I've never been too hot at mixing and mastering, and so will read up on any bit of advice I can find on the subject. Being a bit of a dillettante I have loads of other, non-musical projects on the go, which means I'm really not dedicating the time I ought to on it either.
:shame:
Amidst the advice I've found, there's the thing about comparing your mix with a pro mix of something or other.
I'm interested in two things:
1 - what tracks do you use? Am assuming that you use music in the same genre as that which you write in, but this may be wrong
2 - what method do you use for comparison? Do you render stuff and burn it, take it into the living room and compare it with your copy of Violator (or whatever) on your stereo, or do you somehow preview from within Orion (perhaps by sampling at a high rate first)...
OK, three things:
3 - which albums do you really rate as well-produced, and what do you like about the production?
These may sound odd questions, but I'm still happily on the old learning curve here...
Mastering, and comparing one's work with the pro's...Moderators: Christophe, Mark
8 posts
• Page 1 of 1
Mastering, and comparing one's work with the pro's...1) you should take a track which you like and which's sound you want to get.
2) I would compare them on my studio system. 3) Peter Grabriel - Up. Last edited by DaZoid on Mon Apr 20, 2009 10:35 am, edited 1 time in total.
Mastering, and comparing one's work with the pro's...(2) the method I use the most often is the car stereo. I don't have anything special, it's the factory-standard cd player setup from a 2002 Malibu. I listen to lots of music in there, and comparing mine with it works pretty well for me. It also allows me to listen, hear, and think about revisions while driving. This is one reason I keep a pen and notebook in the car. I also listen to stuff on a couple of other crappy systems to see how it sounds.
..I once played a bunch of songs through BlueCat's FreqAnalyst to see how they looked there, since it's the same analyzer I use for my own stuff.
Mastering, and comparing one's work with the pro's...RMS comparison, stereo field image, average frequency spectrum...
after these adjustement I listen to it on several system (mostly cheap, or low cost hifi), and they I turn back (too much compression, not enough low basses, too much attack on cymbals...) As voidloss said, mastering doesen't exist as a unique target. Be carefull if you want to play on powerfull sound system, it can reveals many errors... Last edited by Eklectro on Mon Apr 20, 2009 11:50 am, edited 1 time in total.
Orion 8, Live 8Le, Cubase 4 LE, Cantana, APC40, UC16, Fostex PM1MKII, Q9550, 4G0, 1,5T, 22"+15"
http://soundcloud.com/eklectro/i-like-xylo-29-03-2011
Mastering, and comparing one's work with the pro's...but, if your material is good enough, it's worth to give it to a mastering studio. As your time seems to be limited, don't try to achieve something you will never be able to 'master'.
Mastering, and comparing one's work with the pro's...mastering, a few laws, the rest is a question of taste.
i think also that the album from p. gabriel a good reference is. (from 100 other good references) Use google to read and learn a few things about ''loudness war'': a trend since the 90's is more bass and more treble also. the curve in a analyser from a album produced in 2009 is another as in 1985. often more bass, often more treble. but 99% more compressed, louder. louder=less dynamic. The power from a good action-movie-dvd on a surround system comes from the big dynamic, spoken parts on a movie-dvd are very silent/low-voiced. Now had the producer a big dynamic-range for the ''explosion'' Artists says often '' i need my forthcoming album louder'' Some modern productions are bloodcurdling, no dynamic, but loud as hell. not easy to found a good compromise. I have here a mp3 from my last production (worldwide release is 27th april). Not without compromisses, the artist wish a very clear and also loud album, i think more treble or bass is rape But i know also that this is the sound from a modern electro production in 2009, I produced this and the endmastering is also from me . Example in 320kb/s -> http://www.nonelabel.com//666/dor.mp3 More info about the artist can you found in the mp3-tag. This is the second album from xxxxxxx Mastering ...long years only my hobby, 10 years every week, many hours. A) Forget never ''Trust your ears'' B) Send never via internet a fresh ''master'' to other people (artist). Sleep a night, listen next day again. You think on the next day ''still its perfect'' ? good, now send the example to him. C) Trust never with blind ears a analyser, it says never the whole truth. Must know that ever anyone say '' i can this better''. These kind of sentences are bullshit if the person not heard before the original record. Practice first mastering (in this case remastering) on old flat sounding record's from the 80's. Compare the sound-result with a good sounding modern production, learn by ''doing''. Last edited by Dexx on Fri Apr 24, 2009 11:22 pm, edited 1 time in total.
Mastering, and comparing one's work with the pro's...I do this too, actually. When I'm almost finished tweaking/EQing a new song, I'll play it while driving around (plain ol' Toyota Yaris stock system). If the bass is -2 and treble is +1/+2, then it's on par with Stanton Warriors and Plump Djs
The change of scenery from my desk helps force me to listen to it as someone else hearing it for the first time as well.
Phreque.com - Weapons-Grade Awesome.
Mastering, and comparing one's work with the pro's...yes its good to listen on a sound-system what you often use.
it can be a small kitchen-soundsystem, better is a good system in your car. or in your bedroom. important is that your ears are familiar with the speakers. i have a soundsytem with subwoofer in my bedroom. It's my alarm-clock, awakes dead people also. hahaha. For mastering not really perfect ;o i have heard some productions with very lowered midtones, in the studio can you found often these yamaha speakers with the white membrane, good and expensive speakers, but you must know that the frequency response from these yamahas is not straight... they have a hump in midtones, if the producer before not often had listened to these yamaha-speakers is the result that he reduce the midtones... harmful for the production Last edited by Dexx on Fri Apr 24, 2009 11:55 pm, edited 1 time in total.
8 posts
• Page 1 of 1
Who is onlineUsers browsing this forum: No registered users and 349 guests |
© 2017 Synapse Audio Software. All Rights Reserved. |