<div>Martin,</div>
<div>>Probably, yes. You may also try to emphasize the higher harmonics on the bass and then turn down the complete track in compensation.</div>
<div>Do you mean the M/S technique with an Eq bewteen encoding and decoding ?</div>
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<div>>But I think you should focus more on the separation. Turning back the bass a bit during mastering was easy. But having different instruments occupying the same frequencies >(e.g. voice and guitar) is much more problematic.</div>
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<div>Yes I know what you mean, and it s my biggest challenge for my mixing process ( but quite difficult to archive for me)... </div>
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<div>>You might still be able to gain something by trying out different speaker placement, having damping in the right place (e.g. the sofa) etc. Acoustic treatment really makes a huge difference, and I don't think my >absorbers in the studio look particularly bad - it's rockwool in wooden frames of about 2x1m, covered with a nice fabric.</div>
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<div>The thing i do ( but i didn t mentioned it in the last email)... I put myself in different places in the room and I mix by knowing perfectly how sounds my favorite cd at this specific place (for references).</div>
<div>Also it s quite important to realize how the room sounds differently depending on where you are ...</div>
<div>( I know quite well where my Low Freq goes to hide :)</div>
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<div>I wish you a nice day :)</div>
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<div class="gmail_quote">On Wed, Feb 29, 2012 at 8:17 PM, Martin Naef <span dir="ltr"><<a href="mailto:mnaef@navisto.ch" target="_blank">mnaef@navisto.ch</a>></span> wrote:<br>
<blockquote style="BORDER-LEFT:#ccc 1px solid;MARGIN:0px 0px 0px 0.8ex;PADDING-LEFT:1ex" class="gmail_quote">Hi Romain,
<div><br><br>On 28.02.2012 9:03, Romain / rXg wrote:<br>
<blockquote style="BORDER-LEFT:#ccc 1px solid;MARGIN:0px 0px 0px 0.8ex;PADDING-LEFT:1ex" class="gmail_quote">Thank you to answer me with very interesting details, it's super<br>appreciated :)<br></blockquote><br></div>
I'm glad to share! It's a learning experience for me as well, so it's always good to exchange ideas with fellow musicians!
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<blockquote style="BORDER-LEFT:#ccc 1px solid;MARGIN:0px 0px 0px 0.8ex;PADDING-LEFT:1ex" class="gmail_quote">On internet i found mostly details and information for mastering but one<br>track only or individually ...<br></blockquote>
<br></div>I don't think it's really all that different. It's just one more consideration to take into account, and I find it easier to match the tracks if they're all in the same project as I can very quickly go back and forth.
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<blockquote style="BORDER-LEFT:#ccc 1px solid;MARGIN:0px 0px 0px 0.8ex;PADDING-LEFT:1ex" class="gmail_quote">I never used Samplitude,<br>I used Cakewalk daws from 2003 till 2007,<br></blockquote><br></div>I still use Cakewalk for my composition work. You could use that for mastering as well, I just find that Samplitude has more tools (e.g. visualizations) out of the box, and I'd definitely miss the integrated CD burning features.
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<blockquote style="BORDER-LEFT:#ccc 1px solid;MARGIN:0px 0px 0px 0.8ex;PADDING-LEFT:1ex" class="gmail_quote">I m impress about the result of your work, with no effect from Waves or<br>UAD,PSP, Manley rings the bell tho ...<br>
</blockquote><br></div>There's a ton of options these days. Waves had a great reputation in the past, but I think today there are a ton of alternatives available (for a lot less money). I have to say that the tools in Samplitude are extremely good. I wouldn't hesitate mastering a complete project with only what they offer.
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<blockquote style="BORDER-LEFT:#ccc 1px solid;MARGIN:0px 0px 0px 0.8ex;PADDING-LEFT:1ex" class="gmail_quote">One stupid question : do you 'automate' some effect?<br></blockquote><br></div>I never did that for mastering. But it might be useful - I think your track could actually have profited from some automation to give it more punch in the second half.
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<blockquote style="BORDER-LEFT:#ccc 1px solid;MARGIN:0px 0px 0px 0.8ex;PADDING-LEFT:1ex" class="gmail_quote">I guess Paul Punkdisco has one Focusrite Liquid Mix but I m not sure,<br>will you advice this device to buy for the price and quality of it ?<br>
</blockquote><br></div>I certainly like the results, the tangible interface and the peace of mind that comes from knowing that people with a lot more experience than I have think it sounds great... But if money is short, there are probably more economic ways to get great results.
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<blockquote style="BORDER-LEFT:#ccc 1px solid;MARGIN:0px 0px 0px 0.8ex;PADDING-LEFT:1ex" class="gmail_quote"> I'm glad that you told me about the low content cause I used a High<br>Pass on each track and also when i had to prepare the song for the<br>
mastering I always had one eye on the frequency analyzer ... So after<br>your tip : I should cut more :P<br></blockquote><br></div>Probably, yes. You may also try to emphasize the higher harmonics on the bass and then turn down the complete track in compensation.<br>
<br>But I think you should focus more on the separation. Turning back the bass a bit during mastering was easy. But having different instruments occupying the same frequencies (e.g. voice and guitar) is much more problematic.
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<blockquote style="BORDER-LEFT:#ccc 1px solid;MARGIN:0px 0px 0px 0.8ex;PADDING-LEFT:1ex" class="gmail_quote">Anyhow my living room ( where i record and mix)is not acoustically<br>isolated properly for mixing ...<br>Of course I can do some installation for the purpose if it s needed but<br>
then my place becomes something not really livable anymore except if<br>music is your life :)<br></blockquote><br></div>You might still be able to gain something by trying out different speaker placement, having damping in the right place (e.g. the sofa) etc. Acoustic treatment really makes a huge difference, and I don't think my absorbers in the studio look particularly bad - it's rockwool in wooden frames of about 2x1m, covered with a nice fabric.
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<blockquote style="BORDER-LEFT:#ccc 1px solid;MARGIN:0px 0px 0px 0.8ex;PADDING-LEFT:1ex" class="gmail_quote">One more question; (all on your honor )<br>Did anyone in the past wanted to pay you to master their tracks ? :P<br>
</blockquote><br></div>Nope, that never happened to me. There's not exactly a shortage on mastering services... Besides, I probably wouldn't accept it. I may have some experience, but I don't have the critical monitoring environment that's required to *guarantee* the result. It's a hobby, and if people tell me they like the results, that's really all the satisfaction I need. ;-)
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<div><br><br>Martin<br><br>______________________________<u></u>_________________<br>music-bar mailing list<br><a href="mailto:music-bar@lists.music-bar.org" target="_blank">music-bar@lists.music-bar.org</a><br><a href="http://lists.music-bar.org/cgi-bin/mailman/listinfo/music-bar" target="_blank">http://lists.music-bar.org/<u></u>cgi-bin/mailman/listinfo/<u></u>music-bar</a><br>
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<div><br></div>-- <br>Romain<br></div>