![]() It makes stuff louder!įfmpeg can read other audio formats, so you can just change the ("*.mp3") for ("*.*"), if you have a mixture, or just use the extension of the audio type's you are using. L1 - Waves plugins Ultramaximiser limiter. And there’s no secret to how I did it, I just had L1, which was a fairly new and starting to become popular plug-in at the time, at that time that was mixed in 1999, and I had that across the mix bus and had it set at –6dB, so my mix was peaking at what it would have been peaking at normally, and then I made it about 6dB hotter, and then all Ted (Jensen) did was slightly alter the EQ curve." And he takes essentially no pride at all in it from a mastering standpoint simply because I didn’t give him, I say unproudly, I didn’t give him any headroom to do his job. But yeah, that was a song that I mixed, and made as loud as that when it was presented to the mastering engineer, Ted Jensen, and he essentially didn’t touch it as far as loudness goes. ![]() Others have blamed as being obnoxiously loud, and I will not disagree with that. "Well, that’s Ricky Martin’s Livin’ la Vida Loca, which, er, I’ll neither take credit for being the beginning of the loudness wars, but I would take credit for being how loud it is, that’s for sure. If the artist and the production team want to smooth out and squish individual instruments for effect, then yeah use track compressors, but there's no need for mindless bulk squishing - that's for the radio station to do for the purpose of a homogeneous feel when a new track comes on. No engineer in the right mind should be putting compressors on the master bus at the mixing stage (*), it's simply a method to get more overall loudness - pointless. Most 1970's+ main genres would all sound good if they were left with the recorded and mixed dynamics intact. So there is an example where a track with a higher DR value that has clipping and poor tonality would be worse than a modern compressed track with a low DR value, but perhaps more sensibly EQ'd mastering.ĭynamic Range Day's target of DR8 for people making music is too conservative in my opinion for the most part. What I can tell is that clipping, crap tape sources and bad EQ choices sound a lot worse than bunging stuff through a compressor. But, for our purpose to playback like a radio station, we want to even out the level across all tracks beyond what simple ReplayGain can do. If the output was captured, and a comparison was made between the DR values of before and after compression, it wouldn't look pretty. We play a lot of tunes on a little netbook, and we actually run a compressor plugin for the bulk playlists. Now, people could be forgiven for wanting to hit me with a stick for what I am about to admit. Unfortunately we don't often get to compare two mastering with just a jack up in compression, without radically different EQ or shoddy sources. ^ Whilst some material which happens to have a relatively low DR value (compared to what we would expected if it were an older release) may sound acceptable, the question was aimed more at determining the most preferred mastering. Here's the bandcamp link: Stoned Jesus - Seven Thunders Roar (the band's name hints that it might be stoner music ) Still, it's a DR5 and I can listen all the way through with no feelings of "gahhhh! this is awful sound, make it stop". But there's lots of modern recordings that are done worse. It's not an example to put forth of good mastering. This is probably not the best example to use because some people won't like the music. I'd rather it was mastered with more dynamics and less compression, but I can deal with how it is and fully enjoy listening to it. That style of music is a bit of an acquired taste. It's on bandcamp so you can stream the songs and hear what it is like. Here's an example of stoner metal with a DR 5. I wouldn't go so far as to say a DR 5 for stoner metal is acceptable, but it's not necessarily unlistenable and can still be enjoyable to listen to. For example doom metal or stoner metal can get away with a DR 5 and still be sonically interesting and listenable. Lady Gaga - Applause has a DR 5 and suffers (and makes me suffer).Īdele - Skyfall single has s DR 6 and I can't make it all the way through the song. Don't judge all low DR numbers by pop music standards. ![]() The production for modern pop at low DR numbers is not the same as other styles of music at those same DR numbers. ![]() Some music will suffer more from low DR numbers than others. Click to expand.What is acceptable does depend on the type of music.
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