KVR Audio

J4R1O · Post by **J4R1O** » Mon Jun 16, 2014 10:59 am

Hi,

I'd like to know your opinion about some plugins I use for mastering ITB (at home). What would you use?

FabFilter Pro-DS (Preset: High End Transient Limiting)
NI Passive
Kush Clariphonic
bx_refinement (magic wand to fix my shitty mixes

)
bx_solo (to check mono)
Waves Vitamin (well, I use this mainly for its band solo possibilities

)
Slate FG-X (w/ IK Soft Clipper) or A.O.M. Invisible Limter (w/ TDR Feedback Compressor II)
Sonnox Codec Toolbox
IK Metering

Btw, just demoing SPL Vitalizer plugin and not sure if I need it. It sounds pretty good (especially the lows) but is it good for the subtle stereo widening... your opinion? Also demoing bx_control V2 'cos it's on sale, but not sure about that one either.

So, what of these plugins you would use (or already use) for mastering? Any advices?

djscorb · Post by **djscorb** » Mon Jun 16, 2014 12:15 pm

I wouldn't use any of those really. Perhaps the NI Passive and Clariphonic.

Most of what you list is for correcting problems or imbalances.

None of them will do so without compromising something else in the mix so it makes more sense to fix these issues in the mix and do a LOT LESS processing during the mastering stage.

EQ + Compressor + Limiter and do as little with each as you can.

SlickEQ + FB Comp II + Limiter No6 would do it for free

DDMF IEQ II + feedback Comp II + Barricade would do it for pocket money.

Seriously, if something is harsh then treat it in the mix, don't risk sucking out the life from other sounds in your mix to tame one sound.

Cheers

Scorb

Harry_HH · Post by **Harry_HH** » Mon Jun 16, 2014 12:35 pm

djscorb wrote:I wouldn't use any of those really.
Scorb

Agree.

No_Use · Post by **No_Use** » Mon Jun 16, 2014 1:00 pm

Yeah, as the others said, try to get it as good as you can in the mix and not try to "fix it in the mastering".

Aubrey Lamont · Post by **Aubrey Lamont** » Mon Jun 16, 2014 4:16 pm

Are you "mastering" your own projects?

Eddie TX · Post by **Eddie TX** » Mon Jun 16, 2014 4:34 pm

Those are all good tools -- nothing wrong with using them if they make things sound better to you. But as others have said, it's better to make the original mixes sound as good as possible (assuming you have access to them) so that there's a minimum of fixing needed at the mastering stage.

A good multiband compressor can come in handy to address problems with particular frequencies. I use Ozone for that, but I assume you already have a similar tool (like Waves C4). Other than that, it looks like you have a complete toolkit.

Cheers,
Eddie

J4R1O · Post by **J4R1O** » Mon Jun 16, 2014 5:03 pm

Aubrey Lamont wrote:Are you "mastering" your own projects?

Yes.

lacandon · Post by **lacandon** » Mon Jun 16, 2014 5:11 pm

I found the Kush Clariphonic harsh a bit i prefer the Henry Olonga Clariphonic very close to the hw and its air..THe NI passive sounds nothing like the real deal to me but is nice eq it works ...The NI Vary mu to my surprise is nice for mastering its outperforming for my taste APi 2500 hw in couple renders we did with both.DMG eqs are essential when it comes to mastering too!
Give a shot to Liftikus free eq u will be surprised how transparent it's!
Don't like Slate FGX at all its sounds horrible to me!
I will advice Pultec eq as well for mastering.

Your tools are fine in mastering there are no rules if its sounds good then it works, whatever u have:)

J4R1O · Post by **J4R1O** » Mon Jun 16, 2014 5:14 pm

Eddie TX wrote:Those are all good tools -- nothing wrong with using them if they make things sound better to you. But as others have said, it's better to make the original mixes sound as good as possible (assuming you have access to them) so that there's a minimum of fixing needed at the mastering stage.

A good multiband compressor can come in handy to address problems with particular frequencies. I use Ozone for that, but I assume you already have a similar tool (like Waves C4). Other than that, it looks like you have a complete toolkit.

Cheers,
Eddie

Hi, Eddie!

Yes, I'm still learning. Started (from the scratch) mixing about 2 years ago by myself. Maybe I'm just too old to learn the secrets of mixing/mastering, but I'm trying...

I have no multiband compressor. I had Ozone 5 but I sold it. It was too dangerous audio tool in my hands.

Eddie TX · Post by **Eddie TX** » Mon Jun 16, 2014 5:54 pm

I think Pro-DS can do the same kind of thing as a multiband comp, if it allows you to choose whatever frequency range(s) you want to work on. Otherwise, most DAWs come with a similar tool ... you might already have one and not realize it!

Cheers,
Eddie

P.S. Nobody's too old to learn this stuff! Yes, there's a lot to learn, but it's not rocket science. Just takes practice. Have fun!

BERFAB · Post by **BERFAB** » Mon Jun 16, 2014 6:04 pm

lacandon wrote: Don't like Slate FGX at all its sounds horrible to me!

Could not disagree more.
This is the last thing on my master buss and it makes every mix more cohesive.
I don't know why you would think it sounds 'horrible' but to each his own.

-B

J4R1O · Post by **J4R1O** » Mon Jun 16, 2014 6:06 pm

Eddie TX wrote:I think Pro-DS can do the same kind of thing as a multiband comp, if it allows you to choose whatever frequency range(s) you want to work on. Otherwise, most DAWs come with a similar tool ... you might already have one and not realize it!

I have Sonar X1 Producer Expanded and its LP64 Multiband, but that plugin is really unstable, beyond belief. Also had T-RackS Quad multiband comp, but I sold my T-RackS Grand.

I use Waves Vitamin to check the frequency ranges if I need to listen what's going on.

Is multiband compressor essential mastering tool?

Eddie TX · Post by **Eddie TX** » Mon Jun 16, 2014 6:17 pm

Have you tried the Sonitus Multiband that comes with Sonar? Nothing fancy, but it should get the job done.

You can certainly get by without one, but a multiband comp is useful in many situations. I think you already have the technology, though

Cheers,
Eddie

J4R1O · Post by **J4R1O** » Mon Jun 16, 2014 7:12 pm

Eddie TX wrote:Have you tried the Sonitus Multiband that comes with Sonar? Nothing fancy, but it should get the job done.

Totally forgot the Sonitus! I'm gonna try it, even not sure how to use it properly...

djscorb · Post by **djscorb** » Mon Jun 16, 2014 9:22 pm

I've used a multiband compressor once in the last two years.

They are useful very, very, very occasionally as problem fixers (99 times out of 100 I prefer to fix rogue frequencies / imbalances with dynamic EQ). But again, if you are mastering your own mixes then you can solve any problems at source. The problem most people have is identifying their mix issues. You know that something is preventing the track from sounding as good as you would like after doing your home master but are unsure what it is. Maybe multiband compression and an exciter will magically fix it?!

The very best mixes make the very best masters. Those best mixes need almost nothing doing to them at the mastering stage.

It sounds like what you need is somebody to appraise your mix so you can improve it at the source and then do as little as possible if and when you do master it yourself.

40 is not too old, in fact you have more years listening experience which is one of the mastering engineer's most useful assetts

The important thing is to know WHY you reach for a tool. In the case of a multiband compressor, are you reaching for it because you feel that part of the frequency spectrum is too weak, too strong, inconsistent, generally ok but the occasional event seems to jump out or receed? The solution to any of these scenarios lies in addressing the mix. This really can't be emphasised enough.

Mastering engineers generally don't employ exciters, multiband processing and these other "voodoo" processors that companies think they can sell you to make great "home" masters. If and when they do use them, it will almost certainly be to fix a mix problem and you can bet your last dollar that they wouldn't consider using them even for one second if they had access to the multitrack / mix themselves.

Now, if that is what a great mastering engineer would do in your position, then you would be a fool to think that you can achieve a result that you'll be happy with by simply applying more processing to the original lack lustre mix.

Cheers

Scorb

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