How Much Mastering Do These Tracks Need? HELP!
Hey There,I Wanted TO Post This Track To Get Some Expert Advice ON How Close I Am To Getting My Tracks To Sound Like TOP Quality Productions…I Know The Mastering Isn’t Perfect,But What Do You Think?
Thanks…
PS. My Type Of Style Is Very Dirty Synth Sounding
-EK
NEW STYLE OF WHAT MY MASTERING SOUNDS LIKE:
https://soundcloud.com/electrokiid/electro-kiid-set-it-off
OLD STYLE:
https://soundcloud.com/electrokiid/electro-kiid-trashman-preview
The sounds you used are really distorted, and it might be the speakers im on… but everything you have in that preview lacks depth.
You should work on EQ’ing and maybe adding a sub layer.
I’d say just forget about mastering and worry more about your mix.
Ive been following lucky date for a while now, and hes always talking about how he doesn’t “believe” in mastering. basically he’s never been happy with anything he has gotten back from mastering so he just makes the mix sound really good then adds some light limiting to bring up the volume.
The more sound engineers I talk to,it seems like the point of getting your sounds mastered is so that all your sound tracks can be at the proper levels and that you can hear the song THE WAY IT’S SUPPOSE TO BE HEARD
Professional Mastering
If you need any of your tracks mastering i would be glad to help.
Regards
go away
What a lovely man…
Generally coming onto forums just to advertise services and products is frowned upon without permission. You’re spamming.
I didn’t know this! Not really spamming though, one post…
You can’t polish a turd.
That being said, I have not listened to it.
You are the producer, should not master you own tracks.
They should sound as close to the real deal as possible, BEFORE mastering takes place.
If the sounds you use are low quality, there is no way mastering can make it better.
just sayin…
i feel the same way about that. the songs kind of feel empty, like the sounds are not full. almost like you filtered the sounds
moving this to the production section.
I’ve said it a million times… Mastering is a waste of money. If you can make your levels even, and produce a great track, it will go viral. Keep in mind, that Daft Punks debut album, “Homework”, was completely done in Thomas Bangalter’s bedroom. Also, take a listen to Wu-Tang Clan’s 36 Chambers and tell me how good the mastering is. It’s shit, yet it was one of golden era hip hop’s most important and popular albums.
Are you talking Mastering or doing a Mixdown?
Hardly, there’s a reason certain mastering engineers get called upon time and time again. because they can make the track sound that much better, plus there are different mastering process’s based on the format (i.e. Vinyl, CD, Wav/MP3) that will allow you to get the most out of the selected format.
You can’t list the exceptions and make them the rules.
[quote=“JB Mastering, post:9, topic:40862, username:JB_Mastering”]
I didn’t know this! Not really spamming though, one post…
[/quote]Your user has 3 posts. The first was an advertisement and the other 2 were arguing about the first one not being spam. Please either be constructive or go away. Or don’t. You’ll be on my ignore list, so I’ll never see you again.
[quote=“sarasin, post:10, topic:40862, username:sarasin”]
You can’t polish a turd.
[/quote]LIES!
[quote=“sarasin, post:10, topic:40862, username:sarasin”]
They should sound as close to the real deal as possible, BEFORE mastering takes place.
If the sounds you use are low quality, there is no way mastering can make it better.
just sayin…
[/quote]I’m of that opinion. There’s a lot that mastering can do, but mostly it just makes things louder and compensates for the speakers/room the track was mixed on……but only if the mastering engineer has a better, more neutral sound system than the producer did when it was mixed.
Read this —> http://tarekith.com/assets/mastering.html
So…if you’re mixing and mastering in the same room with the same ears and the same speakers…you’re basically just fixing problems that you should have fixed while mixing. So, I say throw a good limiter on it and crank the gain until it’s RMSing at the level you’re expecting with enough headroom left to avoid intersample modulation distortion (SSL’s X-ISM is a free plugin that detects it…fabfilter pro-L does both in one step…and is awesome), tweak the attack/release/lookahead of your limiter, and if it doesn’t sound right…go back to the mixdown.
And, no, I didn’t listen to the tracks either. Based on where this thread is, I don’t think that doing so would change my opinion.
CD and wav/mp3 should be identical masters. Vinyl is different only because of technical limitations of the medium. I haven’t had anything pressed to wax yet because I’m not even ready to release anything yet (getting closer) but based on everything I’ve read, if you’re talking about singles on 12" vinyl…it’s basically 1 extra very formulaic step towards the end of the mastering chain and paying someone to physically operate the machinery. And if you follow more of the “rules” than a lot of people do, that step isn’t that necessary either.
I’m sure there’s more to it than what I’ve read, but……I’m confident that between a discussion with a vinyl pressing engineer and normal mastering, the result would be usable. And I do plan on doing it at some point (hopefully this year).
The biggest difference with mastering for vinyl is that the mastering engineer is not at all worried about making it “loud”. The cutting engineer will control that, based on all their experience in what the vinyl and their lathe can handle.
And taking bass out of the side signal so it doesn’t make the needle jump out of the groove.
Is dynamic range control (RMS to Peak levels) any different? It seemed like it was basically the same…plus a HP filter on the side signal if the track has stereo information below like 300hz (which seemed kinda arbitrary…but whatever).
You’d be surprised ay how little of the whole bass in mono thing needs to be done these days, but it’s certainly something they have to watch out for.
I don’t think it’s an issue of dynamic range, so much as pure loudness. They have tools to push the level going on a record that having nothing at all to do with how loud the digital version they receive is. So it makes sense to let them handle all the aspects of that, versus trying to salvage what they can with something that’s already squashed and clipped.
Hmm…
So, your suggestion for mastering for vinyl is literally don’t. Fun. I believe/trust you, but that’s not what I’d read so far.
I really want to try this……just need to produce something I’m willing to commit to a few hundred copies of.