Hey guys,

For all you mastering engineers out there; other than having an awesomely acoustically treated room, what kind of tools do you use to master your tracks/albums? Specifically what DAWs and Plugins do you use to shape your sound.

I've heard some good things about using mastering suites such as Soundforge and WaveLab along with mastering plugin bundles such as iZotope, T-racks and Waves Mastering Suite but I was wondering what do you guys use to dissect and shape the tiniest details of those tracks.

Some basic tips and examples on sequential steps and plugin order would also be nice.

Thanks!

 

Hi, concerning Soundforge and WaveLab I have heard so much negative things!
You may check this site to find some good+bad arguments and discussions:

Nice channel with useful tips:

BIAS Peak Pro (now dead!) was a fine product.
You might check DSP-Quattro, affordable product.
The list of Plug-Ins I use would be too long but i like the WAVES so much.

 

all the thing's you mentioned like iZotope, T-racks and Waves Mastering Suite work good for me but i have been finding out that all that stuff is still is not really truly mastering even though i can get my stuff sounding as loud and full and wide as a professionally mastered song it still lax that warmth depth and clarity that analog out board compressors EQ's and limiters that are thousands of dollars one massy mastering composer is over $5000 dollars your talking over $50.000 dollars just to start to have a real Mastering equipment that's why the real mastering studios cost so much

you mite enjoy this i did https://www.youtube.com/watch?feature=player_embedded&v=7nlzwDfxVSg

 

Hi,

well, it depends. It depends on the track, it depends on the genre, it depends on the distribution, it depends on you. And, if it's not your track you master, it also depends on what the customer wants.
Ozone (if that's what you mean by "iZotope") is a nice all-in-one bundle, but sometimes it just doesn't fit and furthermore it often sounds a bit too synthetic (imho).

Basically, what you need is an EQ, Comp, Limiter, and a lot of experience (easier said, I know). That's it. If there's still something missing, you should consider applying it before the mastering.
Anywas, SPL has some great plug-ins (both hard- and software) for this, Waves maybe too.

What DAW or Editor to use is just matter of taste. I use an additional wave editor (Audition), just because it's more comfortable for me than doing it in a DAW.

Br,
Olaf

 

can't agree more


Mastering seems to fascinate people... actually, real mastering is way out of the league of most people, I mean real studios are un-affordable for most of us.

If, like I understand, you want to "play-to-be-a-mastering-engineer", like most of us do, you can try Flux suite or Brainworx EQs. If you use PT, you can try Massenburg EQs, McDSP suite or even AIR plugs, which are not bad at all.
That's what I use when I want to increase the level of a track.

=> I'm aware that's not mastering, though *no*

 

Ableton Live used to make the song. As the final product of ableton, I put Native Instruments Vari Comp,Enhanced EQ, and Passive EQ on the master to make it sound Half way mastered. Then I take that track, and throw it into Adobe Audition where I add the final touches. As of interfaces, run my pc through UAD Apollo. Thats it, and my song are perfect!

 

I totally agree too with this. I was just wondering since alot of the old equipment nowadays is digitally recreated in plugin form, if they are actually used in professional mastering. But it makes sense for someone to have loads of experience handle the real engineering. And BTW, I enjoyed that video haha, I think it speaks out for alot of situations when people think of mastering.

This is great! I've ended up trying to 'self-master' my tracks using "mastering plugins" but I never found myself where I wanted my tracks to sit in comparison to a professional mastered track other than the volumes. I'm guessing the loads of experience really does make sense when you're talking about pro mastering. This helped alot!

 

Mastering has changed quite a bit over the years, since the decline of the Vinyl Recording industry (there are clearly constraints when mastering for the vinyl medium -- thus the warmth and dynamics often longed after and spoken about). While there still exists multi-million dollar studios controlled by elitist know-it-all gear hounds proclaiming their sonic superiority -- information and technology has changed that landscape and made things quite a bit different (vast capabilities) these days. Therefore, in no uncertain terms -- it is quite possible to produce a great sounding master without a million dollar studio and the self-righteous egotistical engineer. That being said, what a good engineer does bring to the table is experience ! Anyone looking to release (bring your product to market), should develop a list of tracks/releases that are your personal favorites, note the credits (ie; engineering and mastering) and look into working with them. Call and talk with the engineer(s) -- most professionals will let you know about their process - and some offer pre/post examples of their works.

If you plan on pressing vinyl, it will need to be mastered professionally anyhow -- Keep that in mind.

Many people releasing digital-only (iTunes, Beatport, Etc) self-master their tracks. There is no crime in that -- in the end, its the market (sales) that determines the value/worth of your work. Far too many people put an exorbitant amount of emphasis on mastering, gear, and the like -- when in reality, its all about the music -- many of the classics we still cling to (in all genres) were recorded on (and with) technologies far inferior to those that we use today. Again however, technology does not replace experience, nor a good ear -- and there may come a time (physical release) when you need quality mastering done. A good engineer is a master at the art of listening, with the knowledge and experience (years) working with sound -- the know-how to make the changes, with the explicit knowledge of what tool, utility, and effect best does the job. They can systematically identify frequencies, isolate, remove or enhance those elements that make the track 'sing' (for lack of a better word). While we all are clearly capable of attaining and utilizing this skill (recording, mixing, and mastering), it is a feat unto itself, and requires countless hours, days, months, years to perfect -- a task paid in time that most active composers, producers and musicians are unwilling to sacrifice.


"Technically, Motown progressed through the years by putting new equipment in the hands of the engineers and producers. Until late 1964, masters were recorded on three tracks. Track one was for basic rhythm, track two the "sweetening" (strings, brass, etc.), and track three was for the vocals, which were overdubbed after the instrumental parts had been recorded to everyone's satisfaction. Mixdowns, whether mono or stereo, were done by the engineers, with the producers having little input at this point.

In autumn, 1964, Motown progressed to eight tracks, using a machine designed and built in-house by Motown's Head of Engineering, Mike McLean. There were other 8-track machines in existence (notably at Atlantic and RCA in New York), but the industry standard at that time was 4-track — and in England, the standard was still mono! By early 1965, there was a definite increase in sophistication of the Motown sound. It was possibly this new capability that led to the re-recording of some of the early hits for the Motown collections that began appearing in stereo in 1965 and 1966."

http://www.bsnpubs.com/motown/gordystory.html

 

Very good explained Pyrus Malus!

NOTE: For good mastering results + experiences you'll also need a solid monitoring system, an equal rehearsal room and lots of breaks during your work.

 

Pfff, don't listen to those... just listen to me! There is just 1 secret weapon! Soundgoodizer!
Just watch the tutorial CAREFULLY!