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RE: [mc505] Final Mastering Question

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  • Greg Spicer
    cheers for doing that....was interesting to hear.... while i like how you have tightened the bass end - some of the impact of the low mid has been sacrified-
    Message 1 of 97 , Aug 1, 2002
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      cheers for doing that....was interesting to hear.... while i like how you have tightened the bass end - some of the impact of the low mid has been sacrified-  dont get me wrong-  overall good sound just sounds a little hollow, it defeinitly sounds quite different from the original mix, and i guess i would take a similar approach
       
      nice one definitly food for thought...
       

      Greg Spicer

      CRMS Co-ordinator

      Business Link Wessex - The Independent Source of Business Advice.  Profit from our Expertise to improve the performance of your business.  Email: greg.spicer@... <mailto:greg.spicer@...>           Direct line 01329 223254 Fax 08454 588554

      -----Original Message-----
      From: Tomonori Matsumura [mailto:iz58291@...]
      Sent: 31 July 2002 18:08
      To: mc505@yahoogroups.com
      Subject: Re: [mc505] Final Mastering Question

      Sorry for Grg I've just uploaded re-master of "it's all about you" on 505's file section. 
       
       
      Choose the initial eq setting if you use media player. 
      I boost some band peaky, so changin eq setting would cause clip
       
      Well, first I think the song racks of hi freq energy,
      so apply multicomp, and make louder above 6000Hz. 
      Then compress that band until I want. 
       
      Next I thought bass should be isolated from kick, so
      I set EQ before multicomp, then reduce energy around 100hz. 
       
      And just editing EQ and multicomp little bit,
      I apply limiter-stereo processor combo as a final mix. 
       
      EQ>>>MultiComp>>>Limiter>>>Stereo Processor
       
      It didin't take a long time, only 15 min or so. 
      Don't know you like it or not though. 
       
      Learing mastering would help a lot for composing. 
      You can fix the balance while writing a song, and also good for soud making too. 
      Have to spend time on learning even if you don't like it.
      Bad mix could not be fixed by mastering engineers! 
      You should avoid to submit bad mix at least. 
       
      IMO like other say, the first step to mastering the track is to image the shape of the sound. 
      If you can draw the picture in mind, 90% job is done.  :)
       
      Tomonori Matsumura  
       
       
      ----- Original Message -----
      Sent: Wednesday, July 31, 2002 10:40 PM
      Subject: RE: [mc505] Final Mastering Question

      interesting points-  i agree on the most part, yet believe for the e-musician there sometimes needs a line to be drawn in terms of how much you learn about engineering, mixing and mastering...
       
      i want to get the best results i can with my external set-up- essentially two synths, sampler/seq, compressor, efx and mixer (pc only used for edits and now of course t-racks), ive have spent most of my time experimenting with seqeuncing, sound creation, programming and mixing, and not as much time on the final stages such as mastering....im not as interested in learning about mastering as i am learning about making music so guess that at the end of the day i want something (yes a magic box) that is in effect plug and play-  the presets on t-racks are good for this as they are quite different soume sound great, some awful and you get a good visual representation of what is going on-  if you find an eq preset that is pretty much the sound you want but you lose it when tweaking what is the problem with going back to the original preset? i like to know how things work and why things work but believe there are levels of knowledge which correspond to your current ambitions, i would rather foucs on getting my mixing right so my tunes can travel between systems well-  if i ever wrote something which wowed people enough to inspire me to press it then i would prob go to a professional masterer (spesh if it was for vinyl)
       
      e-musicians aren't the same as pro's, we would all like there knowledge i just think we would never get anything done if we endevoured to be like them....plus there are soo many example of stuff out there where the production is a bit scratchy
       
      a friend once said to me that it was great having all this equipment and ability but you can spend too long on things not as important as the music its self..... there needs to be a part where you finish the song and then try and 'master' the sound but there need to be a time when that stops and you get back to writing/mixing
       
      my two cents
       

      Greg Spicer

      CRMS Co-ordinator

      Business Link Wessex - The Independent Source of Business Advice.  Profit from our Expertise to improve the performance of your business.  Email: greg.spicer@... <mailto:greg.spicer@...>           Direct line 01329 223254 Fax 08454 588554

      -----Original Message-----
      From: drK [mailto:drk@...]
      Sent: 31 July 2002 14:15
      To: MC505 List
      Subject: Re: [mc505] Final Mastering Question

      This issue came up on one of the DAW lists I frequent.  A user was critical
      of one of the higher-end plug-ins because it did not have a good selection
      of EQ presets.  He found it difficult to get any useful results.

      Predictably the day-job pros on the list were mortified that someone could
      believe that EQ presets would be useful.  They were right, of course, but it
      did suggest to me that there is a basic disconnect that is arising because
      our music making methodology of relying on "canned" presets, loops, and
      whatnot has become so invasive that many are not learning the absolute
      basics, in this case how to EQ a part in a track.  Needless to say this was
      never a problem when your only option were the EQ knobs on your mixing
      board!

      I don't fault musicians for this as I suspect that the behavior has been
      seriously fostered by manufacturers and maybe even the popular press alike.
      I can think of more than a few "magic boxes" which have been marketed as
      almost one button "make your music great" devices.

      [As a humorous aside, buried within the Korg OASYS effects patches is
      something called "The Producer"  which is a very funny play off of this who
      subject.  Not realizing the gag one user asked for help getting his
      "producer" effect working as it did not seem to be making any difference.]

      There was a time, as recent as a few years ago, when conventional wisdom was
      that the first thing you should do when you bought a new synth was to erase
      all the presets.  The thinking was that they usually aren't exactly what you
      want anyway, and in doing so you will force yourself to learn to really use
      your new instrument.  I think there is something to be said for taking the
      same attitude towards most plug-ins!

      drK

      On 7/31/02 4:34 AM, "Phil" <accession@...> wrote:

      > Hi Greg,
      >
      > Sorry, I wasn't meaning to sound controversial (or was I?)...
      >
      > Without hearing the song, it seems strange to me that a plug-in developer
      > can produce an effective mastering plug-in preset?
      >
      > Kind of like me suggesting you call up the latest track you're working on,
      > then tell you to make a +2.7dB boost @ 128Hz w/wide Q, followed by a gentle
      > nudge of +1.4dB @ 4257Hz w/medium Q, and a sharp -6.42dB notch at 257Hz
      > w/narrow Q.
      >
      > These recommendations are absolutely meaningless without the context of the
      > song it's being applied to, and every song will be different.
      >
      > That's the whole point of mastering.
      >
      > Even 'standard' mastering tips, such as rolling off everything below 40Hz,
      > for example, should be at the mastering engineer's discretion once the
      > material is on hand to be heard. Perhaps much of this sub bass has already
      > been eliminated while mixing. You can't go and apply a generic EQ curve
      > across something unless it needs it. Otherwise, it's likely to overdo what's
      > already been cared for, or miss out entirely.
      >
      > Of course, presets can be very handy with specialty effects plug-ins, but
      > generally, I only resort to presets when needing to apply any realtime
      > plug-in settings permanently to the audio file itself. In these
      > circumstances, I save the current settings, then call up the same plug-in
      > from a different list (ie. non-realtime), reload the settings, and process
      > the file.
      >
      > I've called up factory presets for multi-band compressors before, with such
      > imaginative titles as: "Heavy RocK", "Pop 1", "Pop 2", "Softy"... and so on,
      > and they were ridiculous. So now I always start from a blank slate where I
      > know where I'm at.
      >
      > So in summary, it's the concept that one's mix can be corrected by a generic
      > plug-in preset in a mastering sense that I object to.
      >
      > Phil
      >



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    • Ras
      Shouldn t be too much of a problem if the records were only there for two weeks - however Robs post that there aren t many decks out there is more of an issue.
      Message 97 of 97 , Aug 19, 2002
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        Shouldn't be too much of a problem if the records were only there for two
        weeks - however Robs post that there aren't many decks out there is more of
        an issue. Would be lush to play off that 8ft speaker stack in Anjuna, but if
        everyone is fighting for the same system it may not be that
        straightforwards. I've been recording some mixes onto minidisc so I could
        always just plug that in as Rob said - maybe the best option. Then I may yet
        get to hear my decks and fx through that 8ft speaker stack.....

        Ras

        -----Original Message-----
        From: JMC [mailto:j_mc3@...]
        Sent: 19 August 2002 16:23
        To: mc505@yahoogroups.com
        Subject: RE: [mc505] Travelling with music



        --- Ras <leras@...> wrote:
        > I will be aiming for Goa in Oct/Nov so that fabled 505 meet could
        > take place
        > (maybe). It might have to be the Groovesource unplugged though. My
        > other
        > musical option is in Goa. I may ask my girlfriend to bring out a box
        > of my
        > records (she'll be joining me for two weeks in Goa) - I could then
        > blag my
        > way into some DJing.
        >

        I've heard records will warp easily in Goa due to the heat. Something
        to think about.
        j


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