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The stuff I put up on here are horribly 'mastered' (In the loosest, shittiest sense of the word) I shamefully just throw the entire mix through either the PSP vintage warmer or Izotope Ozone for quick and extremely dirty volume and never get it sounding very nice, ever. I'm incredibly lazy and need to learn more about this stuff, or just let people who know what they're doing do it.

If I'm doing proper commercial work, I put the whole mix through the SSL Duende quad comp with only 2dB (sometimes 3dB) of peak-slapping glue and send two versions to master - One with Quad comp and one with nothing. The M.E always chooses the one without any comp, which speaks volumes.



//edit. I also have the DBX Quantum (The DBX answer to the Finalizer) sat in my rack. I used to use that back when I was 100% hardware. I haven't used it in years and it sits gathering dust.

oh and another tip, leave it at least a week before you master from bouncing.

thesynthesist wrote:Ok, here's a quiz...

Who knows the true story of Joe Meek?

Come on, This is modern production history here...

and a mind bender of a story too...

http://en.wikipedia.org/wiki/Joe_Meek

The effects company stole his name, and attached it to their product (they have nothing to do with the real Meek).

I'm thinking of maybe grabbing a TC finalizer 96k ($1500)

Take that $1500 and give it to Transition. That's over 10 hours of professional mastering (over 20 tunes, generally 2 tunes/hour), of which you couldn't get blowing that much on a piece of hardware. Seriously. Pre-master all you want, but give it to the pros.

leave it to the pro's unless your seriously into the science, i find it hard to mix my own stuff let alone master it. Its really hard to be objective about your own material.

ether wrote:leave it to the pro's unless your seriously into the science, i find it hard to mix my own stuff let alone master it. Its really hard to be objective about your own material.

DING!!!