Hi guys,
I know everybody says send mastering to others, but I'm learing how to do this myself. So, with that issue aside, I had a question for any of you who do mastering.
I have T-racks 3 deluxe now, and part of the program allows you to choose if you want to chain effects parallel or serial. The mastering I've done so far only involves serial chains of effects. Can any of you explain why I would run plug-ins parallel during the mastering phase...... and if you do this personally, what do you use this option for?
Also, can someone point me towards a good .pdf, or book, that explains mastering in detail?
question about masteringModerators: Christophe, Mark
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question about masteringBook: The Handbook For Sound Engineers - SAMS Publishing
http://www.amazon.com/Handbook-Sound-En ... 0240804546 Last edited by Dungeon Studio on Thu Jan 15, 2009 9:09 pm, edited 1 time in total.
question about masteringThe only reason I can think of to run effects in parallel would be to control wet/dry, if you couldn't do that from the effect itself. I sometimes use the MultiFX container for exactly that purpose.
I prefer to do my own mastering, after my experience with getting someone, who was supposedly really good, to do our first album. It didn't turn out any better than the rough mastering I had done beforehand and it cost our label 1000 euros. It's a simple matter of being objective about your music, which is easy once you have heard it so many times you are sick to death of it. Dell G7 (Hexa-Core i7)|Cubase Pro 10||Analog Keys|Ultranova|MicroMonsta|Uno|Skulpt|Craft Synth 2.0|
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question about masteringGet ready for some serious reading.... I really do that the last 4-5 years.
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question about masteringthanks for the book tips guys. I'm looking at the Bob Katz book right now, and it looks pretty much like what I'm looking for. I've read some things from Katz before, and seen a video of his once. He really knows his stuff.
@ Bones - why would you want to control wet/dry mix during mastering? I mean we are talking about Dynamics manipulation, and I don't remember seeing a mix button on a compressor, etc.
question about masteringReverb Icaro. Sometimes it's good to use a long warm Hall or something at 5% in the overall mastering to round off and blend edges, and kinda 'frame the song'.
Also for intro/break/outro effects like flange or phase, if you want that 'psychedelic feel' or whatever.
question about masteringNew york compression needs a wet/dry button.
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question about masteringGood point as well. But something like the SMC LC1 comp would still be best in Serial, right? :confused:
question about masteringPArallel compression requires a wet dry.
Actually there are other ways you can do it. It`s a very nice way of compressing a track. You get maximum in your face "smash" but still get good dynamic activity also. If done correctly.
question about masteringok, just looked up New York Compression, and wound up getting 'parallel compression' listed as being the same thing. Are these really just two different names for the same technique?
How exactly is this done? I've heard a lot of people reference it, but I'm not sure if I do or don't know how to use it. Last edited by Icaro on Fri Jan 16, 2009 7:31 pm, edited 1 time in total.
question about mastering
Yes. It's just mixing the dry or weakly compressed signal with the fully compressed signal. A new hardware compressor, the Drawmer S2 now has this 'feature' too (a $5000 tube compressor). In Orion, it's easily done using the MultiFX container (parallel mode) or the StereoFX container (more experimental as it does L/R separation). Future versions of the native dynamic effects will prolly have a dry/wet knob too. Admin - Synapse Audio Software
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question about mastering
There you go, then. No wet-dry control might make working in parallel your only option. I know people who like to put a subtle reverb on a finished mix, just to give it a final ambience. Then there are effects like BBE Sonic Maximizer, where you might find it easier to give it a bit of wet/dry, rather than try to use very subtle settings. I don't do either of those things but I think both are valid. Dell G7 (Hexa-Core i7)|Cubase Pro 10||Analog Keys|Ultranova|MicroMonsta|Uno|Skulpt|Craft Synth 2.0|
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question about masteringPretty impressive Bones! Thought for sure you were using Sonic Max in there?
Atl east I'm 'valid'. But again Icaro - there's no right or wrong here really. It's what works best for you. If you can get a good mix in Orion that you're satisfied with, mastering should be merely peaking the volume to a healthy 0db, DC Offset, and trimming up to the intro and rolling off the outro smoothly without much tail. Some people can get the comp's and all right in their mix. Others may wait till mastering to 'unify everything'. Sometimes it can be too much - sometimes it can be too little. But the first thing is, get a good balanced mix in Orion. And simply have a good idea that mastering is going to be a overall effect on everything. Volume, EQ, comp, balance. And too with my glitch music, that was more composed in mastering than Orion. I would get a general idea of the song in Orion, but knew in Mastering I'd be reversing complete sections, chopping other sections up, putting something through a ring mod, and so on. Think of mastering as a 'hood ornament' - it's going to be recognised by people before they recognise the car, or song in this case. And no one can stop you from putting a Rolls Royce on a VW, people will think you're classy; but weird. What you don't want to do is put a Lada on a Cadillac... People will just think you're insane and stay the hell away regardless of 'the interior'.
question about masteringThanks for the comments on this thread guys! Especially for clearing up the idea of 'New York Compression'. I had heard it referenced several times in the past few weeks, but didn't really know what was being talked about.
Ok, so correct me if I'm off on this, but the idea of mixing wet/dry compressed signals would be achieved in T-Racks because if they allow to parallel chains of effects, then an effect loaded into position 1A would be mixed against a dry signal from effect 1B, if there is no effect loaded? @ Dungeon Studio - Sorry Steven, but your car analogy misses me every time. I mean, I like cars (comming from Los Angeles originally), but what do the cars represent? The equipment, or the style. Sorry to seem a bit dense, but it flew by me a bit.
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