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Reply posted by bblackwood
“I downloaded the first song, it sounded ok to me, going
by my ears, but I loaded into my waveform editor and the waveform
looks pretty hot for further processing.”
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Maybe that's the problem - they need to forget the meters and listen.
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“However, if the ME is going to do any additive eq'ing or
L2'ing, IMHO, he'll be able to do a better job without the 2 buss
compression that is already applied.”
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But how will it sound if the compression changes? The only thing
you could ask for might be to simply pull the overall post-compressor
level back, as I asume there is a limiter across the buss to keep
it from hitting 0dbfs.
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“I suggest that if all you want is top and tailing and the
client is happy, to do it yourself.”
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I don't think that's all he wants, I just think he wants an ME that
will help them realize their goals, not his own.
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“Brad, Tony and Trev, are you guys judging this tune by how
hot it should sound when it leaves your studio, or are you saying
that it's ok, before you process?”
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I'm saying the mix sounds fine and that's all I'm concerned with...
Brad Blackwood
Mastering Engineer
www.ardentstudios.com
Reply by jack1bear
All I'm saying is the mix with the compression wouldn't concern
me a great deal. Given the choice IF there was an uncompressed version,
I'd rather work with that one. Thankfully I don't get that many
shocking mixes to work with given the price point I work at in this
particular market.
Doesn't mean I get perfection either, but rarely do I get migrains
from frustrations caused by mixes that are of a sub standard quality.
It's such a subjective thing even at the upper echelon. Some people
think the new Foo Fighters record has great mixes, others reckon
they suck.
How a file may look or meter isn't overly important unless you've
got some seriously and obviously wrong things going on. As Brad
correctly stated, the bottom line is the sound.
Pretty involved and detailed stuff there Ronny. Hope I'’ve
clarified my previous post mate.
Only once in my new suite have I been sent a CDR with mixes so bad
that I refused to do it. I rang the client to thank him for the
consideration and told him that I was too busy and suggested another
place, where I sent it on his behalf.
Tony Mantz.
JACK THE BEAR MASTERING @ SING SING STUDIOS.
Melbourne, Australia.
Reply posted by mastertrev
I made my last comments on this before I downloaded one of the tracks...
I just finished listening to "I Got Hope".
As far as I'm concerned the track sounds just fine. I've had to
master mixes by a lot of the "big guns" that were FAR
more compressed than this.
If the mastering engineer felt he really had to say something it
should be a discussion between the mastering engineer and the mix
engineer. But please, someone tell this guy to shut up and master
the song...
trevor sadler
mastermind
milwaukee, wi., usa
Reply posted by fibes
FWIW I've listened to the whole album a few times and never heard
too much squash happening. I've had a little concern for things
that went down at the tracking stage but; how can a mix engineer
fix phasing issues between a vocal and the main acoustic guitar
without sacrificing something?
I'm not hearing the problems, except for maybe an intern getting
his hackles up to prove his worth.
Reply posted by alphajerk
I think any EQ at this point would need to be subtractive. What
I’m looking for is "general" EQ to bring the album
together as a whole, level the songs out as a whole and tip/tail
the songs and sequence them.
Like I said, the client is pretty happy with the mixes... just a
bit worried about too much bottom but I think its actually a bit
conservative in the bottom because of the clients paranoia of it
possibly being too much. That’s his main focus with mastering...
unfortunately, the bottom was one of the hardest parts of this mix
[crappy kick and bass tones]
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