#31
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I find it harder to nail the master on something I've mixed because it's difficult to listen to a song globally (if that's the right word) after spending so much concentrating on individual details. I'd need a relatively long stretch of time and a few projects in between for my brain and ears to make that listening adjustment. Essentially, I'd have to wait long enough to have forgotten much of what I did when mixing.
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#32
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Mastering is a huge issue for me but I usually use Ozone for my Mastering.
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#33
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So regarding your workflow, would you not consider the EQ, compression, and reverb steps above part of your mixing process? Then the application of the limiters where you are shaping your volume levels is the mastering process?
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#34
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Doerr Trinity 12 Fret 00 (Lutz/Maple) Edwinson Zephyr 13 Fret 00 (Adi/Coco) Froggy Bottom H-12 (Adi/EIR) Kostal 12 Fret OMC (German Spruce/Koa) Rainsong APSE 12 Fret (Carbon Fiber) Taylor 812ce-N 12 fret (Sitka/EIR Nylon) |
#35
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True. We are taming different beasts.
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#36
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Those who master at the final stereo bus while mixing of course can do this while "Mastering" as mixing and "Mastering" are the same to them. As I've explained upthread, I like to keep the mastering a separate, stand-alone process as I believe (maybe only a psychological trick I play on myself) that I want to concentrate on the final blended thing and the expected listeners experience of that without changing mindset to "you know the keyboard part should come up in the choruses, and then down in verses" or "the drums need more cowbell.*" *Insert Will Farrell/SNL reference in your own mind.
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----------------------------------- Creator of The Parlando Project Guitars: 20th Century Seagull S6-12, S6 Folk, Seagull M6; '00 Guild JF30-12, '01 Martin 00-15, '16 Martin 000-17, '07 Parkwood PW510, Epiphone Biscuit resonator, Merlin Dulcimer, and various electric guitars, basses.... |
#37
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I played a bit with mastering plug ins in the past, but I quickly figured out that all the adjustable parameters were simply too much to try and figure out for myself. I love playing music and just didn't want to spend a bunch of time trying to figure out "mastering". I know the basics, but really only enough to be truly dangerous.
There's a reason why most recordists opt to send their work out to someone who will offer a fresh set of ears and considerable experience for the mastering task. Simple solo guitar recording would be an exception, needing little to spruce them up. Perhaps as little as EQ, riding levels, and normalizing final mixes. One thing that you need to take into consideration is that "mastering" is usually done at the end phase of a recording project and one objective is to tie several songs together in a continual project so the entire recording canbe listened to without abrupt changes from track to track. The one thing I tried with mastering plugs was to audition "pre-sets" and simply listen to the results. If you find that you like what you hear then you can look at the mastering plug settings to see what contributed to the sound you liked. I've done a few CD recordings for bands and provided them with mixes that I applied mastering plugs on with the caveat that I DID NOT know what I was doing, only applying pre-sets and using my own judgement as to what sounded good. In those cases they opted to send mixes off for mastering, and I'm glad they did! Last edited by Rudy4; 07-13-2021 at 08:54 AM. |
#38
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I was unimpressed with Ozone Advanced, which I bought. It's probably fine if you're just trying to get things to a target loudness value, but, in my testing, the "mastering assistant" missed issues and really didn't do much to help the mix. To each their own, I guess, but I would venture to say that there could be a lot of benefits to having a professional master done to a solo acoustic guitar. It's not just hitting target levels. There is an art to mastering that goes beyond just levels. It's about impact & emotion...and delivering that in the most translatable way possible.
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-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#39
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Bob, not sure if you've come across this ancient demo of mine, but a decade ago, after I'd released one of my CDs, I put together this demo showing each step of how I mixed 1 track and then what happened after I sent the track out for mastering. Kind of funny to watch, since other than Logic, I use almost nothing I mention in this video anymore - I guess that's good, hopefully I've made progress since then in some way, or at least am trying different things. But I think this touches on some things from this thread as well as some others I've seen you ask about. I've changed the gear I use since then, and I'd like to think I get a better sound these days, but I'd say the basic approach remains pretty much the same for me.
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#40
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I got the Ozone Elements in bundle of Izotope stuff not too long ago. I tried it for a rough pre-master of a finger style tune. It is pretty cool, but I did an a/b with what I would do on my own with some eq and limiting plugins and I preferred what I came up with (it was a little more gentle, I think) I haven't tried it for a tune with full instrumentation yet, but I might next time I do one of those.
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#41
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Give a man a fishing rod... and he's got the makings of a rudimentary banjo. |
#42
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2018 Guild F-512 Sunburst -- 2007 Guild F412 Ice Tea burst 2002 Guild JF30-12 Whiskeyburst -- 2011 Guild F-50R Sunburst 2011 Guild GAD D125-12 NT -- 1972 Epiphone FT-160 12-string 2012 Epiphone Dot CH -- 2010 Epiphone Les Paul Standard trans amber 2013 Yamaha Motif XS7 Cougar's Soundcloud page Last edited by DCCougar; 07-23-2021 at 02:56 PM. |