and this whole time I though it was because of the Chuck Norris memes.

BS aside, I feel the same way my friend

 

You are so wrong here my friend, I have a few cyber friends now that are working professionals in the industry, from scoring feature films and TV to professional touring musicians that I have met on random forums, and even private warez trackers (They usually hate the demo limitations) For them it was always about giving back to the community that got them there. Theyre just real selective of who they reach out to. We have more than a few here. Like my good ol buddy @spencer26

 

Last edited: Feb 6, 2017

subGENRE still not on Audiosex. other places yes. I know a few people too. but it's not the main point.

point is, not even Alan Parsons provided his duties for Pink Floyd album (you know which one) for free or even paid the band. band still paid him, though the album was and is freaking amazing and many would agree to work on it for free or even pay for it.

this was one those rare cases where recorded material were that so much fucking good, engineer could pay a band to be involved in the genius work.

but only a few people, the greatest artists, would deserve that honor for producer and engineers to do. and still nobody does it. everyone gets paid. period.

"pay him to master his song". unbelievable. have some respect, man. respect other people's work even if they don't have the eq you are wanking off to.

 

Oh believe there are some lurking here too, they just dont broadcast it to the general public. But spencer is open about his accolades and wants to help all, check out his site www.spencerlee.audio Very helpful and informative. He walked me all the way through mixing a rock band I recorded on this site right here in a huge thread we did.

@Greggers& @solo83
I will add this though, a lot of the big time A list engineers are going all ITB now. So its really not all about the hardware anymore (well maybe the ad/da). But, If an artist chooses to have only an engineer with real HW to work for them, it doesnt make it wrong or right. Thats completely their choice and I can totally respect it. If I could afford real HW id probably be sending my some of mixes through it too.
Come on, "pay him to master his song" He was just joking around. No need to take it so seriously my friend.

 

Last edited: Feb 7, 2017

this should be the recipe for all mastering only to give it what it needs if anything at all>>> But i get Loudness request 99% of the time an it sucks period.... im not a fan of the killer loud but i do agree that some styles sound more powerful louder and yes volume matched with the quieter ones ;) but as always i do what the customer wants... If they dont want it Crazy loud i do no volume changes at all if they want a Block wave as you guys call it then they get Slammed thru my hardware Eq an L2 limiter then clipped on my Pure 2 and maybe a digital limiter on the return ;) For most Styles i can get it louder cleaner this way than i can ITB >>> To each his own way \m/ i lean more toward more dynamic range an my favorite spot is where i think it sounds the best \m/

 

Yes, if someone like Andrew Sheps can mix an LP on a laptop in a hotel room, as he reputedly has done. Then I think it's safe to say that exclusively ITB production has reached a point that makes it indistinguishable from the old desk/outboard methods. However, the most salient point in this 'argument', as its always been, is that no amount of equipment, no matter what it is or how expensive it is can replace knowledge, experience and skills. A massively expensive piece of boutique gear in the 'wrong' hands won't sound nearly as good as someone with decades of experience mixing/mastering ITB using the tools available to all.

One thing I've noticed with mastering engineers in particular, is just how subtle they are. It's a couple of db compression here on this piece of kit. A gentle cut/boost/shelf somewhere on the spectrum there on another bit of kit. It's a culmination of lots of little moves that makes a mix go from good to great, rather than slamming it through any one piece of gear/plugin. 'Mastering' has always been regarded in the industry as something of a 'dark art'. Secretive people with their own methods and equipment working their magic. I sort of look at it a little bit differently. Many of them are very experienced and have been listening to mixes for decades. This then allows them to then hear in a way inexperienced ears don't. The best ones know just what a mix needs and how to go about getting it, that takes a very long time to 'master'! (excuse the pun) Anyone with the finance could buy what many ME's use off the shelf, but there really isn't any substitute for experience. It can't be bought for any amount of money and it takes probably a few years of doing nothing else every day before I think you build up the knowledge, skills and 'ears' to acquire the confidence to be given a mix in any style of music and be able to turn out a mastered track that's going to be released to the public.

 

Yep, its all about dynamic range.
Hope all is good on your end and you`re slowly getting back to producing.

 

yes bro it is ! Thanks for the comment too bro ! i wish the loudness war was never an issue i do ! forget the loudness just make it sound good and use your volume knob thats what its for \m/ haha Hope all is well with you to @Von_Steyr \m/

 

Mastering is so easy now, just look at this, in 1 min you are done!

 

I can never turn my voulumes past halfway anymore no matter where Im listening. Didnt used to be like that a few years ago and before.
I was going to say something too. Hope your rebuild is going well and glad to see you around again.

 

Nothing wrong with going ITB either. Just from my experience hardware mastering tools gives songs more air, punch,body and headroom with just subtle actions compared to software. Also, a lot of hardware comes with software bundled, for example the ssl rack comes with the ssl software (which is my definite go to vst eq) and if I'm not mistaken, you can control the software with the knobs on the hardware gear. Either way, whether your using software or hardware, room treatment, and multiple listening references are more important factors in mastering.

 

the videos are from 2012 that was a long time ago in loudness war time haha it is 2017 much has changed since the way people where mastering back then and what they did

 

What has changed? last time I checked people were still cranking the limiters on any kind of modern music.

 

"
What has changed? last time I checked people were still cranking the limiters on any kind of modern music.

"


much has drastically changed in the past 5 years the standards for loudness meters every recording i know of is improved upon and most pros mixes are a few db rms quieter and clearer, there is much less crackle in distortion in top 40 mixes, instrumental cues all around from commercials to tv to film that extends all the way to the underground. take for instance one of the nastiest areas of music for digital distortion and damaged mixes metal music listen to a modern mix now

it has been effecting every genre

not only that the tools we have in the last 5 years added to the technological advancement of our computers and daws in that time have made it quicker and easier that ever to do better and clearer mixes in shorter time with industry standard varieties of loudness meters.

https://www.google.com/search?q=lou...z9PSAhXp64MKHcKLDcgQ_AUIBygC&biw=1920&bih=955


http://www.soundonsound.com/techniques/end-loudness-war



now those things aside you still bring up a good point we still need to work harder and raise our own standards higher all the time

"....people were still cranking the limiters on any kind of modern music...."



https://bantamu.com/tips-and-interv...how-daft-punk-changed-the-way-mastering-works


http://dynamicrangeday.co.uk/



https://www.google.com/search?q=201...&biw=1920&bih=955&dpr=1#q=2017+loudness+war&*

 

Working by my ears I always end up with a kind of K-12 master. Anything more [less?] than that and it starts to sound too much. :shrug:

And no, I'm not into Jazz... I just like to use the modern technology to the full and make nicely sounding tracks.