So what about mastering ?

[Brett - K A L I S I A]

Hello Andy and everyone,

I'm curious to hear how you guys master your cds. I read here that Andy uses the T.C. Finalizer, but I'd like more information about how, when, and what for (eq, comp, enhancing, limiting...). Also, do you master through your nearfield monitors or through dedicated systems ? Do you compare your "sound" (eq balance) and level with other cds you already produce or even some you didn't produce ? Do you use some learn-and-match equalizer sometimes ? Well, in a word : what are the tricks to get a great punchy record and the mistakes we should avoid ? Everybody's experience is welcome of course, not just Andy's.

Cheers,

Brett

P.S. : This would be great to hear a minute or so of an album we all know (DHIADW for example, or anything else) with and without the mastering, just to see the difference. Wouldn't it be a nice christmas present ? Hehehe

 

[MR NINE]

Hello Andy and everyone,

I'm curious to hear how you guys master your cds. I read here that Andy uses the T.C. Finalizer, but I'd like more information about how, when, and what for (eq, comp, enhancing, limiting...). Also, do you master through your nearfield monitors or through dedicated systems ? Do you compare your "sound" (eq balance) and level with other cds you already produce or even some you didn't produce ? Do you use some learn-and-match equalizer sometimes ? Well, in a word : what are the tricks to get a great punchy record and the mistakes we should avoid ? Everybody's experience is welcome of course, not just Andy's.

Cheers,

Brett

P.S. : This would be great to hear a minute or so of an album we all know (DHIADW for example, or anything else) with and without the mastering, just to see the difference. Wouldn't it be a nice christmas present ? Hehehe

HI there Brett!

Heeeeeyyyyy! So many questions in a row! Jeeeesuuuss!

Oh and iI bet that if the St.Claus likes Metal (I believe he do!) we can have that present that you're talking about!?! He, he, he!

 

[MR NINE]

I normally record the mix to dat or cd; then send it to valve compression or I use a Focusrite Mixmaster, for different "color" compression (no valve). But it depends of the kind of sound I'm dealing with, (sometimes I go straight to DAW for editing and stuff.)
After I record it in Wavelab and do some editing; then I use Waves Eq and Loudness Maximizer for bring it up; finally the Waves L2 for dithering and a bit limiting if necessary.
And yes I master with my nearfields. And compare it with other commercial CDs and specially listen to it my car stereo that's the best place I trust for sound comparisons.

 

[Exsanguis]

I don't have any high quality outboard gear for mastering, so I either use the TC Works plugin, or various Waves and Voxengo plugins. I use Wavelab sometimes, and other times use Sound Forge. I've grown to like Sound Forge better, so thats usually what I use. As far as the specific plugins go, I use the Voxengo CurveEQ or some Waves EQ, the Waves Ultramaximizer, the Voxengo Warmifier, and the Loudness Maximizer. Not necessarily in that order. I'm a little too tired right now to remember that. God I'm happy I have Christmas off from work.

 

[Hopkins-WitchfinderGeneral]

I use the psp vintage warmer. *waits to get laughed at*

edit: followed in the m-chain by the waves L2 to set a ceiling and prevent any nasty clipping or associated bullshit.

 

[Liferdrums]

Hey Brett,

On the last record I mastered I used Pro Tools HD running the Waves Master Bundle. I was running off a nearfields that I knew and compared it to a commercial cd that wasn't done by me. I just usually will use something that is close to the same genre I am working on, that sounds good of course.

Eric

 

[vile_ator]

Hey guys. Colin Davis here. I'm actually a mastering engineer and I do a lot of metal, so I'd like to chime in if you don't mind.

I have a high-end analog mastering chain that I use as well as all the good plugs you guys have. And I love the plug ins. The Waves plugs are great. And I think you can do a fine job mastering a record with them. But let me tell you what I have found about using them vs. an analog chain.

They are clean and if your recording is nice and clean(Pro-Tools, 48-96k, 24 bit, etc) you will get a smooth result. But its when you compare a recording that was mastered with plug ins to one that was transfered high-res to the right analog chain you hear what you are missing.

All analog compressors and eqs have a certain sound. And we're used to hearing the sound of the Sontec eq's or the Manley Vari-Mu's on our favorite recordings. So although, the Waves Ren Comp or Lin EQis good sounding, they are not AS good as the analog stuff, AND its not what were used to hearing.

The other problem is not the plugs though. Its the operator. The recording engineer really has a hard time being objective when its time to master and so a third party is good for taking a new look or listen to the material and approaching it differently and with, hopefully, a better result. And throw in the fact that recording engineers' speakers dont go below 70 hz worth a damn, and you have a low end problem always there.

I can understand the reasons engineers want to master themselves though.

1. They charge the client for this service.
2. The want to keep quality control high. And are afraid of it getting screwed up.
2. They dont trust the mastering houses that the client can afford or are nearby with their music.
3. They dont feel that this recording is worth the extra cost/effort.
4. They just dont know the right mastering house to work with.

I think that once you find the place that you can work with for mastering, you wont go back unless the money is just not there.

I know this sounds like a plug, and I would like to talk to anyone interested in mastering. But really its more just my point of view, and I couldnt help but add my .02 cents.

Also, by the way, this isnt to say that I am the man and that I am the best, etc. You can send any kind of music to Bob Ludwig, Tom Baker, George Marino and many others and get an absolutely superb product; the best in the business. But be prepared to pay major label bucks for those guys.

Colin

www.imperialmastering.com

 

[Plec]

Great post by Colin! I'm a mastering engineer myself and I agree on every point.

If I had to choose between my great analogue gear or my great monitor system and studio room, I'd go with the later every single time. Your monitoring environment is the most critical part of any mastering project. It doesn't matter if you have the right gear if your monitoring isn't telling you what is needed.

A great monitoring environment is pretty much impossible to achieve in a recording/mix situation since you got all the gear and other compromises around, what you need is a dedicated room designed for accurate monitoring period! Mastering is needed much more today than before since you now have all these home/project studios with engineers without that much experience going at it. I think about every mastering house can agree that the quality of projects coming in have gone down seriously, but there are basically more work to do since more people now require the service.

I think the reason that people are afraid of mastering or not getting the reuslts they want is that they are inexperienced and/or lack good communication with the mastering engineer. I think most people wouldn't send away a 90 channel project they recorded to a mix engineer and let them do all the mix work without any input? However, if you know that mix engineer and have worked with them on several occastions, this might work out allright. But sending away a mix to a complete stranger for mastering is always a big risk. So get to know you engineer... that's my advice...

As far as home mastering goes... You might do allright but it takes a lot of experience to get it right time after time, not to mention a great monitoring environment.