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  • #61
    Originally posted by Carabus
    What settings do you use when you compress a standard rocksong? (with a standard compressor, not multiband). Peak compression right? And then?


    Well of course it varies by the song/mix, but if you're going for the "level" then yes maybe some limiting if it still needs more.

    Originally posted by A_P_Seal
    Can anyone please explain to me the major differences between a "Mixing" room and a "Mastering" room? Is it only the amount and type of gear in the room, or is it also spatial dimensions and and accoustical response?


    Thereotically they should be the same...a room that presents an accurate uncolored depiction of what's happening in the mix. However, because of gear differences and room requirements, mixing and mastering rooms are designed differently. In most mixing rooms there is far greater amounts of equipment in terms of consoles, racks, etc. In a mastering room, quality is much more important than quantity so you can have a lot more room to work with in creating a more accoustically refined environment (which is pretty much crucial in mastering). So basically, the differences are mostly in gear and needs - a good sounding room is a good sounding room.

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    • #62
      Originally posted by blackberry
      We finished recording and mixing a CD and have been pretty happy with the sound that we got. We recorded it in our city with some help from a guy we know who works at a studio. He

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      • #63
        Once again, great post - thank you to all who have contributed!

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        • #64
          Yep, great thread.

          Here's my situation:
          I just recorded & mixed my project on my Yamaha AW16G and it sounds pretty damn good. My main concern right now would be to have the levels of the songs sound about the same on the finisehd CD. I have T-Racks on my computer and was going to attempt to export a wav(s) & master on my PC.

          Questions:

          1. Since it's T-Racks, should I even bother? How does it rate? I think it includes a compressor, Limiting, and ...I forgot what else. Can it "normalize" the levels?

          2. My soundcard is a Soundblaster Audigy, not the best card to say the least. Will this affect the results?

          3. Anything else you can suggest? Take into consideration that this is a DIY project, 'cause I have no money.

          Thanks, c2p

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          • #65
            Originally posted by came2play


            1. If you're only going for extra levels use the "cleanest" limiter you can get your hands on. Dont use normalization or a standard compressor.

            2. I have no experience with any soundblasters but if it has a digital input then technically there should be no loss for digital-digital transfer

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            • #66
              Great piece here. There is some documentation that came a few years ago with a TC electronics device. Written by a famous mastering engineer (Bob...?) I'll try to find it and post it.
              tagha'

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              • #67
                Originally posted by saturngames
                Great piece here. There is some documentation that came a few years ago with a TC electronics device. Written by a famous mastering engineer (Bob...?) I'll try to find it and post it.



                Bob Katz







                Ermis
                High Level Static EBM/FuturePop band

                There are little corners in everyone, which were better off left alone...

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                • #68
                  Originally posted by Dr. Strange


                  1. If you're only going for extra levels use the "cleanest" limiter you can get your hands on. Dont use normalization or a standard compressor.

                  2. I have no experience with any soundblasters but if it has a digital input then technically there should be no loss for digital-digital transfer


                  I burned a WAV file of the stereo tracks and imported it that way, into T-Racks. Yhe problem I then had was...wel, actually "were" that it was hard to maintain a signal through T-Racks that sounded decent that didn't totally peg the metering 'lights'. It got way too hot, way too easily. the other thing was that getting from my soundcard's mini-plug outs to my monitor's 1/4" or XLR ins is a freakin' pain in the butt. Generally, I was about to say "screw it", but I had an offer from someone to master it for 'free'. I'm going to accept, this time. That'll give me a chance to work this thing out.

                  Thanks. c2p

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                  • #69
                    Hello Everyone! Long time reader, first time poster.

                    Very informative thread!

                    And speaking of Bob Katz, an essential read: "Mastering Audio: the art and the science." Nuff said
                    nada surf.

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                    • #70
                      I'm going to at least order it this week.

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                      • #71
                        I JUst opened A studio Got any referals to good mastering studios.
                        Littlebird54

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                        • #72
                          Originally posted by humboldt
                          I JUst opened A studio Got any referals to good mastering studios.


                          Mr.Toads in San Francisco. You can do a google search for them.

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                          • #73
                            Originally posted by humboldt
                            I JUst opened A studio Got any referals to good mastering studios.


                            Terra Nova in Austin is very good. You can do business with them over the Internet if you like.

                            Terry D.
                            Telling Stories releases 2nd CD, see our WEBSITE! Please check out my GROUPIE STORY and Tales from the Road.

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                            • #74
                              You could try Homestead the Plant in Edmonton Alberta. They've done a lot of big Canadian artists. Barry Allen the main Engineer recently took home Engineer of the year third year in a row at the prairy music awards. Also it's Canadian so it's a lot cheaper, and they do really good work. They don't squeeze the crap out of everything... unless you want them too
                              (780) 454-8434

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                              • #75
                                Originally posted by skunky_funk
                                4. Listen to A LOT of songs and take note of the final mastering and try to copy the timbre and tone of those you like.


                                I've been auditioning a lot of commercial CDs on my monitors lately, and trying to figure out what's going on. Good metering is essential. For Pro Tools, I tried downloading Inspector at: http://www.elementalaudio.com/products/inspector/index.html

                                The frequency analyzer part I find not so great--it tends to make all decent mixes look the same. The RMS meter is interesting, however, for mastering purposes. Commercial CDs tend to peak at -5 dB on the RMS meter (ouch! it's a testament to the skill of the mastering engineers that any dynamics whatsoever are left in the music!)

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