Difference between Mixing and Mastering

How does 50 compressors in your project work for you? Are you satisfied with your mixes as they are and feel like you are doing it all the right way? To me this sounds ridiculous..

I see absolutely no problem with using 50 compressors in a session... It all depends on how many tracks are in your session.

If I have a session with 200 tracks, then 50 compressors would be conservative.

But if his session has 3 tracks in it, then 50 compressors would be ridiculous.



it is like if I said I put 5 gallons of ketchup on my hamburgers...

You may think that is a lot...

But did you know my hamburgers weigh 127 lbs?
 
Last edited:
I can definitely tell the difference of a mastered and "un-mastered" track .

IMPOSSIBLE.

Unless you know what the song sounded like BEFORE IT WAS MASTERED you'd have no way of knowing what is different from the "unmastered" mix.



For an example , if some claim they master then compare your tracks on a smart phone with an industry track. All my mixes sound good in the car but when i compare my so called master track to the industry track on the phone then i can tell the industry track is really phat and loud and you can hear everything.


Here is the huge flaw in your example:

You are not comparing YOUR mastered track to YOUR unmastered track.

You are comparing YOUR unmastered track to SOMEBODY ELSE'S "mastered"...

You are ASSUMING the difference is because his track is "mastered" and yours is not.

Bad assumption!


The fact is, your track probably sounds worse because the "industry" track (as you call it) is all or some combination of mixed better, recorded better, produced batter, uses better sounds, has better arrangement and/or is performed better.

A track will be "phat", "loud" and you will be able to "hear everything" after the final mix and before "mastering"... yes, you can make your track "louder" in mastering...

...but if your track is not "phat" before you master it, and you cannot "hear everything" before you master it...

Then you have a bad mix.

A "mastered" track will not magically transform from a piece of shit to a high quality "industry" track.



I use my phone as good reference cuz it has beats audio but other then that, is it wrong to use that as a reference?

there is nothing you shouldn't use to reference.




But anyway mastering takes time and alot skill and knowledge to understand it. it just not simple as lot of people think. a master plugin is not gonna solve the problem. Understanding it will! Practice makes perfect . Im still learning :P


Here is the problem so many amateur "producers" and "mixers" have today...

They think "mastering" takes all this time and skill and they think they can just jump in and slap a mix together and have some other person fix it for them.

There is MUCH more involved in mixing than mastering.

In the mix, you have to get every instrument to fit perfectly with every other instrument.

you need to make everything clear if you want it clear or muddy if you want it muddy.

you have to create your soundscape.

Mixing is where you make the song sound like the "song"... the way it sounds after you "mix" it is pretty much how it will be from then on.



They think "well, it can't be MY fault! If my song doesn't sound like that industry track, it must be because that had their tracks mastered, and mastering is some crazy stuff that is impossible to understand. You have to send your track out to a special mastering engineer who will finish my song and make it sound like a real song."

Nope. Sorry.
 
I see absolutely no problem with using 50 compressors in a session... It all depends on how many tracks are in your session.

If I have a session with 200 tracks, then 50 compressors would be conservative.

But if his session has 3 tracks in it, then 50 compressors would be ridiculous.



it is like if I said I put 5 gallons of ketchup on my hamburgers...

You may think that is a lot...

But did you know my hamburgers weigh 127 lbs?

Well yeah, I see your point. But still it sounds quite ridiculous in my ears. But people can put however much of what ever they want on anything they'd like for all I care. :P My computer would explode the very second that I put the 50th compressor on my tracks, and I would never be able to make music again. Maybe at some point when I have gotten further I will understand why, but until then I will just be mindboggled about the idea of even having (theoretically) 200 tracks in 1 session. :)
 
Last edited:
Well yeah, I see your point. But still it sounds quite ridiculous in my ears. But people can put however much of what ever they want on anything they'd like for all I care. :P My computer would explode the very second that I put the 50th compressor on my tracks, and I would never be able to make music again. Maybe at some point when I have gotten further I will understand why, but until then I will just be mindboggled about the idea of even having (theoretically) 200 tracks in 1 session. :)

just to be clear, I am not supporting anything that guy was saying... just saying that 50 compressors is not necessarily unusual... without knowing the circumstance, there is no way of knowing.

Like asking "is 3 db too loud for a drum?"... Maybe... maybe not... i don't know how the drum is being used.



He may be using 50 compressors on a solo piano.

I'm just saying to you, completely unrelated to anything that guy said, that 50 compressors is not necessarily a lot depending on your session.



...and 200 tracks is not particularly mindboggling in my world :)
 
just to be clear, I am not supporting anything that guy was saying... just saying that 50 compressors is not necessarily unusual... without knowing the circumstance, there is no way of knowing.

Like asking "is 3 db too loud for a drum?"... Maybe... maybe not... i don't know how the drum is being used.



He may be using 50 compressors on a solo piano.

I'm just saying to you, completely unrelated to anything that guy said, that 50 compressors is not necessarily a lot depending on your session.



...and 200 tracks is not particularly mindboggling in my world :)

I hear you, I really do. Of course taken out of context, 50 or a billion compressors doesn't really mean anything.
 
@dvyce, if I ever get a song to mix that's 200 tracks with 50 compressors...I'm quitting, lol. I think the most tracks I ever got was in the 60s(63 maybe?), and it took me 2 nights of work just to get levels right and group everything, 3rd night to get it all done afterwards. Then everytime I heard the smallest thing I wanted to fix, I went crazy looking for it. It was one take that ran long so you could hear talking after the performance that I searched for for an hour, no one else could hear it(or pretended it wasn't a big deal because they felt like I was wasting time searching). NEVER WANT TO DO THAT AGAIN! In all fairness, I'm doing hip hop 95% of the time. Even if it starts with 48 tracks, i can compile it down to 16-20 before I even start.
 
for stereo imaging maybe read this

Processing Stereo Audio Files

and then come back and ask some questions

an aural exciter is based on the principle of adding phase inverted 2nd harmonic distortion to the original signal, providing higher frequency content that is partially destructive, partially reinforcing (that was the design brief behind the original BBE aural exciter series of hardware processors) - very useful for providing cues to otherwise unreproducible signals on small speakers/headphones (freq too low to even be reproduced) and picked up as a useful tool for creating a modern sound in live production as well
 
Back
Top