Exclusive Mastering Service for Psy Trance for only 5€

Lyuda

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(Im trying to flush out those horrible spam posts by speedsound, he seems to be trying to ruin this forum)
 

Faction

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In mastering you get what you pay for. €5 will get you LANDR or an Ozone preset. If you want an ACTUAL MASTERING ENGINEER to make your track sound as good as possible, don't go with Speedsound but invest in the skills of someone who knows what they're doing and will spend the time necessary to make your music shine as much as they can. You don't have to go with me; just don't go with Speedsound.
 

Biggins

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Depends on the music. For club music, use Interior PVA wood glue, for music that will be played outdoors use Exterior PVA wood glue. Dries clear yet gives a strong tight bond that will sometimes last longer than the material around it*.


309995ee-7ad2-42b9-abdc-b91d27114da3.jpg


<obligatory> You get me though? </obligatory>

*disclaimer: takes 24 hours to season
 

nab

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I just mastered an album mostly with Brainworx Masterdesk.

You can add total harmonic density and the compressor is bloody well nice. Nicely calibrated eq and decent stereo spread.

I tried it in a chain with other plugs but as an analogue channel style emulation it seemed to work best on its own, although I did add a teeny bit of excitement too.

Weird thing about the Masterdesk is that the limiter doesn’t do true Peak limiting.
 

nab

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doesn’t have enough features for pro masterers but for artists who want to release something without going into their overdraft it’s quite good, and intuitive to use.
 

nab

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I was being flippant above.

Mastering is definitely an important part of the audio process (last 10% maybe) it’s just I think that the whole paradigm that you gotta use a mastering engineer is a bit old hat now.

We have highly talented producers all over the world who can produce great sounding music with highly complex production but somehow there’s this mythical notion that you can’t / shouldn’t do a final eq and a bit of compression?

Is it a hangover from the loudness wars which feeds on the obsessive doubts of creative souls who crave validity?

Is there really a “right” or “one” sound for a record? Or just a series of possibilities?

I listened back to what some masterers had done to my music and thought they had done too a bit too much, that they had squeezed a bit of the life and soul out of it for the sake making a sonic mark on it. And I paid someone to do that? Why? Because that’s the received wisdom.

And yes I understand all the monitoring / album fatigue arguments and they have much validity, but they are surmountable with a bit of application. You could buy a really decent pair of headphones and a mastering suite for the price of an engineer. The tools are certainly available.

It’s just we work our arses off to produce great music and then give a big chunk of the profits (which are very small these days) to a mastering engineer before we have even started?

It’s empowering on many levels to make money from your art and self mastering is a good start to achieve that. Psychologically it frees up the entire creative process in the mind too if the end part of can be swiftly completed by yourself.

With the loudness wars gone mastering is more a game of taste now I reckon and doesn’t need to be overthought so much.
 

Nanook

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stuff / I was being flippant above.
Yea mate...
I can't fault you. All makes sense to me.

I was being partially flippant too.

I've already done that A-B-C-D blind test above :Wink3:
(not with this dude... but Label worx, Landr, an amateur engineer and a "pro" engineer)
.
Label Worx mastering won.
(which is just pre-sets, in much the same way as Landr..... but with someone giving it a quick glance and amending to suit your preference.
Not an "engineer" as such. But not a one-pre-set-fits-all approach.

I guess you COULD argue that the reason that won, was because so many people have their music mastered that way now, that it sounds "correct", as far as our, now-trained ears go.
But regardless of the reason... it DID sound better to 80% of people that listened.

One of whom was me.

Which is what matters.
.
.
On a slightly different point...
I resent the cash thing too.

If a record label was paying, and they had enough profit...and thought it was worth it.
Then whatever... their call.

And....if someone wants to go the whole hog for themselves (rather than an ill thought out attempt to "sound like"....)... then again, whatever.

:Smile3:
 
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