You have to learn to tell when a effect is really good and when only the change of it leads you to think something is good (or better than the previous one).Ĭool Hector, thanks, I'll check it out, the above described procedure is helpful. All of them used in a very decent way (L2, -1 dB, just for the "spaceness" Compressor with a gain of 2 or 3 dB, no threshold manipulation, also just for the color and Altiverb Vienna Mozart Hall algorihtm very dry, just to hear the tail on pauses.).įirst of all, if you want to do it, you have to invest in some quality plug-ins, and, as somebody above wrote, practice. I did what I wouldn't call "mastering" but sound enhacement to a couple of my (classical contemporary) pieces, and the process was, in this one, EQ (MC DSP Filterbank) > Compressor (Waves Rennasaince) > Reverb (Altiverb) > Waves L2. I was trying before to find some posts about it, but it appears generally to be very hard to find stuff relevant to classical music If PT is sufficient for what we do, and we need a little more routine to use everything with caution, than it is good news. So, there are a few things we need to all agree upon, and we want to control, that's all. Also, we would improve some balancing of the parts on a few occasions. Finishing touches - like adjusting loudness on all tracks etc. What our recording (although very good and clean) needs is some nice reverb and EQ. However, some of our colleagues were not happy with some masterings, so we are trying to learn as much as we can, so that when we get our fine recordings ready for publishing, mastering engineers get nice stuff to work with.though, good ones in the classical world ARE expensive.and also - mastering people DO have better reputation than recording engineers, that's what all of my "bandmates" would confirm To say the very least, it's been discussed before.įirst of all, I hope we didn't offend any of mastering engineers, as there is really no reason for anybody to feel offended from what we wrote. And search mastering right here on these forums. But before you make any purchases, get together with an ME and ask him/her lots of questions. Maybe not as nice as Bob Ludwig would make it, but MUCH better than nothing. That said, if you're willing to spend the time and money, it's possible to create terrific sounding masters within PT. with sophisticated listening skills and mastering tools is a bit misguided. The stock EQ and Compressor are, IMHO, quite useful when mixing a 20-track plus ensemble.īut to slap a Comp/Dyn III across your mix thinking that you'll get things as good as an experienced M.E. As far as the utility of PT's stock plug-ins, you're right: they're not mastering tools (apart from Maxim, which is a "decent" look-ahead limiter) they're mixing tools. There isn't much (if any) mixing to be done on your part. I suppose you could EQ out the low-lows (45 Hz and below), or lightly hit it with Analog Channel, and maybe add some reverb, but there's probably plenty of ambience in the 2 signals you recorded.
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