Mattayus
Sir Groove-A-Lot
don't ask me why, but i was always under the impression it was best to leave your master bus completely free in a mix, then bounce down and import into a new project to master?
What do you stuff on masterchain?
- Thread starter ApeScaleConflict
- Start date
best?
people do things differently.
if you're not mastering a song or record yourself, then yes, this is probably the best method.
but if you're doing it yourself, then it really all depends on your own process and what you like doing.
best is rather relative.
XxRobbieChaosxX
Member
i set compression so that it brings it down about 1-2DB every time the mix actually PUMPS. attack on 10, release on .1
Makeup gain is usually around +5.5. I just try to bring it REAL close to 0 without going over.
Then I use a limited with a threshold of -5 and a output of 0.3
So...
REQ
REQ
REQ
SSL Comp Stereo
L2
Makeup gain is usually around +5.5. I just try to bring it REAL close to 0 without going over.
Then I use a limited with a threshold of -5 and a output of 0.3
So...
REQ
REQ
REQ
SSL Comp Stereo
L2
Mattayus
Sir Groove-A-Lot
I know, I wasn't being as obtuse as to say there's a black and white "right and wrong" method, but I'm talking about the way in which the master bus processes will act on the audio depending on if it's during playback/bouncedown or if it's doing the same processes but to one single wave form (i.e. the bounced track). If there is, of course, a difference at all (which, in a roundabout way, was my question
)
darthjujuu
Member
why three REQ's in series?? especially if you're mastering your own stuff o_0
I know, I wasn't being as obtuse as to say there's a black and white "right and wrong" method, but I'm talking about the way in which the master bus processes will act on the audio depending on if it's during playback/bouncedown or if it's doing the same processes but to one single wave form (i.e. the bounced track). If there is, of course, a difference at all (which, in a roundabout way, was my question
no difference. just preference, depends on CPU resources. if your DAW is already dragging its ass while scrubbing through the mix, you'll probably want to leave the pseudo-mastering to a different session. if your setup has the muscle to handle it, just throw your stuff on the 2bus inserts. this is sometimes beneficial if you're mastering on your own because you can then get an idea of the end result once slammed with a limiter and augment the mix as necessary from within one project.
arv_foh
Brian K
MetalSir said:
You compress in light amounts using multiple instances of the plugin instead of 1 instance with heavy compression
were is the difference between the two process?
how much "light" the compression may be? can you give me an example?
really tks a lot! =)
ok, i tried this chain.. During mastering i added some "Elephant" and a couple of other vst..
this is the result:
soundclick
i mixed it during the night.. so NOTHING genelec or ns-10.. be patient..
tanks to all for the eventual feedback.. =)
i go to sleep! asd
this is the result:
soundclick
i mixed it during the night.. so NOTHING genelec or ns-10.. be patient..
tanks to all for the eventual feedback.. =)
i go to sleep! asd
FarizAdili
Member
- Nov 2, 2010
- 106
- 0
- 16
This:
Theres nothing like the warmth and character of vintage hardware equalizers. With Q-Clone, you can dig into its massive library of classic EQs, or use the Q-Capture component to model your own hardware favorites. Plus, you can use your captured hardware freely throughout your session, adjusting the sound of each track as if you had dozens of that same equalizer. With so many EQs at your fingertips, Q-Clone is truly an equalization revolution.
And that:
http://www.waves.com/content.aspx?id=319&l=4#ixzz15BsRRbsA
FarizAdili
Member
- Nov 2, 2010
- 106
- 0
- 16
darthjujuu
Member
x-hum is a needless CPU hog, elephant and ozone both have integrated DC offset filters. ... and personally, i've never been able to hear a difference with or without DC offset filters, but that may just be the limitations of my monitoring environment. what're you doing with the vintage warmer?? just tryina glue things a tad more?? (seriously...not just making fun of the other thread, haha)
NSGUITAR
Member
- Oct 26, 2009
- 2,180
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Yeah, X-hum really does kill your CPU.. I'm trying to get more used to using Elephant's, but in school, we were taught with X-hum for DC offset, so that's just me sticking to my guns really.
I've been using the vintage warmer to acquire a nice, round bottom end. It REALLY helps to emulate an analog mix if used properly. It sort of gives you a saturation that is actually quite appealing, at least to me. Sort of zeros everything in for me and give the mix an extra push. But it's very easy to overdue, just like every plug. I could post a clip with a before/after with the psp, if you'd like.
waltz mastering
Member
With the quality of converters now a days dc offset is a rarity. If you don't hear a click when starting or stopping audio or see that the waveform is off center, I wouldn't sweat it. If you do experience dc offset on the regular in your own recordings, it's probably time to upgrade your converters and it is also something a hpf set above 5Hz will fix. ...but there's really no need to fix it if it ain't broke.
Toxic_Lord
Member
There are basically two possibilities:
A) Old School Metal:
- ( ATA Master bus if mastering in ProTools )
- Nebula 3 one band vintage EQ ( try in 5000 Hz!!)
- SSL Bus Comp ( The glue )
- BBe Sonic Maximizer ( if needed )
- Nebula 3 Tape emulation ( Estrudel A81 80´s Model )
B) Moder Metal:
I use T-Tracks 3 ( Stand Alone) :
- Opto Compresor
- Modern EQ
- Break Wall/Limiter
Anyway, there are no rules!!! :Spin:
Thrash!!!!
A) Old School Metal:
- ( ATA Master bus if mastering in ProTools )
- Nebula 3 one band vintage EQ ( try in 5000 Hz!!)
- SSL Bus Comp ( The glue )
- BBe Sonic Maximizer ( if needed )
- Nebula 3 Tape emulation ( Estrudel A81 80´s Model )
B) Moder Metal:
I use T-Tracks 3 ( Stand Alone) :
- Opto Compresor
- Modern EQ
- Break Wall/Limiter
Anyway, there are no rules!!! :Spin:
Thrash!!!!
Seth Munson
How do Amber Lamps?
