how my mastering part ii

https://soundcloud.com/supergrandmatales324/brought-to-you-by-the-letter

here's the unmastered version

https://soundcloud.com/supergrandmatales324/brought-to-you-by-the-letter-1

________

mastered version is FLAC if you're srs about listening

Sounds good

Good enough. Mastering is boring and overrated anyways. Waste of time.

i think people want stuff to be loud pretty much, and its cause of portable devices like laptops sitting on desks across the room. when the dynamics are too dynamic, then one literally can't hear the low volume parts of a recording. its a tough thing to worry about, this mastering stuff.

  On 12/9/2013 at 2:01 PM, skibby said:

i think people want stuff to be loud pretty much, and its cause of portable devices like laptops sitting on desks across the room. when the dynamics are too dynamic, then one literally can't hear the low volume parts of a recording. its a tough thing to worry about, this mastering stuff.

I was gonna say that the mastered version still has a lot of dynamic range, but then I realized that it's not a bad thing, it's an awesome thing. Modern masters are squished to shit and the dynamics are destroyed.

I mean maybe one db of compression would further tighten up the dynamics but honestly who cares. The master sounds great. I'm one of those people who is happy to turn up my speakers to hear a slightly-quieter master. Classical music is still to this day mastered with as much dynamic range as the composer intended, and for a good fucking reason: because dynamics are awesome. I would be happy to see this trend in electronic music...

Sounds great, Ragnar, keep up the good work.

https://soundcloud.com/supergrandmatales324/cat-in-the-hat-hat-mastered

https://soundcloud.com/supergrandmatales324/cat-in-the-hat-hat-unmastered

my current opinion is that the producer should master on the mix buss.

but if someone needs to master stuff,

i believe someone else ought to do the mastering, if a recording needs mastering.

other opinions?

Well, in ze OP, I thought keeping the sense of lighter elements in an open space would help keep it like the un-mastered track. Fuuuck, now whaaat was that one compression technique where you compress the shit out of everything, then mix that back in at like 2%, but then locut that shit so it only enhances highs and reverb (space) perception and enhances reverb tails....

Fuuuuck what was that called.... Oh, man. My mixing street cred went down 5 points. I just punched myself in the ballz to sort me out.

Anyway- OP- do that. You can crush/multiband/limit less due to upped perceived clarity from the above technique. Louder + can keep dynamics + better space perception = very awesome technique. If you over mix it in, though, everything gets flat as fuck, so it's best for reverbs and hi shiz.

as for the Cat In The Hat master- well, the original- to meeee only- is better in this case. Both are about the same in loudness, but original is way more crisp, separated (like at :30, the claps. The mastered vers does have tons of bass, though, so maybe in a club environment this one would be more appropriate?

Are these your own tracks?

Parallel compression

  On 12/10/2013 at 12:39 AM, LimpyLoo said:

... Classical music is still to this day mastered with as much dynamic range as the composer intended, and for a good fucking reason: because dynamics are awesome. I would be happy to see this trend in electronic music...

This is true but ignores context. How many people listen to classical music in the subway, in a bus, or in the car? This is a primary listening environment for most electronic listeners. I'd bet this has a lot to do with the modern mastering style really. Music must compete in a noisy environment.

  On 12/12/2013 at 10:14 AM, slightlydrybeans said:

 

  On 12/10/2013 at 12:39 AM, LimpyLoo said:

... Classical music is still to this day mastered with as much dynamic range as the composer intended, and for a good fucking reason: because dynamics are awesome. I would be happy to see this trend in electronic music...

This is true but ignores context. How many people listen to classical music in the subway, in a bus, or in the car? This is a primary listening environment for most electronic listeners. I'd bet this has a lot to do with the modern mastering style really. Music must compete in a noisy environment.

 

its a lose lose situation

it's not like we live in some mad max future with radioactive terrordactyls flying around, constantly screeching, and you can't still go out and buy a decent pair of headphones or even something like a hi-fi system to actually

listen

to

fucking

music

don't cater to assholes who dont actually care about music enough to procure proper listening apparatuses. fuck those people. and dont cater to noisy train rides to work.

how about this-

put a fucking compressor vst in ipods

this whole notion of modern context as an excuse for making shitty music, it's like if painters started painting for people who might look at their paintings in the dark. don't do that. those people are idiots. they don't really care about quality.

but yeh i mean it comes down to the almighty dollar. those idiots are still consumers and musicians still wanna sell to them too even if they just listen to their crap because it gives them an identity or whatever. and maybe some of those idiots actually measure music by how loud it is. but maybe society should be more versatile. put the compressors at the end of the chain- in the playback device. then those people can squash the hell out of anything, anywhere, and at some point will have to find something besides volume level to measure their music by. puts everything on a level playing field and allows producers to put out non-butchered tracks for people who actually like music.

edit- oh by the way i think the mastered one sounds ok

  On 12/11/2013 at 6:25 AM, LimpyLoo said:

Parallel compression

Thaaaaank you. I've forgotten that in multiple forums, across multiple countries, through multiple dimensions- since 1927.

As for needing to be loud to cope with listening environments-- naaw, man. We gotta do it like Atari days, when you play the game and look at the box art, imagining that the cool box art shit was actually happening in the game. So just release pure white noise- which can cut through anything- then have people look at album cover art to imagine what they are actually listening to.

Which reminds me- if you ever listen to white noise- or watch white noise- after awhile, you can hear/see your own imagination and thoughts. Fucking serious and awesome shit.

https://soundcloud.com/supergrandmatales324/brought-to-you-by-the-letter

not as loud but I did a lot of weird shit exploiting properties of FFT/upsampling to bring out sounds and such

https://soundcloud.com/supergrandmatales324/accra-funk-remaster

i know I'm insane but this is how I want the track to sound

https://soundcloud.com/supergrandmatales324/plaza-tapey-mix

this is all digital and sourced from a 320 kbps mp3 I think so take that into consideration

ha wow. I'm not defending, I'm explaining. And no I rarely sit down just to listen to music because I have 2 jobs and 2 kids under the age of two. I listen to music when ever I can.