MOTUnation.com

Thanks again for help...sorry if these questions are too basic...finally have some time to dive in studio, I know some things but very lacking in others...just trying to fill holes in knowledge...


With some new knowledge gained here i have a project going on (one song recorded all instruments)...


1. Master Volume - My master volume is peaking (going into red all the way at the top on master fader only) but the mix sounds fine to me - it's exactly where I want it...however when I mix it down to mini-disc and then to my computer as MP3, I can hear that it's not right and there are parts that are peaking...it's not crackling like a digital distortion of being too loud but more sounds like I changed the key or the speed of a track (keyboard seems to sound the worst) - but the keyboard does not sound bad when listening...

a. Is it a good rule of thumb to never have the master fader hit red ever?

b. Should you always keep master fader at 0 and try to keep the different tracks at a volume where the master fader almost never gets higher than 0 - occassionally a few peaks over 0 but never should it hit red at the very top of the level?

c. Is there something I am missing or different rule of thumb for setting the tracks compared to the fader - any opinions on this are great appreciated.

d. What is the best / your favorite mode of mixing down if the final product will most like be on computer - MP3 form... do you mix down to CD, Mini Disc, MP3, or other?





2. I understand that this is very different for a lot of people and a lot has to do with my levels, equipment, performer etc... in fact I realize it might be hard to pinpoint my needs without being here.... but if possible...

Can someone suggest some of your favorite RECORDING effects (reverb, compression, EQ, etc) for me in DP 5.13 - which to use and some starting point levels for the following...


a. Lead & Backing Vocals Mic used Blueberry into Pro Channel ART
b. Bass - standard Fender
c. Guitar - Taylor 414CE Blueberry mic & direct into PRO CHANNEL
d. Drums - Yamaha Recording Ser Kick, snare D112, tom mics, overhead Blueberries
e. Electric Guitar - Strat in Mesa 1/2 stack
f. Keys - ES8


Again I understand this is a matter of judgment and taste but if there are at least some starting points on what you normally do, I'm very interested to learn more about how to get great sounds to tape...



Any thoughts are greatly appreciated!


Thanks!

Kevin

Hi

You might find some useful info here:

http://www.tweakheadz.com/guide.htm" onclick="window.open(this.href);return false;

http://www.tweakheadz.com/mastering_your_audio.htm" onclick="window.open(this.href);return false;

jarok

It's a good rule of thumb to peak around -3 dB after mixing. This means, you should pull all your faders all the way down, bring up your kick drum to around -12 dB, your snare drum to around -7 dB (arguably, your loudest peaking instrument), then, bring up your bass til it meshes well with your kick. Then, bring up all your other tracks until they, too, mesh well with the drums. You can then use these initial instrument levels as your jumping-off point for any other mix, even if you don't have drums in them.

Then, of course, you'll want to go through a lot of your tracks and lop off all the low EQ with a two-band parametric EQ. I usually cut off everything below 80 Hz that doesn't need it (snares, toms, choirs, hats, overheads, etc.) and sometimes, as much as 120 Hz for things like high strings and guitars. This allows the bass, kick and stuff with low impact to shine through without excessive volume increases.

Then, across the master track, I'll usually strap a chain that consists of an EQ, comp, limiter and a clipping stage. If this sounds like too much work, try just dropping in an instance of Ozone 4 with a mastering setting, like "CD Master". Your mix should now sound nice and loud without all the weird volume problems.

Thanks Armag and Jarok...I appreciate it...if anyone else wants to chime, too, that'd be great! Thanks! Kevin

.

Regarding what you asked about the Master Fader:

Some people treat this differently. The way I like the most is to NOT clip the MF ever. Actually, I always like to leave at least 3-4 dB of headroom in there.
I may go back to the mix and lower all the stems proportionately to achieve that.
Also, it's good to keep an eye on this at the early mix stages... if your mix is getting too hot, it's the perfect moment to push the faders down, before you start automating and messing with compressors.

Working with stems makes the above VERY easy.

Others prefer to just stick a Trim plug-in in the MF to avoid clipping by lowering its gain.
In theory, since DP works at 32 bit FP, it can handle the distortion of the Trim plug with no problems.
I don't like this method, despite it being "easier" and faster, but I suppose it's basically the same thing, just another way to do it.

You're gonna require limiting and compression on the master fader (or afterwards, if you're like me and do your two-track mastering in a program like Peak or Wave Editor after bouncing a mix), because, unfortunately, there's no way that just peaking your mixdown at 0 dB will be considered "loud enough" in today's marketplace. However, what you don't want to do is automate your master fader in DP in any way, unless there's some sort of emergency and there's no other way to raise/lower levels. Why? Because your master fader meter is essentially going to be the thing that lets you know how loud your mix is, whether you're peaking or going over 0. That ... and you shouldn't need to automate your master fader. If a mix is too loud, bring down your individual tracks by a dB at a time (this is where you use Trim mode to raise or lower your track's overall volume without affecting its automation) 'til it's acceptable; if it's too soft, bring them up. Even if you don't subscribe to having about -3 dB's worth of headroom, you'll definitely want some headroom to play with. Most mastering comps and limiters seem to work best around -3/-4 dB, and higher input levels cause more pumping and breathing, stuff that is noticeable on your masters, and even MORE noticeable after it gets squashed in a broadcast comp.

This is great, thanks for the feedback... if anyone else would like to comment that'd be great! thanks! Kevin

I leave the peaks hitting -6dbf and averaging around -12dbf on the master fader. which leaves lots of room for mastering, plus it sounds better to me.

I haven't yet reached "this point" in a DP project, but research has led me to believe that Kassonica's levels are pretty much what I'll be aiming for.

Inter-sample peaks and poor playback converters on the consumer end spring immediately to mind...