RPM - Mastering - Status

[Romain / rXg]

Martin,
>Probably, yes. You may also try to emphasize the higher harmonics on the
bass and then turn down the complete track in compensation.
Do you mean the M/S technique with an Eq bewteen encoding and decoding ?

>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.

Yes I know what you mean, and it s my biggest challenge  for my mixing
process ( but quite difficult to archive for me)...


>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.

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).
Also it s quite important to realize how the room sounds differently
depending on where you are ...
( I know quite well where my Low Freq goes to hide :)

I wish you a nice day :)








On Wed, Feb 29, 2012 at 8:17 PM, Martin Naef <mnaef at navisto.ch> wrote:

> Hi Romain,
>
>
> On 28.02.2012 9:03, Romain / rXg wrote:
>
>> Thank you to answer me with very interesting details, it's super
>> appreciated :)
>>
>
> 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!
>
>
> On internet i found mostly details and information for mastering but one
>> track only or individually ...
>>
>
> 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.
>
>
> I never used Samplitude,
>> I used Cakewalk daws from 2003 till 2007,
>>
>
> 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.
>
>
> I m impress about the result of your work, with no effect from Waves or
>> UAD,PSP, Manley rings the bell tho  ...
>>
>
> 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.
>
>
> One stupid question : do you 'automate' some effect?
>>
>
> 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.
>
>
> I guess Paul Punkdisco has one Focusrite Liquid Mix but I m not sure,
>> will you advice this device to buy for the price and quality of it ?
>>
>
> 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.
>
>
>  I'm glad that you told me about the low content cause I used a High
>> Pass on each track and also when i had to prepare the song for the
>> mastering  I always had one eye on the  frequency analyzer ... So after
>> your tip : I should cut more :P
>>
>
> Probably, yes. You may also try to emphasize the higher harmonics on the
> bass and then turn down the complete track in compensation.
>
> 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.
>
>
> Anyhow my living room ( where i record and mix)is not acoustically
>> isolated properly for mixing ...
>> Of course I can do some installation for the purpose if it s needed but
>> then my place  becomes something not really livable anymore except if
>> music is your life :)
>>
>
> 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.
>
>
> One more question; (all on your honor )
>> Did anyone in the past wanted to pay you to master their tracks ? :P
>>
>
> 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. ;-)
>
>
> Martin
>
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>



-- 
Romain
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