That's just common sense. I've mastered songs on our new album as many as five or six times, after going back and making adjustments. All up, only 4 of the 17 tracks got through mastering without at least one re-mix/re-render and three of those are just short interstitials. The only proper song to get through was the one I was working on last, before I started mastering.
Hermetech Mastering wrote: ↑
Mon Mar 25, 2019 10:21 pm
This is true. The more you smash, the LESS energy you have in the track.
Right, and the more you crank up your Marshall amp, the less energy your guitar sound has, too. Idiots who think like that are why I can do a better job of mastering than any full-time professional who thinks he knows what he's doing.
Of course for some genres and styles it's expected. I'm quite happy to get my HipHop clients stuff to -6 or -7 LUFS because that's what they ask for and what the style requires to have any chance of success.
Hip-hop has no energy, it's nursery rhymes for losers. Lame and tame and no amount of mastering is going to change that.
ATS wrote: ↑
Mon Mar 25, 2019 10:24 pm
BONES send me the mixdown of one of your songs, I will put one through a limiter and one not. Then volume match it and you will see how wrong you are. Or just do it yourself. But you don't really want to learn anything do you? Of course not, you already know it all, and that's great.
You do understand that Ozone has volume matching built in, don't you? It is actually very easy to do an A/B comparison of the original material compared to the mastered sound without any coloration of perception caused by volume differences. The problem, of course, is that to do that, Ozone needs to overdrive the sound, so it breaks zero all the time to get the level up where it needs to be to compete. THAT
is why you use a brick wall limiter instead. That's it's purpose - to make it louder than you can get from simple normalising. It's also why I turn the Maximiser off to do the A/B, so I can tell if the other tools in the mastering chain are doing a good job before I make it as loud as it needs to be. I'm not maximising to make the master better, I am doing it to make it louder because it needs to be as loud as everyone else's stuff. One thing I am confident of, though, is that maximising doesn't make anything sound worse if you use it properly. It is reasonably transparent, it mostly just sound louder.
imrae wrote: ↑
Mon Mar 25, 2019 11:52 pm
Unless the transients are annoying you (which is, again, best fixed while mixing), turning up the master volume is superior to limiting. That... shouldn't be controversial.
In a perfect world, perhaps, but the world we live in is one where we have to compete with everyone else to get a listener's attention. If you are streaming stuff on Spotify, for example, and you listen to a dozen songs that have been mastered to -12 LUFS and then your uncompressed song comes on at -20 LUFS, it is going to sound pathetic. Where all the other songs' kick drums are booming in their headphones, yours will be making a little "pffft" sound.
It's a problem that used to come up a lot when I was a retro DJ - you're in the middle of a set and you put something on that even at full volume isn't anywhere near as loud as all the other stuff and suddenly everyone is walking off the dance floor. So the next week you make sure you start with enough headroom to make that song as loud as everything else and the dance floor stays packed. I've seen it first-hand, time and again.