**Create a project for mastering ?**

Scope project files
Post Reply
maxmaxmax
Posts: 21
Joined: Wed Aug 19, 2009 8:12 am

**Create a project for mastering ?**

Post by maxmaxmax » Wed Sep 02, 2009 3:58 pm

**Very helpful**
For, all friends,those researching of a project for mastering (with: Eq., compressors, limiter, enancher, presets, etc ...)
; )

User avatar
wayne
Posts: 2368
Joined: Sun Dec 23, 2001 4:00 pm
Location: Australia

Re: **Create a project for mastering ?**

Post by wayne » Wed Sep 02, 2009 5:10 pm

I use Optimaster, then PsyQ to polish stereo masters. I imagine those who have it use bx digital as well.

Presets don't come into it really, every situation requires a new approach.

User avatar
siriusbliss
Posts: 3109
Joined: Fri Apr 06, 2001 4:00 pm
Location: Cupertino, California US
Contact:

Re: **Create a project for mastering ?**

Post by siriusbliss » Wed Sep 02, 2009 7:19 pm

wayne wrote:I use Optimaster, then PsyQ to polish stereo masters. I imagine those who have it use bx digital as well.

Presets don't come into it really, every situation requires a new approach.
Yes, Optimaster and PsyQ for 'polishing', and I've been getting into bxDigital a lot more on larger mixes.

Greg
Xite rig - ADK laptop - i7 975 3.33 GHz Quad w/HT 8meg cache /MDR3-4G/1066SODIMM / VD-GGTX280M nVidia GeForce GTX 280M w/1GB DDR3

User avatar
erminardi
Posts: 1575
Joined: Fri Apr 30, 2004 4:00 pm
Location: Italy
Contact:

Re: **Create a project for mastering ?**

Post by erminardi » Thu Sep 03, 2009 2:27 am

1) har-bal EQ
2) pass through into a real tube master compressor (almost absent compression, only a little tube headroom)
3) Optimaster
4) Waves L3

ps. I really wish a new 5 band Optimaster from S|C!
4PC + Scope 5.0 + no more Xite + 2xScope Pro + 6xPulsarII + 2xLunaII + SDK + a lot of devices (Flexor III & Solaris 4.1 etc.) + Plugiator.

User avatar
Janni
Posts: 356
Joined: Thu Dec 30, 2004 4:00 pm
Location: Cologne - Germany

Re: **Create a project for mastering ?**

Post by Janni » Thu Sep 03, 2009 3:11 am

Here's a little movie about mastering by rob acid...
Might help a little bit... It's in general about mastering electronic music:

http://forums.planetz.com/viewtopic.php?f=31&t=27984

maxmaxmax
Posts: 21
Joined: Wed Aug 19, 2009 8:12 am

Re: **Create a project for mastering ?**

Post by maxmaxmax » Thu Sep 03, 2009 4:33 am

Here's a little movie about mastering by rob acid...
Might help a little bit... It's in general about mastering electronic music:

viewtopic.php?f=31&t=27984
wwwoooo!!!!!...Robert Babicz....uses scope 5 for the audio mastering ?
:-?

User avatar
Janni
Posts: 356
Joined: Thu Dec 30, 2004 4:00 pm
Location: Cologne - Germany

Re: **Create a project for mastering ?**

Post by Janni » Thu Sep 03, 2009 4:49 am

NO!!! :D
But he tells a little bit about his mastering chain and the use of compressors...
He hates multiband comps and uses several normal comps with different settings (and parallel
to the uncompressed signal). I thought that approach could help someone with building a mastering chain... Sorry if that's OT... ;-)

dawman
Posts: 12878
Joined: Sun Jul 24, 2005 4:00 pm
Location: PROJECT WINDOW

Re: **Create a project for mastering ?**

Post by dawman » Sun Sep 20, 2009 3:00 pm

Gain - Saturation - Limiting - Compression
The aim is to get a fake analog plug so you can add density while you keep the gain of a channel low. Limit what doesn't sound good saturated, compress what you want to sound more beefy. Keep an eye on the per track gain. Reverb will slip in and overlap frequency when not eq'd enough, cause gain boosts. Transient effects work wonders on attacks whilst keeping gain needs to a minimum. These transient tools work on many kinds of sounds not just drums.

EQ
EQ is king shit when it comes to enunciation. Use a nice one with built in mojo. Chisel out space for every sound. Don't forget to use the power of "Q" which alleviates some gain issues. Keep an ear out for frequency overlaps, shelve what you don't need. If you want sheen/shimmer, concentrate on 6-13k range. Remember to de-ess or adjust high attacks as needed.

Automation
Volume automation is an important variable for keeping the dynamic emphasis without actually needing to strap on more dynamics plugs than necessary, the bonus is you also get the original sound less adulterated. As well as getting away with sounds too thick for all sections. Quick pulls, quick swells etc...

Illusory
Use "ghost" instruments to achieve thicker effects on the key sounds when possible. Make sure to set the volume and eq of the ghost instrument so it doesn't impact the gain or overlap too much low end. Pan like sequences and stick something similar in the center, all stealthily. Sometimes if you want shimmer, it may be a better bet to add content with built in shimmer and ghost it in with the sound you want to appear to have shimmer.

Identify
There's always a sneaky rumble sound you forgot about several hundred moves back, look for it as the mix progresses. Automate it into submission.

Listening
Go into another room and listen from there, look for oddities. Listen with one ear at a time. Have a friend chime in when possible, you will hear things differently through there ears before they say a word about it.

Visuals
When in doubt after long sessions, use a spectral visualizer to ensure you are in close proximity to where you want to be, technically, and that there are no unwarranted peaks.

Tenses
Consider how your tones may have been pre-processed and what formats they will end up on. Speakers types, headphones, broadcast compression, data compression, etc...From these points you can highlight the strength ranges of the output format from your mix.

Controversy
Use an analog simulator on the Master output before you start a track. Forget about the controversy. Be careful with the BBE thing. It's like using synthetic fertilizer instead of real humus. It's probably already been used several steps back in the instrument programming stage.

Overall
Punctuated Low-Mids, Mids and Highs are the paths to clarity. This also means tracing out precisely what's needed for low-end and eliminating the rest with the above sculpting. Be mindful of cheaper plugs that screw up tonal integrity and introduce distortion. If you keep having to pull down the fader, you are headed in the right direction.

User avatar
capacitor
Posts: 260
Joined: Tue Mar 25, 2008 4:39 pm

Re: **Create a project for mastering ?**

Post by capacitor » Sun Sep 20, 2009 4:29 pm

deleted
Last edited by capacitor on Mon Sep 21, 2009 3:32 pm, edited 1 time in total.

User avatar
spacef
Posts: 2460
Joined: Sun Jun 17, 2001 4:00 pm
Contact:

Re: **Create a project for mastering ?**

Post by spacef » Mon Mar 12, 2012 11:24 am

the best, if you use vst plugins (with or without scope master fx), is to route 1 asio output to the master bus section.
Then you can mute the mix and aux, which will go to the DAW? but not through scope.
This setup is not well explained here, it needs pictures, but what it allows, is to mix and master at the same time (you mix with master effect vst in real time). As you mix, latency doesn't matter. Also, you can chain vst/scope/vst effects at once.
ou can also record the mix dry and the one with vst matser fx at once, and so you can compare both.
The improvement in the flow of "mix to master" is huge. no more mixing in the blind hoping that the master will make it up. here, you make the mix so it sounds great on the master, and a master guy will be able to do even better with a track mix like this (no need to start mixing like this of course, you do this when you polish the mix or feel you need to hear a master of it to improve it)....

basically the setup would be:
- asio channels mixed as usual with as many individual tracks as you wish. The mix is sent to a bus or a rec channel.
- the mix is sent from this bus or rec channel, to an asio In
- the asio in arrives into your DAW, where you activate input monitoring
- you add fx and then send this raw master wave channel to a stereo asio dest
- this stereo asio dest arrives on the bus/group channels of your master bus in scope
- now, you can switch the master to listen to either "direct mix" (dry) or "masterized mix" (with master fx, being scope and asio in this case) by using the Master Level switch, to listen to either channel when you want.
- If you don't have the Modular mixer , this should be easily doable by using a small mixer before an stm (to get the masterized asio channels back in scope) and a 2 input switch that can switch between the main out of both mixers (so you listen to either the mix or to the master). Or by way of solo-ing an asio channel on your mixer (solo the one with the master fx of course... but this method is not perfect because it obliges to have your mix and the master return channel on the same "mix panel" and solo can be less nice to use if your mix also has soloed channels, but i guess it's a habit you can take). IF you have a modular mixer, this is generally a permanent project and you then just use the drop down menu to listen to the channel you send to the master).
- In any case, try, because the results could be worth it and the amount of time saved is really big).

Post Reply