through his A/D Lavry Gold. Both Larry's are clocked by Antelope's flagship digital clock. He often doesn't even touch the compressor, and has a very minimalist approach to EQ. To get it loud, he slams the audio into the A/D Lavry Gold until it is well into the red (using it's "Soft Saturation" algorithm, with "DC Removal" turned on). If he needs more warmth, he has an Empirical Labs FATSO (which is usually turned off). If he needs even more volume, he'll add a decibel or so with the WAVES L2 after the A/D Lavry Gold. If he needs even more tweaking, he has some classic Steinberg plugins that he opens up in WaveLab."


Based on this, and one thing I noticed about his master vs. others (forget about the dynamics) is how "warm" and "analog" his mix sounds. A lot of the sibilance has been removed and the vocals in general sound a lot fatter. The bass is nice and round (not a surprise, this is "big bass" gardner we're talking about here). Pianos sound less digital and less fatiguing. And this is nothing against your mix M2E, which was great.... but I think these are the kind of things we've all come to know and love Brian for. Assuming he's using similar gear now that he's "retired", I wonder how much "soft saturation" he's getting from his console, vs. the fatso, vs. other gear.

Great song btw! I've already played it like 5 times in a row. Haha

Very eye opening!
Thanks Adam, I'm a huge fan as well. I'll be posting another Master he did soon on another thread I started.
I'm not sure what gear he uses but Brain is a beast.

Thanks again, and I'm so glad you enjoyed the work. Marc
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