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Post by jeremygillespie on May 5, 2022 13:47:34 GMT -6
Can’t remember the last time I mixed a song and I didn’t have a compressor and an eq on the 2 bus. I put them on after I have my main levels to where I want them at and things are starting to sound put together. Then get the comp going, and maybe some small eq moves to get the bottom and top right.
Then continue mixing, automation etc. if at that point I were to pull off my 2 bus chain, the mix goes to hell. No reason to pull that stuff off, it’s part of the mix.
I don’t really worry about getting things loud aside from a plug-in just to pump things up a bit louder for the client to listen in context of other tracks etc. That louder limited mix never gets sent to a Mastering Engineer. They know what they are doing and that’s kind of their job, not mine.
If a ME is asking you to take off your 2bus, you’re probably sending them something that’s already smashed to hell and they have no room to do anything. Even a simple 1db boost somewhere can blow up the mix and now you’re into some nasty sounding stuff.
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Post by jaba on May 5, 2022 14:02:23 GMT -6
I pretty much always have a bit of compression and most likely a bit of EQ and/or saturation (U-he Satin usually) on the 2-buss.
Don't forget, if you're mixing into this stuff, either from the very start or halfway through, you're reacting differently than if the 2-buss is wide open. So those who use close to nothing, will likely (all things and goals being equal) dig in a bit harder on channels and groups than those of us with a few things on the 2-Buss affecting the sounds. They may be small differences but they add up. In the end, whatever works, works. No right or wrong.
Curious: a lot of people say that use a certain something just "for volume". I assume this means it's something that's eating transients or the like but I sometimes get the impression that whatever this piece or plug, it's just making the output a bit louder and is essentially doing nothing different than sneaking the fader up (or what a ME will be doing anyway). Am I missing something here?
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Post by M57 on May 5, 2022 15:39:34 GMT -6
Since it seems to be going in the direction of mastering vs mix processing... what have been your previous experiences with mastering? Have you sent things out before or would this be something like a first time shot? Yes.. a bit of unpacking. I have little in the way of experience with outside mastering. I've never compiled an album/CD/EP of my work. All of my music resides on SoundCloud for now, and it's all 'self-mastered.' I tried a few of the automated sites a few years ago and determined that my 'mastering' is just as good if not better. That said, I know that both my mixing and mastering skills are not nearly professional grade. I record myself almost exclusively, though recently I've found a few on-line collaborators who contribute tracks here and there. I have little interest in marketing/sales, etc. I'm just looking to create a reasonably lasting representation of my best work. When I listen to my tracks in series on SC, the transitions and continuity are not horrible, but I can certainly hear that there's room for improvement.
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Post by EmRR on May 5, 2022 22:00:05 GMT -6
Times I put an EQ on the mix, 2-3%.
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Post by Deleted on May 5, 2022 22:18:36 GMT -6
I always use a comp with a pillowly release to fight my fader moves, a shelf, U-he Satin, and a dither. Lately I've been using console plugs just for the sound of them hitting the red and MJUC for this last mix. Pretty insane to ride faders into it.
Dan
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Post by thehightenor on May 6, 2022 2:15:45 GMT -6
For me the starting point is what is and what isn’t “mastering” here in 2022 - a time when it’s doubtful your releasing on vinyl or CD and your goal is files for a streaming service. I master my own music and it’s the last part of my creative process where very little further processing takes place. The only compression and EQ moves I make are technical not artistic. Like I said above working in a modern DAW the line between mixing & mastering is certainly ill defined & much depends on where your standing... not to mention overall intent. Totally agree if the main goal is simply to put some music into streaming... like the OP has a soundcloud link? Then you probably don't need to hire outside services. Tacking on some brickwall level is likely good enough. Call it a day & move on. But some people are releasing vinyl & other product... touring & doing SXSW showcases & festivals etc. And for those hiring out legit mastering is essential and part of the process. One group I mastered an album for... between what was spent on recording & label investments in physical & publicity? They spent nearly $25k front to back. And so the $500 odd bucks they paid me for mastering barely registers. Probably spent more then that on take out food... mastering is just another line item in the budget. Totally agree - if I was putting stuff out on Vinyl I'd defiantly find someone who has proven experience with that medium. I got into mixing to sound like a record and minimum processing at the mastering stage after sending material out to be mastered and being disappointed with what I got back! Perhaps if I could afford Bob Katz that might of been a different story :-)
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