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Master your stuff, don't master, use an engineer?

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  • Master your stuff, don't master, use an engineer?

    I'm curious how many of you master your own material vs. taking it to someone else...inquiring minds want to know.
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  • #2
    im tired of not getting back what i want and can get in the mix with a "mastering" 2buss. ultimately, i must sequence the record... its of most importance to me to get song order and timing between tracks as exactly as i want them to flow... afte that its prett much adding codes and getting it ready for the plant.

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    • #3
      I master my own, the manly way... I'm a true believer in getting it right in the mix. Though, as always, we should differentiate between the two parts of mastering, i.e. the finalization of the mix and all that other stuff involved in creating the CD. I've never done that latter part, and at the rate I'm going I'll be dead before I have a CD's worth to actually do it with. But in terms of creating the final stereo mix, I think you should get it right in the mix, and 'mastering' just becomes an analog circuitry sim, little final tweaking EQ, maybe a widener, and the limiter/maximizer, on the master buss for the export to stereo.
      Dean Roddey
      Chairman/CTO, Charmed Quark Systems, LTD

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      • #4
        I do master everything I do for others, my own demos and other artists music... BUT my own / my band's music for commercial release is mastered by the best mastering engineer in Chile, which happens to be a great friend of mine, Miguel Bahamonde.
        www.guslozada.com

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        • #5
          Wow, a lot of us do it by ourselves. So I guess that must make us...

          ...MASTER-bators!
          Elson TrinidadSinger, Songwriter, Keyboardist, BassistElson and the Soul BarkadaWeb: www.elsongs.comMySpace: www.myspace.com/elsongsFacebook: Facebook PageTwitter: twitter.com/elsongs

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          • #6
            I haven't liked anything I have heard lately mastering wise and I can't afford a couple grand to have anything of mine mastered. I'm sure I could find someone to do it to my standards but the price can't be justified anymore since Music is free now.

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            • #7
              I do my own.
              Wavelab and the finalizer rule.

              However, if i were to take things to the next level a pro mastering job would be on my short list of things to pursue.
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              • #8
                After the awful results when our previous label "handled" the mastering last time around, we are trying to get a mix that is album-quality before mastering is even discussed. The studio we recorded at last time wasn't equipped to do professional mastering three years ago, but they are now and did a good job on remixing/remastering two songs for us. The owner/engineer despises the current trend of destroying a good mix for the sake of volume, and did a much better job than the supposed pro who mastered our earlier stuff. Depending on how things go with our in-progress album, maybe we'll go there for mastering.
                Originally Posted by Captain_howdy


                ^^ this guy just said "lard tsunami".



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                • #9
                  the reason why i now mix with that "mastering chain" is the approach to mixing for volume is far different than creating a good mix and trying to get volume after the fact. i dont think LOUD is going to go away... but knowing how to mix loudly and still retain some dynamics and punch in the mix will set people apart in the future IMO than what is being released now.

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                  • #10
                    I can do a pretty decent job of Mastering myself and offer it for FREE on projects I record. However for my really important projects (which is most of them) I have it done in Nashville at Masterfonics by JR Russell. My stuff is pretty detailed and I have to be very involved, but Masterfonics has a way better monitoring system and will catch things I can't even hear when I do it myself.


                    Russ
                    Nashville
                    "In Order To Predict The Future .... Create It"

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                    • #11
                      Do you guys who master your own records use the same monitoring setup that you used to record and mix the record? Do you really think that's a good idea?
                      Dave Martin
                      Nashville, TN
                      Java Jive Studio

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                      • #12
                        Do you guys who master your own records use the same monitoring setup that you used to record and mix the record? Do you really think that's a good idea?


                        No I don't think it's a good idea... which is why I prefer to have someone else master it and do so whenever possible. I prefer to be there during the process, though.
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                        • #13
                          Do you guys who master your own records use the same monitoring setup that you used to record and mix the record? Do you really think that's a good idea?


                          I master stuff on the same exact setup as it was recorded and mixed. And yes, it is a patently awful idea.

                          Just working with what I have...

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                          • #14
                            sure... i have some pretty bitchin speakers that sound as good as any high end setup [probably better IMO ], and when i take my mixes elsewhere they sound just like i intended without suprises. so why should i take it elsewhere?

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                            • #15
                              If the room isn't good enough to master it, it probably isn't good enough to mix it, right? If mean, if you don't have a good enough room to create the final product, then that means you are sending the masterer a crappy mix and they will have to fix it in a way that's far less optimal than getting it right in the mix to begin with.

                              If getting a good mastering job costs a $K, then for the cost of a couple of them or less you can probably treat your room to the point required to make it sound like it should (depends on how big it is.) $1K will get you 15 4" thick bass traps which would be enough to give a smallish studio pretty righteously smooth and reliable response.

                              I have a set of Mackie HR824 mkII's, with a sub handling just the low-lows. So I don't think I'm lacking in my ability to hear what the mix sounds like, and I'm getting my bass trappage up to speed now as well and it's starting to sound good. And of course you will have to verify the result on other systems anyway, no matter what you have.
                              Dean Roddey
                              Chairman/CTO, Charmed Quark Systems, LTD

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