A question for the forums ME's

[Trebor Flow 2]

I know many ME's on this forum have stated their lack of enthusiasm for MB compression at the mastering stage.

I was wondering which software compressor they do recommend if one is having to do home mastering.

And also if they can explain the difference betwwen bus compression at the mix down stage as opposed to adding compression at the mastering stage - and if they prefer to recieve masters that have not had bus compression added.

I have a UAD-1 and a Powercore

I was thinking of buying the Fairchild as my mastering compressor ?

or I was thinking of buying the PoCo MD3 but that's a MB device and also looks bloody complex to use.

My mastering chain is going to be

1. Sony Oxford EQ

2. A mastering compressor ?? (don't konw which one - thus the question)

3. UAD-1 Precison Limiter

4. A touch of Sony Inflator (which I do think can sound fab if used sparingly)

Thanks for any help you can give me

Trebor Flow

 

[Tarekith]

Your mastering chain should never be set in stone like that, it should always depend on what the song needs, not what tools you have. Personally I wouldn't use the Fairchild as a mastering engineer, it has a distinct sound to it and most mastering engineers try to be more transparent than that (again, unless the song needs more color).

Personally I think it seems a bit much to use the Inflator AND PreLimiter, but that's just me, I realize they operate differently.

For my own music, I try and keep the mastering chain as short and simple as possiblem, typically just the Precision Limiter and UV22hr dithering, maybe a pultec before those if I need a slight top end boost or cut. Any other issues that those plug ins can't address, I go back to the mix and fix there.

Just my $.02.

 

[Trebor Flow 2]

Thanks for the reply Tarekith - actually I would never use anything just for the sake of it - I am very conservative with all my plugins as the kind of singer/songwriter based pop I do just doesn't need anything to fancy -

However I'm still looking for a nice compressor just to pull things together a bit - and I still am a bit confused why some guys swear by runnig the mix through an SSL stereo bus compressor at mix down - where others leave it all to the mastering.

What compressor do most people use at the mastering stage - I really thought UA would release a Precision Compressor to go with the PL and P EQ but as yet they haven't and maybe never will?

Trebor

 

[MASSIVE Mastering]

I think a lot of people are approaching master (the \"sweetening\" portion anyway) from completely the wrong perspective...

You don't start by having a chain and seeing what works - That's just experimentation. It's important to do, but it's not the core of the concept.

You need to (A) LISTEN to the mix, (B) \"Visualize\" what the mix \"should\" sound like, (C) Assemble the chain that will make the mix sound as you imagine and (D) Tweak.

Upon listening, the chain needed to do what you need should basically be in your head, along with rough settings to get the sound how you imagined it.

I use several (mostly analog, but some digital) compressors, limiters and equalizers - I NEVER have ANY idea of what the chain will be until I'm listening to the mix. Anything else is working backwards.

 

[Trebor Flow 2]

Thanks for the reply John

When you do use a software compressor which one is it> (if that's not a trade secret

Also do you do mastering for a customer in the UK - how would one send material in to you?

Trebor Flow

AKA

Robert Wolf

 

[MASSIVE Mastering]

Thanks for the reply John

When you do use a software compressor which one is it> (if that's not a trade secret

Also do you do mastering for a customer in the UK - how would one send material in to you?

Trebor Flow

AKA

Robert Wolf

(A) I use one whenever I feel the mix would benefit most from it. Which one I use would be the one I feel the mix would benefit from the most. The next mix may be completely different.

(B) Yes, I do a good chunk of intl. work. Mostly delivered here via FTP, delivered to the client via FTP or FedEx.

 

[TheEastGateMS]

i use everything digital. it is about technique, not cost or domain of gear. there are great plugs that can get some very warm sounds. keep an eye out for \"colorTone' to replace the need of analog transformers or tubes for a master buss. btw, opinions are like @$$es. everyone has one and they all stink. :wink: oh, and the best saying to live by as an engineer is: \"\"if it sounds right, it is right\"... unless your ears/monitors suck.
daved

 

[Trebor Flow 2]

Thanks for the replies

I realise you master lot's of different types of music and therefore have lot's of different tools - but I only record one type of music really, that being a style very similar to Sting/Seal I have a high tenor voice like Sting and create songs in a similar style and instrumentation.

Sooooo... I was wondering if you could try to be a \"little\" specific and give me a nod in the right direction to a software compressor that would be useful in polishing mixes in that stlye - I like to leave a good dynamic range and DON'T squash my mixes much.

I realise that this is a difficult question - but in the current absense of a UAD-1 mastering compressor (which would end this question for me) I'm not sure what to plum for. I have a PoCo and was considering the Sony Dynamic - buy any other personal preferences for a mix compressor plugin would be very app.

Thanks

Trebor

 

[MASSIVE Mastering]

I feel we should clear the air on semantics... A lack of a compressor that says \"MASTERING\" on it doesn't mean the lack of a compressor that's good for mastering... Most gear labeled \"MASTERING\" on it, although it may be of excellent quality or not, is labeled that way to indicate that it has detented switches instead of potentiometers for exact recall. With plugs, you're getting exact recall every time you hit the SAVE button.

You use the compressor that sounds right, at the moment, on that mix.

That being said - It's a good thing that you want to retain dynamics - Most digital compression (IMO and E) isn't up to snuff with high-end analog gear on the \"volume\" portion of the program. Weiss? Maybe... (Analog vs. Digital illustrated HERE just for fun)

THAT being said, if I was working Sting or Seal, I would imagine the first thing I'd grab for is the Vari-Mu. Loosely based on the Fairchild 760 (but smoother sounding with less low-end goofiness - again, \"IMHO\") UAD's Fairchild plug (perhaps in parallel with low pass on the mult) or even the LA2A, depending on the feel of the mix might be just what the doctor ordered.

Might be...

 

[Trebor Flow 2]

Thanks for the reply John

However I’m afraid once again I’m confused by USA/ME/technical lingo (delete as appropriate)

What the hell does?

“UAD's Fairchild plug (perhaps in parallel with low pass on the mult)”

mean?

In England a “mult” can mean anything from “multiple” to a “bad hair do”

If you could explain why and how I should stick a low pass on the mult. I would be very grateful.


Actually as I have worked so hard on recording my new album - I think I may get my webmaster to FTP you a track over when I have mixed it to see what a real ME can do with it - as opposed to “little ole me” with Wavelab and a UAD-1 and PoCo.

In fairness to myself I have been recording 25 years (I’m old!) and have a very good ear for arrangements and sounds so there probably isn’t that much to fix in the mix plus the fact I use a Bottle mic with B6/B7 capsules which sounds wonderful and again needs no EQ and only a hint of compression on the vocal. I have checked out your rate card which seems eminently reasonable so I’m thinking it would be great to hear how you would handle a track.

Thanks

Robert Wolf

 

[MASSIVE Mastering]

Multiple - (sorry 'bout that).

If you line up two tracks (sample accurate, and assuming your progam compensates for the delay), Low cut and compress one with the FC and then low pass (high cut) the other to keep some uncompressed and open low end in there. You'll need to make somewhat of a virtual crossover using EQ.

We've got a similar word for bad hair - \"Mullet\"

 

[Trebor Flow 2]

Thanks for that John - I take it that's not a photo of you trying to get money out of a customer?

Actually I think it's a mullet in England - but where I'm from a \"mult\" was the slang word we used.

I think \"making a virtual crossover using EQ\" is propably beyond the scope of my tinkering - but thanks for the tip anyway.

Hopefully UA will bring out a so called \"mastering compressor\" that is as useful as their two other Prec. series plugin's (PL and P EQ) It will never replace the brains and ears of a prof. ME but will be a useful tool for those that like to master alone - so to speak!

Rob

 

[giles117]

Love your illustartion. LOL

The few times I master (I am a mixer. Mastering ONLY when necessary. Like they stick the money in your face and say please... LOL)

Anyway. The few times I have mastered I alwasy use the ears. I dont wast my time looking at meters and stuff (except to make sure I am not over squashing visually) I never limit more than 1.0 db of Gain reduction on any plugin limiter. Pass that they get real nasty REALLY REALLY fast IMO.

I wish more people would think with there ears and not their eyes. I though this was the Music Biz.

Old Live sound Joke. Who needs lights you dont go home after the show humming the lights. LOL

 

[Trebor Flow 2]

Giles I might be missing something

but ..... who mention lights and meters in this thread?

you still taking those tablets?

Trebor