MOTUnation.com

Greetings,

I have come to the grim realization that my ability at mastering DP projects leaves almost as much to be desired as my golf game. Not good. Does anyone know of a good resource for developing some decent skills in this area? I am currently limited to the stock plugs, although any good recommendations for freeware and/or cheap compression/reverb/general "make-it-sound-good" software would be appreciated.

Sorry if this is too genereal a question...Even a link to a past thread on this topic would be great.

thanks

'bot

Hi

This topic contains good info and links.

http://www.motunation.com/forum/viewtop ... =mastering

jarok

It's a tricky-sticky issue, mastering. We want great results for as little money as possible.

One of the first places to start is the monitors. I've been told by different sources that a pair of "true", accurate, and energy/driver efficient monitors with 8" woofers are the first place to start. I won't begin to make any recommendations in this area because the discussion would go on ad infinitum. Another important item would be a single flat response small 3-4" monitor for cross referencing your mix/mastering results.

Given that the monitors are accurate and tell you the truth about your mix (for good or ill), it is important that you are actually listening to these monitors and not to any anomalies in your mixing room. Solution-- acoustical treatment and accurate measurements with frequency response. Tune that room and calibrate, calibrate, calibrate!!

You could actually do a nice job with DP's built in plugs. Yes, there are better plugins out there for mastering, but it's going to take some amount of ka-ching no matter which way you go. You may want to check the free plugins thread for some respectable plugins that are actually better than those included in DP. Here is an example of some useful FREE plugins-- but these do not constitute the totality of the kinds of plugins one would need. Neither are there any guarantees that you get what you pay (or don't pay) for:

Magnus Digital Reverb
http://www.smartelectronix.com/~magnus/

Free SSL from Solid State Logic!!
http://www.solid-state-logic.com/resour ... lugin.html

LFX Multieffects
http://www.luxonix.com/home/en/products.html?id=lfx1310

Frekoscope Spectrum Analyzer:
http://mdsp.smartelectronix.com/ffttools/

Honestly, it would be worth investing in good mastering suite. You should first determine what kind of results you want. Bias Peak is one example of a standard yet versatile suite of plugins. IK's T-Racks 24 is a different sort of suite of mastering plugins with an emphasis on analog modeling. UAD-1 is another example of analog modeling based upon popular gear from Universal Audio, Neve, Oxford, Pultec, and other reputable names associated with high end vintage gear.

To begin to develop an "ear" for mastering detailing and fine tuning, you might want to fly in (import) a well mixed, well mastered commercial track into DP (muted until needed) that appeals to your ears viscerally. Compare that mix to your own mix even as you mix. Fix everything you can in the mix because it will make the mastering process much easier.

There's a whole other element some people swear by, and that's analog summing. Some people find that this process adds character and "depth" (and depth of character) in a way that working entirely inside the digital realm cannot. It is a matter of taste-- and money, of course.

Okay-- so you ask "what do all these terms mean, for crying out loud"? I hear ya.

Bibliography:

1. Mastering Engineer's Handbook (Bobby Oswinski)

2. Recording and Mixing from Demo to Finished Master--- DVD tutorial (pub. Universal Audio)

3. SMART Guide to Audio Mastering (Bill Gibson)

4. Mastering Audio: The Art and Science (Bob Katz)

5. Basic Mastering (Paul White)

There are also numerous tutorial books dedicated to specific mastering software suites.

Mastering is one the most underrated and misinterpreted steps in audio production. I've seen mastering engineers do things I never thought possible with a stereo mix- like make a vocal part sparkle without making other instruments harsh, giving considerable punch to lower frequencies without compressing the life out of the mid-range, etc. Yet, some things just can't be fixed in mastering and must be fixed in the mix. Other things cannot be fixed in the mix and must be fixed during tracking.

It always takes a couple of projects to compile a list of things that you would "do differently next time", if you know what I mean. Mastering is more art than science, imho, and you are a brave soul for venturing into this territory!

One consideration and valuable lesson is to find a mastering engineer who will let you sit and watch the process. That would be worth doing at least on your first (your next, or on one) project. Don't yack at him while he works (mastering is quite an inward and wordless a task), but take notes and write down your questions. During a break, pose your questions. I was fortunate enough to observe the process with someone who uses DP religiously.

Well, there's a start for ya. Good luck!!

Frodo, you are a true gem.

blue wrote:Frodo, you are a true gem.

blue- I've been frustrated and lost so many times over the years that my conscience won't ever let me forget what it feels like. I'm still "learning", but the voices of those who've helped me continue to echo in my brain during every project. I'm eternally in their debt. I don't know how much help I really am around here, but I still feel that I must pay my debt somehow, even if it's one post at a time.

I too remember that feeling of being frustrated and lost. Oh wait, that was this morning!

Seriously though, you've "paid forward" your debt quite handsomely.

Yup. He's well into "brownie points" territory.
Oh, and he adds great character and "depth" (and depth of character) to the forum, to quote a flat-footed buddy.

I don't think the Frod-man will ever satisfy the "debt", or square the account, if you like.
How does one erase a feeling of gratitude?
The only way I know of is to become more selfish, and this is one thing our Hobby simply isn't capable of.

Three cheers and a stick of RAM for Frodo:
Hip-hip... hang on... perhaps this will help us understand:

rainmaker, following a display of unprompted, unbridled generosity in another thread today, wrote:...I don't know why I felt like explaining all that, but went for it anyway....
Rainmaker

It's a state of mind, a spiritual necessity, a way of life, a gesture towards maintaining a healthy balance of self-assertive to integrative tendencies, if you will.
Oh, yeah... Hooray!

wow,

Now that was a comprehensive answer! Some of the more invasive things you advised just aren't going to be implementable. I'm just a home electronic musician-guy with a rented apartment bedroom as my "studio".

But there are some good pointers to begin with. And perhaps a good look at that bibliography would help out. My projects are really pretty simple; just a bunch of VIs from NI amd MOTU (and Triplecheese ). No outboard sources as of ¥et...

A question: What do you guys think of the NI reverb? (I think its called Spektral verb or something like that.)

and...Any good compression plugs to add to the list Frodo provided above, or is it already included in the multi-effects package. OR, are the MOTU ones the way to go.

Thanks again for all the replies, I greatly appreciate it.

'bot

Frodo wrote: Bibliography:

1. Mastering Engineer's Handbook (Bobby Oswinski)

2. Recording and Mixing from Demo to Finished Master--- DVD tutorial (pub. Universal Audio)

3. SMART Guide to Audio Mastering (Bill Gibson)

4. Mastering Audio: The Art and Science (Bob Katz)

5. Basic Mastering (Paul White)



Well, there's a start for ya. Good luck!!

I just finished reading The Mixing Engineer's Handbook (Bobby Owsinski)
I've learned more from this one than a few others I've read, about how to,when to,not to, than any other I've read.
My mixes now sound like they've been mastered and I haven't even finished mixing yet.
Any how I don't think it matters how much you know it never hurts to read,read,read.

mediabot wrote:wow,

Now that was a comprehensive answer! Some of the more invasive things you advised just aren't going to be implementable. I'm just a home electronic musician-guy with a rented apartment bedroom as my "studio".

'bot

'bot:

I'm currently working in a rented space where such issues of treating walls have their limits (as dictated by the property owners). But I've done some heavy research recently to sort out solutions of affordable acoustical treatment, for example, to clean up standing waves in my project studio. I found some mineral wool online from a company out of Illinois-- mineral wool is comparable to the more expensive damping materials. For a carton of six sheets 24" x 48" x 2", the cost was $35. If you look at foam from Auralex and Sonex, panels and bass traps can set you back hundreds of dollars per panel.

I also recently took my monitors to a friend's studio just so that I could hear them in a different room to confirm whether certain sonic anomalies were due to my room or my monitors. Fortunately, the monitors sounded pretty darn good-- even better in his studio!! So, acoustical treatment is running me upwards of about $100, which is a relatively small price to pay for improved mix results... and I don't have to ruin any walls!!

But wylie1 is spot on-- "read, read, read". To that, I add "listen, listen, listen". Study your favorite CDs like mad and take note of what you like and don't like. Use your favorite tracks as benchmarks, and always compare the benchmark tracks to your own... and listen to your mixes and the benchmark mixes in the car, on a boom box, on an iPod, on headphones, on your TV (if your DVD player will play a custom CD) and on every available playback device within reach. In time, what needs to be done will ingrain itself into your pool of knowledge and less comparative listening will be required as your experience accumulates.

The most important thing is accuracy, which means that what you accomplish in your studio will translate well on other systems.

But, there is no substitute for watching a pro at work. It is such a joy to hear a track just come to life under the hands of someone who knows what they're doing. I learned SO much by watching the process, and it confirmed many things that I'd read previously. What a wonderful experience!

I've build my own traps as well its amazing what a little foam and spray glue can do.

wylie1 wrote:I've build my own traps as well its amazing what a little foam and spray glue can do.

Dude-- I've been trying to get out of here to go to Lowe's, but this topic intrigued me so much since I'm sort of going through the process of tightening up my room sound at this very moment.

Man-- I just love the smell of home improvement stores and am really excited about putting my new nail gun to work!! I will be careful with smelling that glue, however!

Good ol' 3M Super 77!!

Hi Mr. Frodo.

I'm particularly fond of the plumbing department - all sorts of great parts to build things which have nothing to do with plumbing.

My tracking room has a slight bump at 147 Hz and I think I may try my hand at building some Helmholtz filters. Tricky stuff but I gonna give it a shot. I haven't decided what type of wood to use yet. Lowes is your friend.

Yeah, I know I'm babbling, but I just thought I'd say, "Hi."

mediabot:
Not all room treatment needs to be invasive. There is a bunch of free-standing stuff you can use. (much of which can be DIY) For example, I've glued some of the wall treatment in my mixing room to thin panels of wood and hung them on the walls like picture frames.
Phil

I made some wonderful panels at very low cost. They were easy to build, looked really good, and outperformed foam due to the superior absorbtion characteristics of fiberglass. My technique involved using 2" rigid fiberglass sitting in frames made from drywall edge metal with Guilford fabric stretched around and glued at back and corners with 3M spray adhesive. I mounted the panels two inches off the wall to maximize low end absorbtion. Using the same technique, I was able to built a very attractive and effective cloud and some extra-large panels as well.

The only downside is key ingredients rigid fiberglass and Guilford (fire retardent and gorgeous) fabric are not Home depot stock items.

I have pics and a tutorial. If anyone is interested, please PM me.

Phil O wrote:Hi Mr. Frodo.

I'm particularly fond of the plumbing department - all sorts of great parts to build things which have nothing to do with plumbing.

My tracking room has a slight bump at 147 Hz and I think I may try my hand at building some Helmholtz filters. Tricky stuff but I gonna give it a shot. I haven't decided what type of wood to use yet. Lowes is your friend.

Yeah, I know I'm babbling, but I just thought I'd say, "Hi."

Well, Hi there, Mr. Phil!

Yes-- today was rather unproductive in the musical department, but I've just returned from an excursion that had me at both Home Depot and Lowe's!! Love both places, but I gotta say-- Lowe's smells better!! LOL!!

I stumbled upon this amazing web page that explained everything I needed to know about how to deal with certain types of room acoustics and acoustical treatment. Fantastic read-- not something you'd want to soak in for the fun of it, but it totally addressed all that I needed to do at this time. It even gets into Helmoltz theory and design.

http://www.ethanwiner.com/acoustics.html

And, if U-nation isn't enough, here's an entire forum of die-hards building recording studios from the ground up-- lots of DIY and tips for materials and other cost-effective methods:

http://www.johnlsayers.com/phpBB2/index.php

HCMarkus wrote:I made some wonderful panels at very low cost. They were easy to build, looked really good, and outperformed foam due to the superior absorbtion characteristics of fiberglass. My technique involved using 2" rigid fiberglass sitting in frames made from drywall edge metal with Guilford fabric stretched around and glued at back and corners with 3M spray adhesive. I mounted the panels two inches off the wall to maximize low end absorbtion. Using the same technique, I was able to built a very attractive and effective cloud and some extra-large panels as well.

The only downside is key ingredients rigid fiberglass and Guilford (fire retardent and gorgeous) fabric are not Home depot stock items.

I have pics and a tutorial. If anyone is interested, please PM me.

Great going, HC!

The thing I appreciate more and more is the notion of "grooming the nest", so to speak. It's one thing to just walk in and get to work, but it's another thing to put some thought and care into one's workspace-- then to have it turn out well and function exactly as needed. $500 for one 2'x4' Auralex Venus Bass Trap? No way. I just spent $6 on lumber $34 on 6 panels of rock wool, and $20 on some pretty good looking covering material. This is going to soon cover part of a wall area 8'w x 4'h.

I'll drop you a PM-- would love to trade ideas on this.