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3za wrote:

Depone wrote:

tylerblue wrote:no dynamics allowed

im at least limiting with -23db gain reduction rms

Your doing it all wronge, you need -144db gain reduction...

Personally I like to run x5 limiters in chain on the master each at -100db. Then I run everything through my George Foreman for that CRISPY OVERDRIVE.

There are a couple of frequency's that are perceived as harsh. I actually had a discussion with a sound engineer / producer / friend about this. It was however in the context of a big soundsystem rig. He said it's easy to learn a couple of frequencies by hart that you can just turn down to prevent a harsh resonating experience for the listener.

This is essentialy a sound engineers job on a party / club though, since they will slightly vary between venues.


For production it'd opt for not using too far out resonance on your filter, especially on rises (since they tend to touch every frequency when rising), and generally just not compressing the midrange too much. Everything else is a mastering and sound engineers job imho.

Depone wrote:
This is how i arrange my tracks. I get a 4 bar loop. then put Dblue Glitch on the master. Hit record and play... Song done...

I get harsh sounds in my ear after a shower. Really annoying! I need to really make sure my ears are proper dry to get rid of it lol

serox wrote:I get harsh sounds in my ear after a shower. Really annoying! I need to really make sure my ears are proper dry to get rid of it lol

as in like ringing? that doesnt sound good

serox wrote:I get harsh sounds in my ear after a shower. Really annoying! I need to really make sure my ears are proper dry to get rid of it lol

Sounds like you have water in your ears which is blocking out external sounds making tinnitus (if you have it) more noticeable.

No, you should sort this out at the mixing stage. Think about it like this, anything to do with mixing or EQ (character or problem EQ'ing!) should be done at the mix stage. Mastering is for level, compression/ limiting, and subtle EQ. Some people might want to add stereo widening/ narrowing at the mastering stage but again thats something I think should be done at the mix stage.

In (kind of) relation to this, I was talking to a very well known female mastering engineer yesterday at a music tech event and she was saying that she hates being sent tracks and the producers expecting her to sort out things that they/ the mix engineer should be doing e.g. she'll refuse to master your track if you try to send her the stems for it or expect her to EQ out really muddy parts. Which I think is fair enough, the mix engineer and mastering engineer's jobs are very different, dont expect them to do eachother jobs lol.

To answer the question,

Generally if you're not sure, then no.

Although saying that, with some genres of music there is information down low, which is useless and only going to hinder you when it comes to compressing, also some digital brick walls limiters can act very strange when it comes to sub bass swoops. You really have to experiment to find out.

The downside of low passing on a master, which to be honest I rarely do unless it's bright and edgy rock music or soft acoustic music, neither which often use the bottom end for any musical movement, is that you can lose "largeness". What I mean by that, is that even if you can't hear that energy, it's existence may well be making the distance between top and bottom be more natural, and losing it might make you left with a feeling of a small mix, and therefore second guess on other processing.

Make sense?

Joe / Subsequent Mastering

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