Mastering Techniques

dacalion

Hands Of FIRE!
ill o.g.
Battle Points: 259
Ok, I've seen some of you come close to addressing this topic but no one has attacked it head on. So I'm gonna share my preferences and maybe this will spark some of you "more experienced" cats to respond.

1. Intro--Mastering is more of a preference than any other thing in the process of making music. It all boils down to what the individual likes.

2. Getting started--Make sure that you have several different ways of listening to your music, try to have as many different forms of speakers as possible. Headphones to 15" subs to a boom box to some car speakers. It wouldn't hurt to have someone thats as much into music as you are sit in with you to provide a 2nd opinion.

3. Organize your music--Make sure that everything, your samples, your instuments, your vocals, your timing, your effects are all right where you want them.

4. First Compression--most engineers don't do this but I like doing it for personal preferences. This step is refered to as "pre-mastering". This is where you do some "multiband compressing". The idea here is to make your music sound tighter, more rhythmic, and cohesive. Here I use a relatively equal amount of compression on five bands (HF, LHF, HLF, LF, SUB).

5. EQ'ing--Here my goal is to SHAPE my music. As with step#4, I'm not trying to make a big difference but to fine adjust my sound.

6. Here's a good place to listen to your mix. You have done some compressing and EQ'ing and your mix is starting to come together. Have your partner evaluate your work so far. Try to be open-minded to his suggestions.

7. Limiting--Here you want to set your limits to 0db's but I usually set mine to -1db's to allow room for peaks. Remember, you're setting your avg. peak to 0 you don't want to over-limit but you do want it borderlining.

8. Normalisation--This is like a part2 to limiting. Normalizing identifies and automactically adjusts the gain of the rest of the signal. I usually set it to -1dB's.

9. Final Tweaks--Make sure that everthing is in order, set your playlist, use an audio editor to get rid of any popping or other noises in between songs or whatever needs to be done.

10. Final Listening--Listen one more time and decide if youre happy with the final mix. Either go back and adjust or get your CD-RW warmed up.

11. Burn it to disk. Always make a back up.:clap:

Like I said earlier this is my method. There are several different ways to do this and I suggest that you play around and decide which way is best for you. Hopefully this has helped someone.

holla back,--dac
 

Formant024

Digital Smokerings
ill o.g.
Sorry, but there's much more to mastering than this condition you describe here. You need a dead room first, and the room should be of the correct measurement. Then nearfields etc etc. maybe we could give several situations in which to master according to the sort of setup people have.
 

nas2000xl

The Ripper
ill o.g.
Battle Points: 1
everything you mentioned is preparation for mastering. when it comes to mastering you have to be in a whole nother state of mind. mastering is a very critical and very delicate process. like formant said you need a dead room with correct measurements and the proper nearfield monitors. and being that hiphop deals with a lot of sub bass, you will need a subwoffer to dial in the correct frequency of that sub bass.
dacalion you mentioned premastering. do you know that premastering is done before you master. premastering is when you prepare your mix for mastering. thats before you add limitors and multiband compressors and normalization.
 

nas2000xl

The Ripper
ill o.g.
Battle Points: 1
yo dun stop the bus! i wasn`t criticing you, so why are you getting bent out of shape over the matter. :finger:
 

Formant024

Digital Smokerings
ill o.g.
maybe we could give several situations in which to master according to the sort of setup people have

I am being helpfull here, but I was thinking which setup to suggest a mastering approach. So dacalion, there no need to get offensiv, I just thought your effort were well meant but still wont apply for a lot of people, not for the sake of not having money for gear like my setup because there are other producers in a similar situation like I am.

i.e. A DAW using which software ? , A daw including basic outboard gear, a daw with a ixing console and a hardware setup without a DAW ( for the mpc only users ).

Shall we get specific on these ?
 

Sober

ILLIEN
ill o.g.
the operator or what ever they call em these days should delete all the posts except the first one. Nice tips ,this is coming from one who has been studying mastering techniques. Im sure people that are just getting started will feed off of them and get them started in the right direction for mastering. It will help those that don't have a dead room complete with detailed measurements with special secret monitors that only FBI agents can get for you, with ultra super bypass radar system detecting vibration frequencies. :barf:
 

Formant024

Digital Smokerings
ill o.g.
I think there are people here too working with a bit more then a bedroom techie. Besides I also mentioned pretty much any basic setup there is, how should that be impossible ? This is a forum, we at least can open up the suggestion than to feel offended, I didn't critisize your techniques or your reasons, just take sum basic examples of different setups, that's all so lighten up.
 

Cold Truth

IllMuzik Moderator
ill o.g.
Battle Points: 25
hmm...

well mastering is something i know very little about, but i have a few things to say....

1- while there are people who are working with more than just a small bedroom setup, most of us are, and i believe dac was aiming this as an overall pointer. getting specific about someones particular setup isnt necessarily productive to the entire thread, nor is it needed for tips like this. the tips he provided can be used (in general) with any setup. thats the point here. it isnt SUPPOSED gear-specific.

2- props to the way this, um, conflict, has been dealt with..... this is how everything should be handled. right, sober?! lol..... whats up man long time no see....


3- thanks for the pointers. i dont really spend much time doing mastering, or even learning about it. i think that it is something that i will just pay for! but for the time being it helps to get tips on how to clean things up and still get good results....
 

Sober

ILLIEN
ill o.g.
Ha ha hey whats up old friend! Ive been really busy with school this semester thats why i haven't had much time.

You know what, id rather pay to have my tracks mastered by professionals as well. Its good to know some bit of mastering that way you can get the best quality before you send your test to the people mastering your cd. Its also good to know if you don't plan on spending money to get your material pressed or mastered, that way you get the best possible sound before you hand out your music.
 

dacalion

Hands Of FIRE!
ill o.g.
Battle Points: 259
hey Truth, it's really interesting when you get involved in the whole mastering process. I think nas overexagerated but he was dead right when he said that you have to be in another state of mind. It's really hard and rarely suggested to master your own work greatly because you have heard the songs over and over compared to someone that hears it for the first time (or so they say). Then you have those that believe in mastering their work under the idea that nobody is better than yourself to find what youre looking for in your music.

I think every producer should learn the techniques and process of mastering music. It will help in the long run having that type of knowledge.

--dac
 
C

Copenhagen

Guest
It seems that people had a little ranting going on in this thread, so I was asked to check it.
However, arguementing is ok as long as it doesn't get out of hand and this hasn't (yet).
I'll leave as is but don't ruin the thread by starting again. Thanks ;)
 

Architect

ILLIEN
ill o.g.
Battle Points: 3
A great mastering engineer CAN bring your music to the next level, from good to great, from great to excellent HOT! As producers it still pays to have knowledge of this last final important stage in the process of making an album.

1.
For instance don't over compress your mix, this doesn't leave the mastering engineer any headroom and if your getting your music mastered professionally, they probably have better compressors than you can afford anyway, also they'll know how to use them better most likely.

2.
Don't normalise your mixes if possible, you can normalise certain parts but don't do the entire mix, this should be left to the mastering engineer.

3.
Get a great sounding mix before entering the mastering phase of your project. This also makes the mastering engineer's job so much easier in addition you won't have to pay as much for his time because it shouldn't take as long.


So that section is just some tips, IT IS NOT ALL INCLUSIVE in terms of preparing for mastering.

Mastering is very detailed and precise, people have written entire books on this subject one of my favorites which I think everyone involved with music recording should get: Mastering Audio The Art and Science By Bob Katz. Excellent material for beginners and veterans.

My process in mastering actually begins before mastering, choosing high quality crystal clear samples to work with or using the best equipment I have to do the job. Most of the time I'm using my computer to create, but I also use hardware but to keep it simple I'll assume atleast most cats are recording or mixing down to their Digital Audio Workstations, if not this still applies but to hardware versions.

Monitoring: Having a good pair of monitors and they don't have to be the most expensive, more importantly you have to know what your monitors are telling you.

Environment: Most people will not have dedicated rooms for mastering but efforts should be made to get good sounding tracks no matter where your recording at from the basement to the bedroom. People that do have dedicated rooms strickly for mastering wouldn't need to read this anyway in my opinion so this is just for the amateur to intermediate do it yourself cats who make do.

Short List of tools needed whether software or hardware based:
Great Room (For Pros possibly)
Monitoring System (That you know well)
Compressor
Limiter
Paragraphic/Parametric Equalizer
Distressor
Vintage Analog Tube Gear
Audio Editor

I know I left out a lot, and I didn't really explain my specific mastering techniques, I just wanted to add some background information to help people get started in their mastering jobs.
 

dacalion

Hands Of FIRE!
ill o.g.
Battle Points: 259
Architect, thats what i'm talkin about. Thats some great info and great tips too. We need that type of input. Thanks alot and good job. I just hope that the integrity of this thread is still intact with all the negativity (or arguementing as Cope put it). I know that this is some very valueable info.

--dac
 

Architect

ILLIEN
ill o.g.
Battle Points: 3
No problem dac, we are all on here to LEARN and gain contacts in efforts of getting in the music business in some capacity or maybe just because we love it as a hobby!
 

Freakwncy

IllMuzik Moderator
ill o.g.
Battle Points: 17
well mastering is a subject that pops up a lot in the forum...and always cuz some type of ranting... what we need is a professional on the subject to do any interview... if anyone knows one... PM me...but i enjoy all the link and comments and all...the newbies should take note and see what the vets weakness are and capitalize off of them... it can be important, when it comes to battle time...
 

God

Creator of the Universe
ill o.g.
Dear All:

I commend Dacalion on attempting to give DIY'ers an introduction to a most complex topic. Furthermore, I commend nas2000xl on showing that there are inconsistencies with such a statement if taken as an all encompassing passage.

Thus:

Mastering is a complex process that can not simply be delineated in a forum thread, as we have seen. Next to a good set of ears, an understanding of mathematics and physics in regards to frequency manipulation, psychoacoustics, phase analysis (and why is it not in phase? Could it be that bad cable?) , corrective calculations regarding outputs on gear you are familiar with in response, a myriad of speakers and monitors for comparative analysis in order to achieve some form of parity, and training in split band compression as well as EQ'ing are simply rudimentary things a professional matering engineer would think of.

In regards to great rooms, they are a must, and companies are contracted on a consistent basis to work with an engineer in manipulating a room in regards to speaker dynamics, sound dynamics, spatial positioning, etc., in order to give the best possible representation of "sound" coming from a monitoring system for the engineer to make the best possible judgements therefrom.

Many times "home studio" individuals tend to like something they have made, only to demo it on another system, and find the CD they have mastered sounding atrocious on a system (like somebody thinking they got proper bass rolloff and then demoing it in a bass heavy system, and finding their calculations were incorrect.) This doesn't look good when soliciting something to a record company, and the final mix and mastered CD not sounding good on every system it's put in.

That's why I think, if you are serious about solicitation and also about putting something out that may be worth a pence, seeking a professional mastering lab is great thing to do, provided you have the money for the tracks to be mastered.

I don't view mastering as something that can necessarily take a track to the "next level," because inconsistencies generally lie in the mix, as well as the compositional quality of the track ("you can't polish shite"). Mastering is to achieve relative parity for the product when played in different car and stereo systems out there. The CD has to sound great out of Genelecs, and also out of shite factory speakers or your mother's single speaker AM/FM radio. That's what mastering does, adjusts the dynamics and frequencies in a track to achieve relative parity across a range of speaker platforms.

Recent trends have been to compress the hell out of a track and squash all dynamics out of it, to make the track as "loud as possible." That's what happens when you have an AR guy wanting the track to sound as loud as the others that are played on the radio, and an engineer that understands the need for dynamics in a song. Usually the AR guy wins out, because the record has to sound loud, or the song will just not sound "good" enough against other squashed tracks on the radio.

Listen to a record made 15 years ago, and one recently released. I bet you the record made 15 years ago is mastered with more dynamic breadth, and is not as loud as the new one. The new one is probably a lot louder with little relative dynamics. That's the trend in action!

This is a great thread, however! Do what you can to learn about this tricky art of mastering. A good mastering engineer can make a lot of money.

Sincerely,
God
 

dacalion

Hands Of FIRE!
ill o.g.
Battle Points: 259
Well spoken god! and once again, it's not a "How to Master" thread, it's "mastering techniques". The difference seem to confuse.

--dacalion
 
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