Yep, same as subGENRE, Slate VCC is awesome !

Each time I can't wait to finish a track just to hear it threw VCC *no*

The regular price $250 is very expensive, I wouldn't pay that much ! I did like subGENRE with the RC Tube offer, and then VCC upgrade.

Slate FG-X Mastering Processor is impressive too, I use both on Master Bus, but luckily this one can be found on Audioz... But I'll buy it next time there's special offers !

Before I found those plug-ins, I used to put Logic's Compressor + Limiter on the Master.



Thanks everybody for very interesting informations

 

I don't like mastering plug-ins especially in the hands of a non-expert, and the fact if the matter is that mastering is for the most part unnecessary. If you mix everything right you don't need mastering, the basic premise of mastering is to make your tracks as loud as commercial releases... at the expense of dynamics. And the worse thing about it is even when you get your tracks professionally mastered, chances are they just slap a few vst's on, dial in a preset and call it done... people don't put the time and effort into making quality pieces of work out of other people's material.

 

I put very little on the mastering bus/channel itself (maybe some limiting, and usually something to monitor peak limits and the Dynamic Range -- very little 'coloring' -- I generally try to avoid too much processing in the master signal) Most of my FX processing is done independently on each channel (and for this it's an everyday experiment - sure I have favorites and 'go-to' plugs but these change per sound / per session) --- Again, this is in general -- Every project is different, it is dependent on the sound the sound I am trying to achieve -- sometimes you might want an over-processed sound -- every mix is different. The hardest part in my opinion is not mixing down a single track -- but developing a sonic consistency within a project (Record/CD) -- The worst is putting together a Compilation recording (multiple artists/engineers) from a batch of over/under processed Masters -- Because everyone has different monitors, setups, etc -- Getting all these to mesh cohesively while attempting to maintain the integrity of the original master is the true challenge -- And -- if you are sending your stuff out to get cut and pressed (Vinyl) -- well then that's a whole different ball game (CDs not so much) -- You really need to maintain proper levels (attention to bass and highs), and give the 'cutter' (final mastering) a good source recording to work with.

 

i use the slate digital fg-x! Really liked the k'd version that couldnt save presets so i brought the full version which is even better!

 

Your concept of mastering is totally wrong. Mastering is not just maxing the loudness of a mix. A professional mastering engineer makes their living out of making music sound better, They put their time and effort into other peoples projects on a daily basis. They attach their name to every project and take pride in the work they do. The number one reason to have a project mastered is because the Pro mastering engineer probably has decades of experience and will be able to hear, and fix things that you may not comprehend.

If you are doing your own mastering, It is always better to render your mix then master the stereo track, Mixing and mastering at the same time can make it hard to know what the mastering is doing and you will go back to single tracks to make changes constantly readjusting the mix.

 

Everything he said is absolutely spot on....

Mastering is an ABSOLUTE must have if your ever thinking about releasing a quality product. They dont just make it loud, they remove harsh transients, add depth and space...all sorts of things...

?

 

In the studio where I sometimes get to play they own some Waves plugins, there I use:

Q10 eq
C4 compressor
Maxxbass or Rbass
S360 imager stereo
L1+ Ultramaximiser
a Spectrum meter of sorts(i may have more than one, before eq, before L1 and after L1)

and at home:
Due to not having perfect sound in my home studio often i dont compress, or do any fine eq on the master bus!
I leave that for Post mastering...
Vintage Warmer is great to add touch of tape saturation.
I always run my mix through the X3 Mastering plugin for my old Powercore MK1.
Personally I prefer it to Waves L1.
You can pick the old MK1 cards up on ebay cheap now and X3 is free in one of the driver updates =)

I love these sort of threads.

 

You two are absolutely wrong, sorry... Thats what a mastering engineer USED to do, now you're lucky if they even actually analyze your music at all before slapping a preset on it. Its just the world we live in now, and the process NOW, is completely superfluous, there's nothing that a mastering engineer can do to your music that you cant do yourself PERIOD. So if you spend more time mixing your music to get it just the way you want it then you wont need a mastering engineer.

If it was such a necessity why are mastering companies valuing their services at only about 100 dollars a track? In the 70's to the late 90's mastering services for even a single track could cost upwards of $1000. The truth is they know like most professional audio engineers know that mastering is no longer a necessity... just go look at the wikipedia entry on mastering and point out anything on the list of things that a mastering engineer does that you cant do yourself... I'll wait

 

I master my music myself, so I'm on the same side of the fence as you, BeatCommission.

But maybe it's not about the difference in what we do, but where and how.

I always thought that mastering engineers have a better listening environment (room treatment and top notch monitors, I can't afford that). And their experience and knowledge is important. After all, they have some sort of degree in audio engineering so I guess they have more knowledge than me?

But I repeat, I master my stuff myself and I'm on the same side of the fence, not starting a fight here... Just something to think about.

 

I understand what you're saying manducator, but even in the worst listening situation, if you know the system you can make informed mix decisions. I also love that you pointed out the knowledge and experience factor, which is very important because the M.E.s with massive knowledge and experience get high profile work, and cost tons of money. So what we as poor/middle-class producers/music-makers end up with is a 100 dollar mastering job that's probably a preset from a Waves or Izotope product. That's why I think its unnecessary beyond making your track louder (which i hate too... I can go on for days about it), and giving it more high-end sparkle (which sometimes feels WAAYYYY unnatural)mastering is an unnecessary part of the creative process that is music production.

 

Hey don't want to discourage anybody, While it is true that there are plugins that can emulate the equipment that mastering engineers use,and if you have the engineering chops to do it yourself, by all means do it yourself, I do, on my own music projects.

If you are leery of a $100 mastering job, as I would be also, and have an important project, another option might be to buy actual studio time and Master in a better environment. The studio should provide you with an engineer that helps with any hardware, knows the room and monitors, and could offer valuable second opinions. Top notch studios in my area with lots of outboard gear runs around $55 an hour. Bring your computer if you want to, they won't mind.

If you are NOT doing a public release of your song or manufacturing commercial CDs. Your right! You probably do not need to master.

I last project I had Mastered by a Pro, the cost was around $500. The results were amazing! I had to wait 3 months though, He had a good reputation and a long waiting list.

Has anyone in the forum used the low cost mastering? What is your experience with them?

Let's make one thing clear. Mastering is not a part of the creative process that is music production! The music part is already completed when Mastering.

 

If anyone thinks all a mastering engineer does is slap a waves preset on ya track then i think your using the wrong people seriously...

Do you really think your speakers and reference equipment can even compete with the gear they have...

Beatcommission i guess your not taking this music thing to seriously then because i guarantee EVERY single track in the charts over the last 20 years has had a mastering job at song point..

As for all this talk of just making your mix better?

The final mix is in no way related to the final master in so many ways...they are two separate things altogether!

 

I had one my first mix work mastered in Spain at a mastering house recommended by a friend. In South America, we go by a different price range than in the US or Europe. This engineer, a paisano from the same country as me, is reaching out to people on the other side of the pond, and he offered to do a 50% off discount. This track was mastered for $60.00 bucks. The result was great. I master all my material, just to sweeten up my mixes. In contrast, my own master is not that crappy, but I don't think you can tell by looking down. It is the way up that counts. He achieved a level I wouldn't have otherwise. Now I have a new standard reference for my forthcoming work. Besides, he gave me feedback on my mixes all the way through the final master. He did three preliminary masters. I'm glad I took the step.

 

I guess the professional mastering engineers are the ones who are warning, because it's their job.

At least in electronic music, a lot of people are doing the mastering by themselves, with very good results. But that is very different from mastering a Folk Rock band with 10 members... ;)

And whilst people are warning to put anything on the master before finishing the song, others recommend the opposite. Of course I wouldn't start with a full blown limiter... ;)

 

I paid a local "PRO" guy 100 bucks to "master" my tracks. He played with some PT eqs and T-racks while I was there. Dont know what he did after I left. BUT, He ruined my tracks. I still feel like he should give me my money back. This was a PRO studio too, and the engineer has recorded and produced major label artists. I was definitely ripped off. He was sniffling alot. My 100 bucks bought his party favors for that night I guess.

 

Thanks for your response. So far 1 good - 1 bad, sorry SG, Any more response?

 

I'll mix with a tiny bit compression on the master (waves api or ssl). Then when I'm happy with the mix I'll use various things like vintage warmer (for bottom end), a saturator, harmonic exciter, and more compression to try and make it sound better, totally depends really. I always use Fabfilter L too at the end, used to use ozone but I think the fabfilter sounds better. Oh and a couple eqs in the chain too. Also been trying multiband compressors lately but with very mixed results.

Yes we all have the plugs and can make our tracks the same loudness but mastering is best left for the pro's. I believe if you are sending a track to be mastered remove most things from the above chain to give them the best chance of achieving what your after. Give them reference material if its not being done through a label (point being if its a label sorting it for you they'll know already what sound their after).

Its all personal though and depends how you work. I know people that start from scratch making and mixing tracks into a full chain on the master with good results. I find it hard that way to make decisions, especially with eq'ing and compressing individual tracks as its going through heavy compression and other things already on the master. Each to their own

 

Ozone works good for me (i like the hamster)

 

My master buss chain goes like this: Compressor - > EQ - > Limiter
Compressors :
T-Racks Vintage Tube Compressor (Fairchild 670 replica)
or
Studio One's native Multiband Dynamics.
or/and
PSP Vintage Warmer 2

Most probably Ill use T-racks' version of Fairchild 670

EQ
Studio One Pro EQ

Limiter
PSP Xenon
or
Waves L1 Ultramaximizer