great thread, i actually kinda had the same problem, this info will come in handy
Good sounding samples are different from good quality and well chosen samples. Good quality and well chosen means like some of the others have stated, spectral/tonal balance and using a sample that requires little or no eq. If you are eqing something to hell just layer or exchange the sample. After lots of practice and understanding, I found my issue. It was nexus 2, which made my mixing tough. Its sounds were very brashy and midrangy which clashed with vocals and took away from the roundness of my total mix. As of lately I have been carefully choosing my samples and vst's, and now I an get a final sounding mix with faders and little eq. This is without compression and limiting. Now if I can do it you can. Choose good samples that fit diff. frequency ranges and balance volumes and pan. Eq after all of this for more spacing. If you still need more room for instruments to breathe reverb and/or delay carefully that should help you alot.
using a high quality multiband compressor when mastering helps get that radio quality sound
Actually you should never have to use a multi-band compressor, and Multi-band compression is really only used when your stuff is in pretty bad shape. Use compressors, eq's, and limiters sparingly, they kill dynamics, and they usually, unless you really know what your doing, adversely effect your mix. Mastering for all intents and purposes should be done by pro's in room's specifically designed to address mix issues before "printing" or sending out to for final distribution to ensure the final product will sound the same on various different payback systems.
Thanks for those comments.
Dawduh do you have any recommendations for high quality mb comps? Also eq or limiters. Right now I'm very comfortable w the fruity loops eq and comp/limiter, but I could guess these aren't geared toward radio quality (though a pro could get it out of them).
N-duced thanks for the devils advocate stance. I like opposing suggestions- I learn more quickly. Right now I use eq to cut sparingly, and I use a limiter to get consistent peaks that I can balance without hitting the red. I compress when I want that compressed sound. But always use everything sparingly.
I've always wondered how tracks are mastered for different playback devices? Anyone know the basic steps?
I agree with this to some extent. My take is to know why you are using them, know how they can be used for corrective and creative purposes and then go from there.Use compressors, eq's, and limiters sparingly, they kill dynamics, and they usually, unless you really know what your doing, adversely effect your mix.
New pages in the works. Stay tuned.
Its really about having a room where you can hear whats going on with the mix, a lot of times there is a phenomena called ghosting where there are frequencies that become burred or are unclear similar to the phenomena addressed in television production, mastering rooms quite frequently address this issue with mixes so that they remove that unwanted "ringing" or frequency. They also check mixes to balance them in their rooms (their rooms are designed to be flat so any corrections made in those rooms will give the best possible result across the most possible mediums of broadcast). This is why Mastering Rooms are considerably more accurate than Mixing or Tracking Rooms. Their job is to be sonic microscopes to allow the engineer to fix any final errors before delivery to distribution. This is also why its a self defeating task to "Master" your material in the same room where the music or the "product" was assembled. Quite a bit of work goes into assuring that those rooms will yield the most accurate result possible.
try doing what the previous poster said and start with high source material and then dither down to 16 bit.
Last edited by HERESY/KNOKK SHOPE; 04-30-2012 at 09:42 PM.
New pages in the works. Stay tuned.
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