curteye wrote:3-Get usable/'client happy' results.
Limit54 wrote:I'm going to try ozone 5 on my next track and a/b I hear it's incredible for self masters.
GargoyleStudio wrote:... also from my iPhone internal speaker.
GargoyleStudio wrote:I definitely make sure I listen to the results in a few different environments, ...
mbr wrote:Buy or trial this:
to start with !
Patanjali wrote:After using Dolby Headphone on our Astro Gaming Mixamp surround sound playback devices to watch BluRay discs, I have been thinking that it would be good to make surround mixes just for earphone listeners. Unfortunately the licence fees for a Dolby encoder cost more than a full Cubase, so it is non-trivial cost-wise to even experiment. I have been looking at alternatives without much success.
Patanjali wrote:Mastering 'hat'
I think that the most important step in mastering things yourself is to 'wear a mastering hat', so you may need some time to 'forget' what it sounds like, 'forget' what it took you to get it to that stage, and 'forget' your personal emotional investment in it. Let what the track requires to make it work dictate what is to be done with it.
foolomon wrote:I do plan to investigate the statement that a maximizer should be put in the post-fader slot. But before I do my own A/B comparisons, can someone explain why this is a necessity?
Patanjali wrote:While a brickwall limiter is mainly concerned with the very maximum level, a maximiser works over an adjustable band of levels, which can dramatically alter the dynamics of a mix. Until used to what it does, you may want to do a few try-then-listen cycles, and with others if possible, so that you are happy with the results.
foolomon wrote:This is the part I've never really understood. Do you mean there's a window of frequencies to which it is applied? Or does it work with all frequencies but at different "strengths" depending on the frequency? If the former, is it fixed or does it vary based on some RMS algorithm to find the most prominent frequencies at any given time? Etc.
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