OK, I'm ready to do the final mixdown of my first solo CD. I've done LOTS of critical listening, re-recorded all the parts with screw-ups, panned, compressed, adjusted, EQ'd, and generally tweaked each track until it's as perfect as possible (as I can make it, anyway). I still have to go back and de-ess some tracks, remove some transients that I didn't notice until the last few listen-thrus and do some volume curve adjustments on plosives like "tuh" and "puh," etc.
If everything's mixed to my liking, do I really need mastering software? I'd really like to be done with this project, and overall it sounds pretty good to me, although I suppose it's rough in spots (that only I can probably hear). What exactly IS mastering, anyway? The last few CD's I've burned sound good to me just about anywhere, although I'm sure that the pro recording engineers would probably cringe.
If you say I still need to "master," is there any inexpensive (read: "free") software to do it? Software that even I can understand?
I'm using Samplitude Pro V7.x. Any suggestions?
Do I need to "Master" my CD?
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- KVRAF
- 12977 posts since 29 Sep, 2003 from Ottawa, Canada
Disclaimer: I know very little. Honestly.
Is it necessary? No, I wouldn't say that it's 'necessary', but it IS considered that crucial step that separates a run-of-the-mill demo from semi-pro/pro sounding stuff.
As for what it is, I couldn't get into it because I don't have the knowledge, but what I DO know is that it's a final stage of EQ, Spatial, and Dynamics (ie. compression) control that 'polishes' a song. I don't like vague terminology, so in a nutshell:
-You want all of your songs to have the same average level so that the songs are consistent from one to the next
-You -generally- want each song to have a similar EQ balance, which does NOT necessarily mean that each individual component is EQ'd the same, but rather that the track as a whole has similar content of frequencies
-You want each song to have a similar sense of space, which means that you don't usually want one song fairly wet in reverb and the next one bone dry. Obviously there are going to be exceptions and it's something to be evaluated on a per-song basis; however, in general you don't want two songs on the same album to sound like they were recorded on different planets.
Mastering, as opposed to mixing, is done on a mixed-down stereo file, using EQ, harmonic enhancers, multi-band compression and who knows what else mastering engineers have in their black bags.
Hope that helped, even if it wasn't completely informed. Like I said, I'm not exactly an expert.
Greg
Is it necessary? No, I wouldn't say that it's 'necessary', but it IS considered that crucial step that separates a run-of-the-mill demo from semi-pro/pro sounding stuff.
As for what it is, I couldn't get into it because I don't have the knowledge, but what I DO know is that it's a final stage of EQ, Spatial, and Dynamics (ie. compression) control that 'polishes' a song. I don't like vague terminology, so in a nutshell:
-You want all of your songs to have the same average level so that the songs are consistent from one to the next
-You -generally- want each song to have a similar EQ balance, which does NOT necessarily mean that each individual component is EQ'd the same, but rather that the track as a whole has similar content of frequencies
-You want each song to have a similar sense of space, which means that you don't usually want one song fairly wet in reverb and the next one bone dry. Obviously there are going to be exceptions and it's something to be evaluated on a per-song basis; however, in general you don't want two songs on the same album to sound like they were recorded on different planets.
Mastering, as opposed to mixing, is done on a mixed-down stereo file, using EQ, harmonic enhancers, multi-band compression and who knows what else mastering engineers have in their black bags.
Hope that helped, even if it wasn't completely informed. Like I said, I'm not exactly an expert.
Greg
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- KVRist
- 446 posts since 3 Jan, 2004 from Serbia
to make the story short:
absolutely.....unless you want it to sound like a demo...
absolutely.....unless you want it to sound like a demo...
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- KVRAF
- 6740 posts since 25 Mar, 2002 from sheffield, england
At the very least, it involves putting your tracks in the correct order, setting pause lengths (don't underestimate the importance of this: it can make a big difference to the feel of a CD) etc..TheStorm wrote:What exactly IS mastering, anyway?
..at this stage you may become aware that some tracks seem louder than others, even if they are all normalised to the same level: this is where the fun begins.
If you are happy with the sound of your mixes, then you may just need to make some level changes.. turning loud songs down is a simple task in an editor, but it is when you decide to make a quiet one louder (without clipping) that you will need (multi-band?) compression and limiting.. investigate the options in your editing software before you splash out on dedicated mastering software though, as from what you say that may well be over-kill..
One thing I would suggest however; keep your mixes at a high resolution (24 or 32 bit) until you have made all the changes you need to, and only then drop them to 16 bit(with dithering if at all possible).
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- KVRist
- 457 posts since 14 Aug, 2001
I'm no expert but if all the tracks are pretty uniform in overall volume (so that one track isn't quieter than the next track etc) and sound good on various systems then I would say finish the project...
I guess it depends what style of music it is...if it's commercial pop stuff then it [generally] has to sound ultra polished but many other styles can sound better with a bit of a rougher, less polished edge to them. It hasn't done the likes of Radiohead or Aphex Twin any harm...
With regards to what to use for mastering, the reviews I have seen for Samplitude seem to suggest that the plugins that come with that application are very high quality and should be more than good enough for mastering purposes.
You could always get hold of the book that Bob Katz wrote called 'Mastering Audio' which is supposed to be excellent...or wait for some guru to show up and reply
I guess it depends what style of music it is...if it's commercial pop stuff then it [generally] has to sound ultra polished but many other styles can sound better with a bit of a rougher, less polished edge to them. It hasn't done the likes of Radiohead or Aphex Twin any harm...
With regards to what to use for mastering, the reviews I have seen for Samplitude seem to suggest that the plugins that come with that application are very high quality and should be more than good enough for mastering purposes.
You could always get hold of the book that Bob Katz wrote called 'Mastering Audio' which is supposed to be excellent...or wait for some guru to show up and reply
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- KVRAF
- 6740 posts since 25 Mar, 2002 from sheffield, england
Meanwhile, read this:xylyx wrote:You could always get hold of the book that Bob Katz wrote called 'Mastering Audio' which is supposed to be excellent...
http://www.tcelectronic.com/media/katz_ ... tering.pdf
Don't be put off by the Finalizer association: its really just general mastering advice, applicable to any plugs that do the same job..
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- KVRist
- Topic Starter
- 177 posts since 7 Aug, 2004
Thanks everyone for your advice. I knew I was bringing my question to the right place!
You know, I think more than anything I want to start distributing this CD, and maybe I'm pushing it. I've spent a year writing, sequencing, recording, mixing, etc., and I suppose I shouldn't rush that final polish.
I'm pretty happy with the CD, but I grudgingly admit that I probably do need to learn the mastering part of Samplitude. (It in fact does have dedicated mastering tools, but they're a bit beyond me at present; I was hoping for something a little easier to understand.)
Since this part is so foreign, I suppose at this point I'll have to bring in a couple of friends who know this stuff, but it's hard. I've done everything else myself up to this point.
I definitely do NOT want my CD to sound like a demo. That's one of the reasons I'm distributing it on CD instead of just posting on a Web site (although I'm not ruling that out, either, quite frankly - seems like an efficent distribution method). In any case, I hope to give out 150 copies or so of the CD and I hope people will listen to it for years - I know I will. OK, I guess it's back to work.
Thank you again!
You know, I think more than anything I want to start distributing this CD, and maybe I'm pushing it. I've spent a year writing, sequencing, recording, mixing, etc., and I suppose I shouldn't rush that final polish.
I'm pretty happy with the CD, but I grudgingly admit that I probably do need to learn the mastering part of Samplitude. (It in fact does have dedicated mastering tools, but they're a bit beyond me at present; I was hoping for something a little easier to understand.)
Since this part is so foreign, I suppose at this point I'll have to bring in a couple of friends who know this stuff, but it's hard. I've done everything else myself up to this point.
I definitely do NOT want my CD to sound like a demo. That's one of the reasons I'm distributing it on CD instead of just posting on a Web site (although I'm not ruling that out, either, quite frankly - seems like an efficent distribution method). In any case, I hope to give out 150 copies or so of the CD and I hope people will listen to it for years - I know I will. OK, I guess it's back to work.
Thank you again!
It's better to burn out...than it is to um..to um...well, something, anyway...
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- KVRist
- 48 posts since 28 Nov, 2004 from nashville, TN
mr special's dissertation on mastering:
1. you need to get something mastered. it is very, very important. the best mixes in the world don't sound huge untill run through a nice limiter. and, to keep up with todays standard, you want your cd to sound as loud as possible (at least in the parts you want to be loud) with out clipping.
2. i, personally, master in-line with Wave's Lin MB (which is a multi-band compressor) and thier L2 (which is a limiter). there are all sorts of dedicated apps, and everyone has a different route. if you get it done pro, however, they are almost certainly going to use hardware (at least from what i hear and have seen). minus thousands of $$ worth of hardware, all roads lead to the same place.
3. the gear: a multiband compressor is great, because it only compresses specified bands in your mix. so, basically, if your mix is really lacking the something around about 6-10khz, but everytime that snare hits, your analyzer says that area is mostly taken care of. what happens then, is that we compress that band so that it brings up the natural 6-10khz and lowers that snare hit. then, boost the level for your band and voila! it sounds more present, and cleaner.
4. limiter: i don't believe i have ever rendered (well, since i have known how to use one, at least) anything down without one of these. get a limiter, or your favourtie compressor set to limit or the highest ratio you've got, and pop it after the MB. this way you can compress a master track, so that it just sound more damn exciting, quiter parts are more aparent, and it doesn't clip. i tend to set the threshold to that area where things sort of hang out (as oposed to where those snare hits or screams kick the db meter up a few db)
this is a basic overlay, don't take it as fact, we are all still learning. but this will get you headed in the right direction. when you figure it out, you will never go back to not mastering. it can really be night and day at times
i would like to thank bombay saphire and unsweetend cranberry juice for allowing me to write such a long letter to my phoneline
1. you need to get something mastered. it is very, very important. the best mixes in the world don't sound huge untill run through a nice limiter. and, to keep up with todays standard, you want your cd to sound as loud as possible (at least in the parts you want to be loud) with out clipping.
2. i, personally, master in-line with Wave's Lin MB (which is a multi-band compressor) and thier L2 (which is a limiter). there are all sorts of dedicated apps, and everyone has a different route. if you get it done pro, however, they are almost certainly going to use hardware (at least from what i hear and have seen). minus thousands of $$ worth of hardware, all roads lead to the same place.
3. the gear: a multiband compressor is great, because it only compresses specified bands in your mix. so, basically, if your mix is really lacking the something around about 6-10khz, but everytime that snare hits, your analyzer says that area is mostly taken care of. what happens then, is that we compress that band so that it brings up the natural 6-10khz and lowers that snare hit. then, boost the level for your band and voila! it sounds more present, and cleaner.
4. limiter: i don't believe i have ever rendered (well, since i have known how to use one, at least) anything down without one of these. get a limiter, or your favourtie compressor set to limit or the highest ratio you've got, and pop it after the MB. this way you can compress a master track, so that it just sound more damn exciting, quiter parts are more aparent, and it doesn't clip. i tend to set the threshold to that area where things sort of hang out (as oposed to where those snare hits or screams kick the db meter up a few db)
this is a basic overlay, don't take it as fact, we are all still learning. but this will get you headed in the right direction. when you figure it out, you will never go back to not mastering. it can really be night and day at times
i would like to thank bombay saphire and unsweetend cranberry juice for allowing me to write such a long letter to my phoneline
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- KVRAF
- 2844 posts since 1 Jan, 2003
"other styles can sound better with a bit of a rougher, less polished edge to them. It hasn't done the likes of Radiohead or Aphex Twin any harm..." But Radiohead and Aphex Twin CDs are very carefully mastered by expert engineers.
If you've worked so hard so far, why skimp at this stage? Does the sound of your CD hold up next to the CDs you love to listen to? If you're tired of the project, hand it off to someone who can be objective.
If you've worked so hard so far, why skimp at this stage? Does the sound of your CD hold up next to the CDs you love to listen to? If you're tired of the project, hand it off to someone who can be objective.
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- KVRist
- 264 posts since 8 Jul, 2002 from Lake Superior
How are you distributing your CD? Are you selling it at your concerts or do you use a web-based service or what? Just curious. I'm thinking of doing a CD but I don't know what I would do with it after I pressed it.TheStorm wrote:Thanks everyone for your advice. I knew I was bringing my question to the right place!
You know, I think more than anything I want to start distributing this CD, and maybe I'm pushing it. I've spent a year writing, sequencing, recording, mixing, etc., and I suppose I shouldn't rush that final polish.
I'm pretty happy with the CD, but I grudgingly admit that I probably do need to learn the mastering part of Samplitude. (It in fact does have dedicated mastering tools, but they're a bit beyond me at present; I was hoping for something a little easier to understand.)
Since this part is so foreign, I suppose at this point I'll have to bring in a couple of friends who know this stuff, but it's hard. I've done everything else myself up to this point.
I definitely do NOT want my CD to sound like a demo. That's one of the reasons I'm distributing it on CD instead of just posting on a Web site (although I'm not ruling that out, either, quite frankly - seems like an efficent distribution method). In any case, I hope to give out 150 copies or so of the CD and I hope people will listen to it for years - I know I will. OK, I guess it's back to work.
Thank you again!
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- KVRist
- 48 posts since 28 Nov, 2004 from nashville, TN
excelent point ms meg, but money, money, money!Cordelia wrote:"other styles can sound better with a bit of a rougher, less polished edge to them. It hasn't done the likes of Radiohead or Aphex Twin any harm..." But Radiohead and Aphex Twin CDs are very carefully mastered by expert engineers.
If you've worked so hard so far, why skimp at this stage? Does the sound of your CD hold up next to the CDs you love to listen to? If you're tired of the project, hand it off to someone who can be objective.
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- KVRAF
- 2172 posts since 14 Feb, 2003
They used to call it dominatrixing, but that's just too convoluted a title. Think black pleather boots with 6-inch heels, a little spanking thingy, and lots of vaseline.TheStorm wrote:What exactly IS mastering, anyway?
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- KVRist
- 461 posts since 12 Jan, 2003 from Kyoto
I think one important benefit of hiring someone to master your work is simply getting the service of a different set of (expert) ears.
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- KVRAF
- 12977 posts since 29 Sep, 2003 from Ottawa, Canada
Sounds like good advice. I wish I knew somebody... ANYBODY who has an ear for this sort of thing to help me out, because I sure can't afford to PAY for it.Peel wrote:I think one important benefit of hiring someone to master your work is simply getting the service of a different set of (expert) ears.
And my girlfriend... well... let's just say she has different taste in music than me.Greg
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- KVRian
- 1394 posts since 28 Mar, 2002 from Austria
TheStorm, read this:
http://www.xarcmastering.com/
http://www.xarcmastering.com/