Sometimes it makes sense to side chain a master compressor if the mud can't be tamed, other times a little EQ work on the individual tracks will make this unnecessary. When I get to master with that mix I will be looking at dynamics and how the tracks are playing against one another. Snare and cymbals will be panned and in the same vicinity as the electric guitars.A bass guitar that has some upper end character I would exploit by slightly boosting the upper harmonics of it. On bass I will be looking to make it work well with the bass drum by placing them at slightly different frequencies and ducking or dynamic EQ to keep them from stepping on each other. ![]() In a 4 piece rock band I will be looking to push the guitars through the mix using a mid emphasis keeping as much of the mids as I can without making mud.Usually rolling off the bass on electric guitars. If I'm looking to make a master of a folk group playing guitars with no drums I would be somewhere in the -6db ranges going to master, then I might use several layers of light compression and limiting to get it to level while retaining the dynamics. If the goal is to have music that's interesting dynamically, I would normally send the tracks to master at a lower level than I would for music with less interesting dynamics in a genre that need to be loud such as EDM. What kind of a mix am I shooting for? Since different mixes will need different treatment this is important. ![]() If a person can anticipate the end goal for a mix, they can set up the mix to work better for a master. I have learned a few things over the years that have helped the end product sound better. ![]() I don't claim to be a master of mastering. ![]() I know this is drifting slightly off topic - I see mastering as more than only what happens at the end of a mix.
0 Comments
Leave a Reply. |