Mastering Chains
- Thread starter cobhc
- Start date
Waves Q10
ME Spactralizer(sometimes)
Waves C4
Waves Stereo imager(sometimes)
Different Compressors(sometimes)
Waves L1
I also play around with some other plugins - still not satisfied...
Timeworks seems to be a good choice. Think of getting that limiter you all know
EQ is always first and Limiter last.(as usual
)
ME Spactralizer(sometimes)
Waves C4
Waves Stereo imager(sometimes)
Different Compressors(sometimes)
Waves L1
I also play around with some other plugins - still not satisfied...
Timeworks seems to be a good choice. Think of getting that limiter you all know
EQ is always first and Limiter last.(as usual
)
Black neon bob
Member
- Jun 2, 2005
- 2,865
- 2
- 38
Standard i use C4 and L2.. i use izotope every now and then, and some BBE as well (just a hint), and a waves EQ...
- BBE
- Waves EQ
- Izotope
- C4
- L2
- BBE
- Waves EQ
- Izotope
- C4
- L2
L3 Multiband Maximizer
Q10
C4
and/or for making life easy when you drunk and recording....... T-racks
Q10
C4
and/or for making life easy when you drunk and recording....... T-racks
Gomez
Member
Sony Oxford Dynamics --> My NEW Lavry blue converters 
--> Manley Massive passive --> L2.
Sooner rather than later, the Sony will be replaced by a Cranesong STC-8
--> Manley Massive passive --> L2. Sooner rather than later, the Sony will be replaced by a Cranesong STC-8
unsilpauly
Member
ssl mastebus compressor:Smokin:
wave ren. eq or motu masterworks eq
waves L1
sometimes other stuff but these are the regulars.
wave ren. eq or motu masterworks eq
waves L1
sometimes other stuff but these are the regulars.
~BURNY~
Member
- Apr 20, 2005
- 5,091
- 67
- 48
My latest attempts were:
Mixdown+Mixdown with Inverted channels & reversed phase mixed to ehnance stereo spread. (works great)
Waves GlissEQ
Voxengo Marquis comp (high threshold -low attenuation), high ratio, fast attack)
Voxengo Marquis comp again (lower threshold, low ratio, slower attack)
Waves L2 or Timeworks Mastering comp or both
Mixdown+Mixdown with Inverted channels & reversed phase mixed to ehnance stereo spread. (works great)
Waves GlissEQ
Voxengo Marquis comp (high threshold -low attenuation), high ratio, fast attack)
Voxengo Marquis comp again (lower threshold, low ratio, slower attack)
Waves L2 or Timeworks Mastering comp or both
wishtheend
clip the apex
~BURNY~
Member
- Apr 20, 2005
- 5,091
- 67
- 48
That's very simple:
Put your mixdown into a sequencer @unity gain.
(If it's reaching the full scale, you will need to attenuate it a bit cause the sum of the original mixdown and the inverted one will overload the master buss)
Duplicate the track and lower the fader to the maximumun attenuation.
Swap channels (left to right and right to left) of the duplicated track.
Flip the phase on both channels of the duplicated track.
Now play and raise slowly the fader of the duplicated track until you hear the widening of the stereo image. Too much will cancel the center so be gentle.
It's safer to hi-pass the duplicated track so the effect will affect only the mid and high frequencies. A notch filter is also interesting to keep some things unaffected (like snare or vocals).
Put your mixdown into a sequencer @unity gain.
(If it's reaching the full scale, you will need to attenuate it a bit cause the sum of the original mixdown and the inverted one will overload the master buss)
Duplicate the track and lower the fader to the maximumun attenuation.
Swap channels (left to right and right to left) of the duplicated track.
Flip the phase on both channels of the duplicated track.
Now play and raise slowly the fader of the duplicated track until you hear the widening of the stereo image. Too much will cancel the center so be gentle.
It's safer to hi-pass the duplicated track so the effect will affect only the mid and high frequencies. A notch filter is also interesting to keep some things unaffected (like snare or vocals).
A Gruesome Discovery
Mmmm... sacrilicious!
Colortone Pro (usually w/Studer 1969 or SSL IR)
UAD Fairchild 670 Comp
Hydratone (for general eq)
UAD Pultec (for low and high "finishing touch" eq)
UAD Precision Limiter (gently)
Elemental Audio IXL Multimeter (metering to K-14 standard)
NICE
Hot diggety damn It also wouldn't hurt to swap most of the L2's duty with the STC-8's peak limiter, imo.
UAD Fairchild 670 Comp
Hydratone (for general eq)
UAD Pultec (for low and high "finishing touch" eq)
UAD Precision Limiter (gently)
Elemental Audio IXL Multimeter (metering to K-14 standard)
Gomez said:
NICE Gomez said:Sooner rather than later, the Sony will be replaced by a Cranesong STC-8
Hot diggety damn
It also wouldn't hurt to swap most of the L2's duty with the STC-8's peak limiter, imo.
deathtotaliban
Member
q10-c1 (sometimes)- Rverb(sometimes)-Puncher (neundo plug-in, like BBE maximizer)-L1 ultramaximizer
Gomez
Member
Hot diggety damn It also wouldn't hurt to swap most of the L2's duty with the STC-8's peak limiter, imo.[/QUOTE]
Not fast enough for the digital domain, I want to check out the new Pendulum limiter when is out. It suposedly really fast - all analog. Yes I like "imperfection" :Smug:
It also wouldn't hurt to swap most of the L2's duty with the STC-8's peak limiter, imo.[/QUOTE]Not fast enough for the digital domain, I want to check out the new Pendulum limiter when is out. It suposedly really fast - all analog. Yes I like "imperfection" :Smug:
In terms of plugins for some quick mastering, I'll usually use the URS Mix EQ, followed by the URS Fulltec(sometimes, really only if the low end needs some non-muddy beefing up), then followed by either the SSL Master Compressor or the Voxengo Polysquasher, then into the Waves L2.
For my preferred mastering chain at the studio (instead of doing it ITB) with outboard, it goes as follows(of course, sometimes certain pieces aren't needed, and others are, but these are the usual suspects):
Lavry Blue Series D/A
GML 8200 EQ (for the surgical stuff)
API 550 Mastering Version (for the mids mostly)
Avalon 2077 OR Manley Stereo Pultec EQP-1A (for softening the high end and tightening the lows)
Manley Vari-Mu (used around half the time)
Crane Song STC-8
Waves L2
Crane Song HEDD 192 (without the HEDD processing)
The studio where I use this gear is mainly a private mix place, so the room doesn't sound the same as mastering houses, but it definitely doesn't sound bad, and the gear is great.
For my preferred mastering chain at the studio (instead of doing it ITB) with outboard, it goes as follows(of course, sometimes certain pieces aren't needed, and others are, but these are the usual suspects):
Lavry Blue Series D/A
GML 8200 EQ (for the surgical stuff)
API 550 Mastering Version (for the mids mostly)
Avalon 2077 OR Manley Stereo Pultec EQP-1A (for softening the high end and tightening the lows)
Manley Vari-Mu (used around half the time)
Crane Song STC-8
Waves L2
Crane Song HEDD 192 (without the HEDD processing)
The studio where I use this gear is mainly a private mix place, so the room doesn't sound the same as mastering houses, but it definitely doesn't sound bad, and the gear is great.
