Your Mixing and Mastering Z Thread

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Nestor
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Re: Your Mixing and Mastering Z Thread

Post by Nestor »

That's really interesting, new vision is here:

http://www.youtube.com/watch?v=KWE3ddEpKC0
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Nestor
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Re: Your Mixing and Mastering Z Thread

Post by Nestor »

Just in case you didn't see this cool video, here it is, it is a whole process, very cool:

https://www.youtube.com/watch?v=civeY38z9gc
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Liquid EDGE
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Re: Your Mixing and Mastering Z Thread

Post by Liquid EDGE »

Well, I missed this thread and started chatting breeze over here!

http://forums.scopeusers.com/viewtopic.php?f=5&t=35203

My initial thing I wanted was what’s with having a mix recorded at -6db for headroom. Short of it, garyb said it’s just to be “safe”. As I can’t get the difference of having a mixdown/wave peaking at -1db, even 0db and just adjusting the input into whatever mastering things used to give one headroom for any processing they do.

Wondered what others thought as a lot of people seem to go crazy and that mixdown “must” be at -6db, but that just surely means your whole mix is just 6db closer to the noise floor.

And what is “mastering” to people.

For me, no matter how good a mix I achieve (or don’t) doing somesort of processing on the final mix improves stuff. Yes there’s the just getting a piece of music to work on all playback systems. But what of polish/gloss/sugar coating that mix.
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spacef
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Re: Your Mixing and Mastering Z Thread

Post by spacef »

I call my own mastering "volume boosts" because it is nothing close to mastering made by a guy who only does this everyday, with the appropriate expensive gear. I've been to mastering studios, and I have even been able to set the compressors for the fun of it. The equipment is probably around 100 000 € just for that task. It is a pro studio and the results are the best you can get in France.
For the -6dB i beleive it is just a security. If your "dry" mix hits -1 or -0.01 dB, it does not change much as long as it is dry.

Let's say that, with -6dB in mind, you are sure not to overdrive, which would be more apparent after mastering, and no gear can undo a saturated signal.

With -6 dB, the mastering engineer will not need to normalize or boost the volume of the signal before the compressors/limiters, and so everything works better. It can be interesting to let some gain to be set by his special and super expensive equipment. I guess he can set the level of signal entering compressors/preamps more easily. He has more margin, and he does not need to lower the volumes if he finds that the compressors begin to work "too early". So it is probably a good habit, but not always necessary. I guess it is good between -12 and -6 dB.

it is a matter of security against saturation, but also to give mastering engineer more choices.

My two cents...
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dante
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Re: Your Mixing and Mastering Z Thread

Post by dante »

I recently discovered the Brauer methods :

https://brauerizing.wordpress.com/2014/ ... -to-guide/

In essence, bussing your channels to submixes and applying compression to each submix buss - this is to keep compression on 'like' material. Probably next level up from multi-band compression but with a bit more effort yielding more control. Since now have got Harrison Mixbus 32C - its something I'm keen to get into. A variation of this by a member below :
Brauerizing
Brauerizing
MBC Flow Chart OVERVIEW 2019v1.png (238.62 KiB) Viewed 23183 times
From UAD forum : "The basic gist of the workflow is that you have 4 submixes instead of the one mixbus and like you mentioned, you use the sends post fader to drive the busses with the main fader of each track. Each bus is only applying gentle compression around 1dB and is more for tone and subtle movement and counter-pumping with un-linked dual mono compressors. You send each track directly to one of these ABCD busses, no other auxes/groups/busses are used. The function of Multiple Busses is to avoid having one instrument or a group of instruments adversely affect the level or sound of another single or group of instruments. Choose instruments for a buss that will compliment each other:

Buss A: Top/Upper Midrange: keyboards, pianos, strings, percs and synthesizers [Neve 33609 & Pultec EQ with a smiley on it]
Buss B: Anchor/Foundation: Drums and Bass (but also possibly cello, double-bass, bass synths, congas...). [Pair of Distressors on 6:1 w/British in and an optional 3-band Avalon EQ after it]
Buss C: Centre/Transient Midrange power: Guitars [Vari-Mu Tube compressor]
Buss D: Dimension/non-staccato: Background Vocals, effects, spatial, send other busses here for extra glue... [tube limiter for warmth with stereo widening]
5 Vocal Busses: 5 different flavoured compressor with sends off of each lead vocal track, you choose your flavour for the track/section, often automating different compressors for verse and chorus...
Parallel 1176s: Unlinked (dual-mono) 1176s all buttons in, but kissing the needle. Send the entire MixBuss or A-B-C-D busses or individual elements as needed
Mixbus: To see what's on his mixbus, watch this free MWTM video:
https://mixwiththemasters.com/video/mixbus-chain-0 "
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