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Post by svart on Mar 2, 2014 13:29:03 GMT -6
My 1990's era Soundforge program suggests that music be normalized to -14 to -16db RMS. I generally get it up to around -12db RMS.
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Post by Deleted on Mar 4, 2014 9:38:10 GMT -6
some gain, Gclip, and maybe a db or two of limiting with the Sonnox Limiter.
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Post by nico on Mar 18, 2014 6:19:59 GMT -6
For loud without crap, I find it pretty vital to keep your mix bus down at -10-12 dB rms as stated and some peaks at -6dBfs max!! If you have some tracks overshooting to anywhere above -6dB, like a wild snare/vocal/whatever... track: limit these tracks. If you can keep your mix in that range, any limiter you will throw after it will make your track louder than if you let your mixbus hit your DAW harder. Try hitting your mix above that and then adding a limiter, it will very likely distort thus not allowing you a louder mix. I think it has to do with the internal headroom of the plugins. With the Sonnox Limiter, that I always use to give loud premasters to clients, working like this keeping the mixbus down allows me to add anywhere between 6-10 dB at the input of the limiter and still sounding close to your mix, ie not oversquashed/distorted/lifeless
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Post by Johnkenn on Mar 18, 2014 7:24:45 GMT -6
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Post by nico on Mar 19, 2014 16:55:50 GMT -6
thx seems really nice forum
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Post by Johnkenn on Mar 19, 2014 18:59:17 GMT -6
Anything over -10 rms seems to get crunchy to me.
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Post by Guitar on Mar 19, 2014 19:50:17 GMT -6
On my last paid project I used FabFilter Pro-L with a touch of Sonnox Inflator (15 to 30 percent or so on each track). I was using a lot of other stuff on the mix buss too, a Waves pultec, Waves NLS console emulation (EMI TG on every song), Cytomic SSL type compressor VST, and a PSP Neon EQ. I separated the process into mix buss mixing, and mastering, because the band asked me to go ahead and master it, too, when the mixes were finished. I'd say it worked out pretty well!
I used to use Oxford Limiter which is a little brighter than Pro-L, but I found it doesn't react well to being pushed as hard as Pro-L.
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Post by frans on Mar 20, 2014 2:40:10 GMT -6
Gainstaging, the right preamps and the right mics, some parallel distortion.
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Post by Johnkenn on Mar 20, 2014 9:15:15 GMT -6
I was comparing my mix with itunes and it's nowhere near as loud...and my mix had RMS or around -10. What in the hell do these mastering guys do to get it so loud?
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Post by svart on Mar 20, 2014 10:01:43 GMT -6
Well..
1. The mix absolutely has to be ready to be made loud. You can't make any old mix loud. It has to be the right combination of levels and frequency ranges. Bass must be present in the form of "missing fundamentals", clarity achieved through a clean midrange and not boosted highs, etc. Essentially the loudness today is made from a combination of fooling the brain and using the Fletcher-Munson curve to it's fullest extent.
2. Limit the highest transients as much as possible. 3. Compress and normalize everything as much as possible. 4. Start using EQ to shape the sound as it changed from so much compression. 5. Fix the problems from so much compression and EQ by using frequency variable compression. 6. Limit more. 7. Compress more. 8. ? 9. Profit!
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Post by popmann on Mar 20, 2014 16:41:26 GMT -6
...you checked "in iTunes"? What does that even mean...the store clips? If you have SoundCheck on, everything in your library should give or take sound the the same volume. My understanding was the store clips have that running regardless of client settings.
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Post by ineoeon on Mar 20, 2014 16:51:21 GMT -6
Ozone, definitely. There is no better mastering all-in-one plugin.
Inviato dal mio Z10 utilizzando Tapatalk
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Post by jazznoise on Mar 20, 2014 17:40:04 GMT -6
If I'm doing it for effect to BE LOUD I'll use Limiter No.6 and sometimes even VBL for distortion/compression.
Density MKII if I'm just looking for a little subtle sheen. Maybe 1 or 2dB (I actually mean that). I'm not a big loudness freak. Who cares in 2014 what the crest factor is?
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Post by Deleted on Mar 20, 2014 18:22:33 GMT -6
Limiter No.6 is one hell of a freeware limiter, just for this one thing, getting a mix louder. But it has a special color to it, not suitable for all material.... Same for Molot compressor!
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Post by jazznoise on Mar 20, 2014 19:03:04 GMT -6
Limiter No.6 is one hell of a freeware limiter, just for this one thing, getting a mix louder. But it has a special color to it, not suitable for all material.... Same for Molot compressor! It's very aggressive sounding, even without the clipper engaged. Molot I've never really gotten into it. It's just a little too eccentric for an insert limiter?? I dunno!
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Post by Guitar on Mar 20, 2014 19:11:59 GMT -6
TLs Limiter was my old freebee standby for a long time
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Post by Deleted on Mar 20, 2014 19:47:47 GMT -6
8-)Oh yes, a really good one as well!
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Post by Deleted on Mar 20, 2014 19:49:46 GMT -6
I use Molot occasionally on busses. Sometimes it is just right, and compares to nothing else!
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Post by delcampo on Mar 21, 2014 15:05:12 GMT -6
Love molot. Lim 6 is sometimes just right as well.
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Post by jimwilliams on Mar 25, 2014 9:35:15 GMT -6
Nuthin'. That's what mastering is for.
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Post by popmann on Mar 25, 2014 11:59:03 GMT -6
It's a little early for a merlot, but...if you insist. If I put a good merlot on it, it will be louder in NO time!
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