Some of you in the US may already be readers of TapeOp magazine and may have already read what I'm posting here. Regardless, I found this bit of info to be pretty interesting and I'm sure that a lot of people on here will be interested just as I was. It's nothing extremely new to the knowledge of most of us on these forums, but... In the latest issue, a reader asked a question, basically about home mastering and the best way to go about getting a decent result. Here's his letter, followed by a three responses, the first response being John Cuniberti's. And...I may be wrong, but it seems like the last response would sound like crap...?
I believe this may have been talked about to some extent here, but I was wondering if anyone had any simple tips/tricks beyond the usual (limiting, normalization, etc) on making the overall level of a mix appear "louder" when rendered to CD-R or mp3? Curious to hear people's different processes. I know the correct answers are: A. Just turn up the volume on the amplifier of the playback device, stereo, etc., or B. Get it professionally mastered. Sometimes those aren't acceptable options when making quick refs for artists or as clients who need/like things to sound competitive level-wise. I'm currently using Nuendo, mixing in the box and generally using the L2 across the 2 bus when rendering to achieve the goal described above, but mostly find that I'm annoyed by the lack of dynamics this kind of limiting creates. I'm also not a fan of that slight midrange-y "crunch" (for lack of a better term) that I seem to hear when I use a limiter in this manner. Any ideas to alternate solutions to this pesky problem (i.e. - new software or working a different way), while still remaining in the boz? Louder is not better in my world, but unfortunately a necessity sometimes.
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This is a very common problem not only for you but even the most experienced mastering engineer. If the recording artist's goal is to produce a LOUD CD, or what is sometimes referred to as a "Competitive CD" then certain steps need to take place during the recording and mixing stage to insure some kind of audio fidelity. Leaving it up to the mastering engineer to make a CD as LOUD as the other guys is a risky proposition if you haven't addressed the necessary "dynamic control" of the individual tracks during the recording and/or mixing stage. Because I have been asked to keep my answer brief allow me to address your situation directly... The L2 is better than most limiters in its class to raise the apparent level of any stereo mix without audible artifacts. When you say, "I'm annoyed by the lack of dynamics this kind of limiting creates" I wonder if you are asking too much from one limiter. Always use the L2's auto release, set the output to -0.10 and try to never go beyond 4 dB of gain reduction on peaks. If the bottom lights in the Gain Reduction window are always lit you have gone too far. If this doesn't give you enough apparent level then you have four choices in no particular order.
1. Make two or more passes with the L2 until you reach the target level. (I can hear the audio purists squirming in their seats now.)
2. Use two limiters in a chain. The first being a soft-knee type compressor or a multi-band to "precondition" the signal raising the level a few dB then into the L2 for an additional 4 dB of limiting and to set the output ceiling.
3. Go back and limit the individual tracks with the L2 or some other limiter/compressor until you tame all the peaks that are holding you back from the target apparent level. This will require a re-mix because the balances will all change. Then apply the L2 as a bus limiter to get any additional gain and to set the output ceiling.
4. Try and talk your client out of participating in the LOUDNESS WAR and use their volume knob instead. (Sorry, I'm obligated to my peers to say that.)
Unfortunately, there's no easy way to achieve loudness without some mastering time on each to avoid artifacts. Putting a soft, slower compressor on the mix will tame some of the dynamics without killing them. You can then reduce the amount of limiting and use a sparse 2 to 4 dB of peak limiting to push it a little bit louder without squashing it. Make sure to watch your low end because this can really drive limiters to over-react in the nasty way you mentioned, so a little EQ in the chain before the dynamic compressors can help a lot. Don't hesitate to use automation (right before your limiting) to create natural dynamics rather than relying on compression. Specifically, reduce quieter sections even more, so the loud parts will hit. Sounds obvious but natural dynamics can do wonders to disguise the amount of compression used!
It's moving day. You have nail holes in the wall and no spackle. You want your damage deposit back. Here's what to do: You can also set the L2 threshold to -10 dB (you have to determine the threshold based upon the existing level of the mix, but it's probably between 2 to 12 dB below 0). Set the output level 1 to 2 dB above that. (So, -8 dB in this example). Bounce this to a new file. Then, normalize the resulting file. This is the equivalent of filling the holes in the walls with toothpaste; it will get you by long enough to run away. But you should get it mastered!
I believe this may have been talked about to some extent here, but I was wondering if anyone had any simple tips/tricks beyond the usual (limiting, normalization, etc) on making the overall level of a mix appear "louder" when rendered to CD-R or mp3? Curious to hear people's different processes. I know the correct answers are: A. Just turn up the volume on the amplifier of the playback device, stereo, etc., or B. Get it professionally mastered. Sometimes those aren't acceptable options when making quick refs for artists or as clients who need/like things to sound competitive level-wise. I'm currently using Nuendo, mixing in the box and generally using the L2 across the 2 bus when rendering to achieve the goal described above, but mostly find that I'm annoyed by the lack of dynamics this kind of limiting creates. I'm also not a fan of that slight midrange-y "crunch" (for lack of a better term) that I seem to hear when I use a limiter in this manner. Any ideas to alternate solutions to this pesky problem (i.e. - new software or working a different way), while still remaining in the boz? Louder is not better in my world, but unfortunately a necessity sometimes.
---
This is a very common problem not only for you but even the most experienced mastering engineer. If the recording artist's goal is to produce a LOUD CD, or what is sometimes referred to as a "Competitive CD" then certain steps need to take place during the recording and mixing stage to insure some kind of audio fidelity. Leaving it up to the mastering engineer to make a CD as LOUD as the other guys is a risky proposition if you haven't addressed the necessary "dynamic control" of the individual tracks during the recording and/or mixing stage. Because I have been asked to keep my answer brief allow me to address your situation directly... The L2 is better than most limiters in its class to raise the apparent level of any stereo mix without audible artifacts. When you say, "I'm annoyed by the lack of dynamics this kind of limiting creates" I wonder if you are asking too much from one limiter. Always use the L2's auto release, set the output to -0.10 and try to never go beyond 4 dB of gain reduction on peaks. If the bottom lights in the Gain Reduction window are always lit you have gone too far. If this doesn't give you enough apparent level then you have four choices in no particular order.
1. Make two or more passes with the L2 until you reach the target level. (I can hear the audio purists squirming in their seats now.)
2. Use two limiters in a chain. The first being a soft-knee type compressor or a multi-band to "precondition" the signal raising the level a few dB then into the L2 for an additional 4 dB of limiting and to set the output ceiling.
3. Go back and limit the individual tracks with the L2 or some other limiter/compressor until you tame all the peaks that are holding you back from the target apparent level. This will require a re-mix because the balances will all change. Then apply the L2 as a bus limiter to get any additional gain and to set the output ceiling.
4. Try and talk your client out of participating in the LOUDNESS WAR and use their volume knob instead. (Sorry, I'm obligated to my peers to say that.)
Unfortunately, there's no easy way to achieve loudness without some mastering time on each to avoid artifacts. Putting a soft, slower compressor on the mix will tame some of the dynamics without killing them. You can then reduce the amount of limiting and use a sparse 2 to 4 dB of peak limiting to push it a little bit louder without squashing it. Make sure to watch your low end because this can really drive limiters to over-react in the nasty way you mentioned, so a little EQ in the chain before the dynamic compressors can help a lot. Don't hesitate to use automation (right before your limiting) to create natural dynamics rather than relying on compression. Specifically, reduce quieter sections even more, so the loud parts will hit. Sounds obvious but natural dynamics can do wonders to disguise the amount of compression used!
It's moving day. You have nail holes in the wall and no spackle. You want your damage deposit back. Here's what to do: You can also set the L2 threshold to -10 dB (you have to determine the threshold based upon the existing level of the mix, but it's probably between 2 to 12 dB below 0). Set the output level 1 to 2 dB above that. (So, -8 dB in this example). Bounce this to a new file. Then, normalize the resulting file. This is the equivalent of filling the holes in the walls with toothpaste; it will get you by long enough to run away. But you should get it mastered!
