When your about to get ur track mastered, how do you present your work to the mastering engineer? Individual tracks? the track itself?
What other things are important when presenting your track to the mastering engineer?
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When your about to get ur track mastered, how do you present your work to the mastering engineer? Individual tracks? the track itself?
What other things are important when presenting your track to the mastering engineer?
Generally a mastering engenieer will only work on the final stereo version (or the new 5.1, etc...)...
A mixer would deal with the mixing side of the track, but it would probabbly b a different person from the master..
Leave yer track at the inicial sample/ bit rate etc... don't use any form of Dithering!
Z
Some engeeners would also appreciate you bringing your fav. cd or track something to compare or to show them what you are looking for.
good commentQuote:
Originally Posted by dulash
this is probably a really good way for non-techno engineers to know what your on about
cheers
:clap:
Cool. I read that the final mastering process should be to just fix up bits and pieces and not used in a creative manner. Unfortunately when music production mags tell me this info, they're not what genre of music this applies too.
Im assuming techno production dosen't really fall into this category as techno production is loosely based around a 'anything goes' approach to production yeah?
I find the hardest problem when readin (..insert music mag here..) guide to music production, they don't specify what genres of music they're talkin about. I guess it's all part of the learning/ experimenting process :twisted:
Don't worry too much.
It applies to most genres as the production process is similar.
Its just what you do with the sounds and how u play/program them that defines the genre.
Bass is bass and treble is treble if you know what I mean...
think of it as having a driver's license, if u do U can drive, but u can drive fast, slow, agressively, jeeps, stationwagins, etc... but the driving rules still apply u just adapt 2 the situation in hands!
Z
What about if i drive my 1982 mitsubishi sigma station wagon with heaps of rust, and smoke pouring out the exhaust?Quote:
Originally Posted by DJ Ze MigL
Then you have to wait and save up for a better vehicle :)Quote:
Originally Posted by sash
i'll sell it too ya cheap Komplex, $500, heaps of rego, everythings in good condition (except rust, gearbox, smoke out the exhaust). U will love it!
I'll keep my $500 but lets take both our shitboxes and do some paddock bashing. :)
Never use by ANY reason waves L2 or any similar device, Mastering engineers hate them and will destroy you sound, never use it for material wich is gonna be pressed on vynil
i heard NEVER USE Any KIND OF SOFTWARE COMPRESSION NO NEVER USE SOFTWARE LIMITERS from topnotch audio engineers, but that is just crap, they are just old farts who have to justify why they spent thousands of € on hardware.Quote:
Originally Posted by analfreaked
i know how software mastering tools sound on vinyl, you could never tell the difference.
i do most of my work in Acid Pro 4.0, then when i render the final 16bit 44.1khz stereo WAV, i tidy it a little in Sound Forge or Wavelab 4...
BUT, i always keep 2 versions. one before & one after.
i dont apply huge compression or EQ boost, just fade the end section & level the peaks very slightly with Wavehammer or the like.
the final mastering is different depending on the format its to go on, afaik
example-radio mastering is much different to that of cd. which again is different to vinyl due to frequency range differences.
to the best of my knowledge anyways