Htaed

For starters, Htaed is simply DEATH spelled backwards, what a stumper that was:rolleyes: Second, the cello is a relic of the first "guitars", basically all stringed instruments are. Tone deaf by default? Absolute nonsense. You need to study the history of stringed instruments extensively as I have, you'll learn a lot about the variety that exist today and the relics they came from. Third, a dozen trolls forming a circle and running their ignorant mouth's in agreeance doesn't make you right, it just makes you desperately board, lonely losers with absolutely nothing better to do. If you people put this much time and effort into your instruments, you wouldn't be here getting all pissed off and looking for someone to hate. I made a VERY valid point. Go to Coyote or A_Str8's site and listen to their music, these guys are absolutely TERRIBLE, they shouldn't be permitted to make what they're passing off as music. A_Str8 thinks the basics of mastering I gave, the very same taught by colleges, studio workshops and books all over the WORLD, will yield a muddy signal. No brainiac, it will produce a flat frequency, balanced song where the gap between tracks is no longer audible. Coyote writes this HUGE post about how you shouldn't master your own tracks then listen to his music, the guys {censored}ing TERRIBLE. His playing sucks, his band mates are equally as rotten and his "studio" is some rat hole basement, this guy doesn't have a {censored}ing clue as to what he's talking about. So I come here, read all this horrible information and think man, why are the idiots always preaching their ignorance as facts of the industry??? This crap goes on EVERYWHERE, I figured I'd give an actual account of a tried and true formula that does a solid job of mastering a track be it recorded professionally or in some rat hole basement studio. If you do a fair to good job recording and lay your instruments and vocals down on the appropriate tracks, the formula I gave works quite well. All mastering is, is a grinding down rough spots, smoothing over sharp edges and polishing the entire take to a high luster so like I said, don't let the fools fool you!

Ok, even though this is a forum SPECIFICALLY for the DIY musician or studio recording artist/producer/engineer/tech etc., I'll go ahead and let these idiots insist you can't master your own songs and need to pay someone which COMPLETELY ignores the point of the board in the first place. OK. But if I were you, I'd come back here under a different name. Why? So the {censored}ing losers with nothing to show for their incredible brilliance, such as yourself, can form a circle and try to attack me all at once in a hope to vent their anger, bitterness and disappointment on me?? Get real, I have no reason to hide. I didn't start a fight, I merely criticized stupidity and a bunch of losers that have accomplished absolutely nothing in music threw childish fits and tried to say I was out of line, typical mob mentality. Oh then we get the blind leading the blind, such is the case with A_str8, his music speaks for itself. Just visit his site and give a listen, this retard couldn't play the KAZOO let alone discredit me. He makes a 10 paragraph attack against each and every one of my statements, then the {censored}in retard is so uneducated and unexperienced that he thinks the tracking gap reference I made, something addressed in any decent college course for music and studio production, was in reference to frequency peaks. Get real! It's so funny when I make a critical statement that was relatively harmless then a mob of children forms and screams we're right because we outnumber you, even though we can't justify our claims or accusations and couldn't fill a thimble with our knowledge. Oh yeah, you all proved soooo much, especially A_str8, he proved he doesn't even understand the concept of MULTI TRACK RECORDING because he's just one more retard doing the cutting and pasting electronica crapola, some other retard loser {censored} accused me of. I mean really now, you're the people that run up to a cop and say your neighbor MUST be the Boston Hillside Strangler because you saw him tying clothes line in his back yard 6 months ago but he's never ever hung clothes on it. The lashing out and blind attacks are completely unfounded and unjustifiable. When some idiot tries to tell me a 15 band EQ isn't a shelving EQ, I know I'm dealing with people that have NEVER put the work in but are so {censored}ing full of themselves that they believe they have this super intelligence given by an imaginary character named god, they are the chosen one and basically anything they concoct within their own feeble mind is absolute fact in a place called REALITY. That shelving EQ stab is still annoying me, only an god damn idiot that knows absolutely nothing about hardware is going to try and say a 15 band EQ is parametric rather than shelving. I got news for you idiot, shelving isn't due to the control type where you have sliders that can be viewed as "shelving" in their positions, it's based on the way they are set at specific frequency points they cut/boost rather than a bandwidth range being cut and boost which is what a parametric EQ does. A shelving EQ can in fact have knobs genius. You know I come here and see all this ignorance about mastering, I throw out a pretty popular formula that gives solid results and I get a bunch of nay saying nobodies ganging up on me and spitting in my face because they're bitter about how their lives and careers turned out. If they know so much, they wouldn't be here posting, they'd be too busy working and reeking the benefits of their work in the studio. By the way A_Str8, flat frequency does not equal muddy, too much of the wrong frequencies does. Flat frequency is in fact highly desired and your concepts on reverb? More ignorance learned from indulging in the world of electronic garbage, namely hip hop, rap and electronica. A tight, close, focused reverb is hardly even noticeable when used sparingly, obviously you don't understand the concept of a little can be a lot. The bulk of you posting wanted a fight, well ya got one and I'm more than willing to take you all to school. The main guy I criticized was coyote-1, the guy with the city dump sponsored basement studio with really {censored}ty clips of his band on geocities. I couldn't decide who was the worst, the singer, him or the drummer. The drummer had this massive kit but played with no feeling and did a basic roll over and over until I wanted to ram icepicks in my ears. coyote breaks into a really bad cliche pentatonic solo and the singers voice was bad enough to peel paint and allow the deaf to hear just long enough to be thankful they're deaf. Check the books, EQ'ing, compression/limiting, adding a hint of depth...ABSOLUTE FUNDAMENTALS of proper mastering, any decent school or even book will teach you this but according to the brilliant minds here, I'm dead wrong. Unbelievable man, absolutely unbelievable........

lmfao!! Wait wait, listen to this outstanding mastering by A_Str8 http://www.cd-nutz.com/media/yousay.mp3 Dude, you should have kept your rant to yourself, this is pathetic. That's not music, that what was left over after a synthesizer threw up. Yes a muddy mess, that's what flat frequency response yields..this coming from someone that makes electronic crapola where ear shattering bass and treble is the key to good mastering. Oh yeah buddy, I REEEEALLY need you to explain things to me. Please, tell me how to rebias my amps. Then tell me how I am building my amps wrong, how I'm building my guitars wrong, how I'm building my pedals wrong and how I don't understand the basics of gain stages and signal clipping. Then tell me how I'm designing and building my shelving EQ's wrong and how I've screwed up the design which utilizes the strongest even order harmonics. I'm a neo classical guitarist and certified sound and music engineer as well as an audio tech with a lot of design experience. Point blank, you like the bulk of these people are out of your league. I really will be back here in 6 months and we can compare albums and album sales. You can then tell me how I've done everything wrong and what I did wrong scheduling my tours and how my demo which has already gotten me a major distributor was muddy crap.

This is hilarious, all the know it alls that have absolutely nothing to show for all their misunderstood genius come out of the wood work and say how everything I've said is wrong, complete horse {censored}. These are the rants of bitter, angry, desperate people that have absolutely nothing to show for all their years working at this. For starters, any EQ with 15 bands or more 99% of the time will be a shelving EQ. You'll never see a parametric reaching this many bands. Listen carefully nay saying whiners, I BUILD the damn things, ok? I design and build them...is your English as bad as your experience behind the mixing console? Second, there is absolutely no set way to master a track, absolute fact. There are basic formulas that work like the one I gave but nothing is set in stone. A studio tech listens to the track a few times and decides what needs to be done, there's no secrets being kept, they just treat the ignorant for what they are, ignorant and keeping them employed! The point of using compression and using a SOFTWARE EQ in such a manner is, it's an easy way to balance out the tracks peaks, that's all. If you REALLY are intent on going over the entire song and shifting down all the peaks until you flatten out the track, go right ahead. I simply offered a sure fire way that gives fair results and saves a lot of time. I mean look at you {censored}ing losers, which you really really are, you put words in my mouth in an attempt to trash me and boost your own low self esteem and you REALLY are complete {censored}ing losers. Doing this {censored} on forums is all you have, you're the same {censored}ing losers from the yahoo guitar players room. Nobodies like Mesa, Meganutt, AxeCorrosion...you guys are {censored}ing losers, you'll never leave your mark on the world or even in the industry. You'd have to steal my music to do it! The gap I spoke of is simply in perception and due to the fact that, THE INSTRUMENTS WERE RECORDED ON DIFFERENT TRACKS. Of course there is an audible gap you {censored}ing moron. You mention frequency gaps, LMFAO!!! Then call me stupid??? It's an audible gap caused by recording to different tracks and if you had ANY experience or knowledge in recording that is worth mentioning, you're inbred retard going nowhere ass would have jumped right to this point, absolutely pathetic dude and you made yourself look as ignorant on the subject as you truly are. ...frequency gaps, lmfao! I read this horse {censored} about leaving mastering to the pros, it's a load of crap and I wouldn't be at all surprised if these guys generate work off a lot of forums by spreading INDUSTRY MYTHS, just like the retards behind the tube amp industry and all the ridiculous lies they tell. Listen, mastering is done by ear but the formula I gave works incredibly well. You may need to use the processes slightly differently for your personal leads but generally if you've done a good to decent job recording your song, it does the trick with top notch results. Yeah leave it to the pros...guys that think the audible gap between instruments is frequency rather than the TRACKING GAP THAT ANY EXPERIENCED STUDIO AND SOUND ENGINEER IS EXTREMELY FAMILIAR WITH. Yeah thanks for explaining what a shelving EQ is for me too, even though I've designed and built them for half a decade now. Also, would you like to tell me how to play my 6 string, 8 finger tapped arpeggios?? I'd love for you to explain to me what I'm doing wrong there as well. My album will be out mid to late summer, it will also be available all across the country. So nay sayers, please lets get together again in 6 months and compare album sales, sound like a deal??

I've spotted a few threads in regards to mastering and I have to be blunt, the people behind these threads don't have a clue as to what they're talking about. For starters, mastering a track is actually pretty easy if you've done a decent job at recording/mixing it. So lets say your song is completed but seems to be missing something then you think hey, maybe it's because it needs that mastering everyone is talking about..... Here is pretty much a standard method for mastering a song that's been recorded halfway decently. Load the song into your favorite multi track program be it pro tools, cubase, Cool Edit Pro, Sequoia 9 or whatever. Also, be sure your reference amp to monitor the mixing has it's bass and treble set to flat. If you have the luxury of a loudness switch, this will help a lot. You can switch it in at times for reference but remember, you are in fact going for a flat bland sound cept detailed rather than muddy. Step 1 - Balancing out the tracks overall frequency curve. The first thing you should do is try to flatten out the tracks frequency response. This will give the instruments that "blended" feel as though everyone is playing/singing at the same time in the same room. You want to eliminate the gap you feel between the instruments when listening but without them sounding like they're stepping on one another.There are two ways to do this, sometimes both can or will be used. First start by selecting a shelving EQ, 15 bands or more. Set them all to flat and process the track. You'll notice some cuts in the wave form and the peaks should now be a little more in sync with one another. Give it a listen and see what you've got. It may payoff to do this step a second, possibly even a third time. After this process, your instruments should sound more "blended" and more importantly, your vocals should sound like the singer is surrounded by the instruments. It should be sort of bland and midrangey but not muddy. This is where kicking in the loudness switch and giving it a listen comes in handy but remember, you want to do all your mastering steps without any EQ'ing occurring in your monitor system. Another step to flatten it out a bit is compression. The tricky thing with the compression is, you have to be careful not to overdo it and you don't want your track to sound compressed what so ever. Generally a soft knee is used but rather than expanding or compressing, you set it to flat so you don't really hear it but you get that blended effect brought out even more. Keep in mind though, you may not need to use the compression at all. The key is to get rid of that gap you sense between the instruments. I've heard some outstanding recordings that weren't mastered, the "gap" sound gives this stale, sterile computer like feel to things...... Step 2 - Adding some space This is where things get tricky, you may find that it is better to take this step before compression or it may give better results after. Bottom line is, it needs done no matter what. And what am I talking about?? Reverb! A small amount of reverb breaths live back into the track. You've gotten everyone to sound like they were playing right next to each other with your singer in the center of it all by flattening out the frequency but it sounds like everyone was standing together in a fish bowl. Add a small amount of reverb and suddenly you get this feeling like the band was playing on a stage but managed to deliver a picture perfect performance. This is one of the most crucial steps. This also may be the point where you take the compression step if you hadn't before. If it works, ya keep it but if not, there's always the undo button. Step 3 - Tone balancing So we flattened the frequency response, got rid of the gap separating the instruments from one another along with the vocals and breathed some warmth and life into the song with a very mild hint of reverb...something still missing though huh? Well for starters you need to keep in mind that you want to maintain a flat frequency curve for the most part. 90% of listeners boost their bass and treble on their players. If you do it for them, they're going to pop in your CD and have MASS overkill. Not a good thing when you're going for a commercial quality sound. So heres what ya do. Go to what should be some type of 3 band master EQ. 9 times out of 10, you can simply suck out some of the midrange and suddenly you've matched he sound of legends. Maybe you actually need to boost the bass and treble ever so slightly while leaving the midrange alone. Maybe you need to boost the midrange a tiny bit because the vocals sound hollow but the bass and treble are just fine. Do some experimenting until you have a sound that seems like it needs a bit of bass and treble boost. Now do you see why flat frequency response is constantly stressed when you're reading about mics, speakers and other pieces of gear? Like I said, leave the real bass and treble boosting up to the listener. Your reference speakers or headphones should be running flat frequency response then flip in your loudness switch to get a feel for how it will sound when the listener boosts their bass and treble. There should be a fairly vast difference BUT, there should also be a fair amount of headroom for some bass and treble boosting to be done with the stereo's EQ which you can guarantee the listener will be doing. Lastly, you might need to amplify the track a bit. Flattening out the overall frequency curve of the track tends to cause a volume loss. Generally amplifying it by 3-6 decibels is enough to compensate. After taking these steps and finding the settings that best suit your tracks, you genuinely should have songs that sound like they belong on a CD you bought off the Best Buy shelf.