My loudest master ever! (no clipping)
- Thread starter Ermz
- Start date
Harry Hughes
âââ¬â¬
- Apr 25, 2009
- 4,353
- 0
- 36
AudioPhile777
Mathew Cohen
smy1
Member
Zombietakeover
Member
gabriel g.
Member
It is not that hard to get the piano+singing parts that loud because the low energy is not that dominant....
nice digital artifacts!!!how did you do them?
nice digital artifacts!!!how did you do them?
Soundlurker
Member
- Nov 19, 2005
- 3,730
- 0
- 36
Williamn
Member
Mikaël-ange
Member
- Nov 7, 2008
- 2,368
- 0
- 36
Ha, is this a experiment to see if people will reply if you make a more eye catching titel ?
Ermin had already experiment with this before
norrinradd
New Metal Member
- Nov 28, 2009
- 10
- 0
- 1
Pedro Teixeira
Member
AudioPhile777
Mathew Cohen
norrinradd
New Metal Member
- Nov 28, 2009
- 10
- 0
- 1
MarcusGHedwig
Member
Owwwwwwwwwwwwwwwwwwwwwwwww 
Does sound sweet though, especially the glitchy effects on the vocals (nice to hear glitch used for something other than that done-to-death "put it on the high-passed 2-bus right before the breakdown kicks in" effect 
)
Does sound sweet though, especially the glitchy effects on the vocals (nice to hear glitch used for something other than that done-to-death "put it on the high-passed 2-bus right before the breakdown kicks in" effect )
zildjianmatt
Studio Awesome!
- Nov 27, 2009
- 102
- 0
- 16
Sounds sweet!
Loud as fuck, but eh really cool. I think the lack of dynamics everyone is squandering about works for this style. But thats just my opinion hahaha, dont feed me to the wolves guys
Cheers!
Loud as fuck, but eh really cool. I think the lack of dynamics everyone is squandering about works for this style. But thats just my opinion hahaha, dont feed me to the wolves guys
Cheers!
MarcusGHedwig
Member
Thanks for the comments guys.
I never actually meant the 'loudness' to be the centerpiece of the thread, but I had noticed that there was virtually no attention on the prior incarnation where I made no mention of it whatsoever. So here we are again, proving that lowest-common-denominator marketing really does work anywhere.
The reason it sits somewhere so hot is because this is just a 'for fun' temporary master, done for the band before they give their mix over to a local pro mastering house to do. I figured if I was going to do it for fun, I might as well push things a bit and see how much level I could get, without losing punch. As a result yeah, the dynamic impact between sections is lessened. I was referencing Britney's 'Toxic' album, so I really wanted to hit that 'dance' level loudness, just to sate my own curiosity.
As far as glitching and all that goes, none of the tracking or mixing was done by me. It was all handled by a member of the band, who is actually a fairly proficient mix engineer himself. His automation work is rather crafty, and he's put me onto the usefulness of plug-ins like iZotope's Trash and Buffer Overrun when creating FX. Most 'radio' voices and effects I do in my mixes to this day feature Trash prominently.
Anyway for those who are interested, here is the original mix the master originated from: http://dl.dropbox.com/u/389977/TIA final Mix with edits NO eq.mp3
I did a huge amount of multiband compression to get the low-end in check. If you listen there you will note the bass drum really peaks out. Other than that though it's a very solid mix, made quite easy to master. The only other issue was a bit of that ITB brittleness in the highs and high mids. Two stages of Nebula console saturation, along with URS tape sat, and the hardware GSSL unit really worked wonders on that. The GSSL was running settings much more appropriate to mix work rather than mastering, but once again I really wanted to experiment and see how much punch could be added. Take a listen to how much more rounded the transients are when comparing the mix to the master as a result. Outboard 2-bus comp really is magical in how it makes the track 'move', whereas the ITB equivalents really feel a lot more stale and static.
Anywho, rant over. Thanks for listening!
I never actually meant the 'loudness' to be the centerpiece of the thread, but I had noticed that there was virtually no attention on the prior incarnation where I made no mention of it whatsoever. So here we are again, proving that lowest-common-denominator marketing really does work anywhere.
The reason it sits somewhere so hot is because this is just a 'for fun' temporary master, done for the band before they give their mix over to a local pro mastering house to do. I figured if I was going to do it for fun, I might as well push things a bit and see how much level I could get, without losing punch. As a result yeah, the dynamic impact between sections is lessened. I was referencing Britney's 'Toxic' album, so I really wanted to hit that 'dance' level loudness, just to sate my own curiosity.
As far as glitching and all that goes, none of the tracking or mixing was done by me. It was all handled by a member of the band, who is actually a fairly proficient mix engineer himself. His automation work is rather crafty, and he's put me onto the usefulness of plug-ins like iZotope's Trash and Buffer Overrun when creating FX. Most 'radio' voices and effects I do in my mixes to this day feature Trash prominently.
Anyway for those who are interested, here is the original mix the master originated from: http://dl.dropbox.com/u/389977/TIA final Mix with edits NO eq.mp3
I did a huge amount of multiband compression to get the low-end in check. If you listen there you will note the bass drum really peaks out. Other than that though it's a very solid mix, made quite easy to master. The only other issue was a bit of that ITB brittleness in the highs and high mids. Two stages of Nebula console saturation, along with URS tape sat, and the hardware GSSL unit really worked wonders on that. The GSSL was running settings much more appropriate to mix work rather than mastering, but once again I really wanted to experiment and see how much punch could be added. Take a listen to how much more rounded the transients are when comparing the mix to the master as a result. Outboard 2-bus comp really is magical in how it makes the track 'move', whereas the ITB equivalents really feel a lot more stale and static.
Anywho, rant over. Thanks for listening!
