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Trainrek wrote:

Depone wrote:

Assassin wrote:Sorry depone, I felt condescending after realising you'd posted here.

Just listened to your mastering, good stuff.

Ah no offence taken.. btw those clips arent great, im updating the clips tomorrow, but waiting on permission from the labels

did you by any chance master Roxsonix - Just Jokes/Cmon Now or Skank Tank?
I remember reading somewhere you mastered for them

Indeed i did. If you want to see the labels and artists i have worked for so far just recently hit up http://www.depone.co.uk/mastering

Thanks for the responses folks.

Who is 'macc'? I like to look at all the possible options within my price range..

Dropout- thanks for the advice. Totally agree with can't polish a turd. Be sure to say when the new sample are up, I really like what is on there now and your prices are very fair.

jyro wrote:Thanks for the responses folks.

Who is 'macc'? I like to look at all the possible options within my price range..

Dropout- thanks for the advice. Totally agree with can't polish a turd. Be sure to say when the new sample are up, I really like what is on there now and your prices are very fair.

Dropout? Whos dropout? more examples are going up, just awaiting permission from a few people

Yo dropout are your prices still gonna be the same when summer hits?

Mastering can make very significant differences to the end result, one of the
most often mis-understood aspects is quality control.

The result depends on:

1)Expectation
2)Style of engineer (there is a reasonable aperture for what constitutes "a good master".)
3)Competence of engineer and equipment being used.
4)Client input.

You need to choose someone who is skilled, objective, open to both client input or capable of working on their own.
In recent years any halfwit with a set of Tannoy Reveals and limiter and a $40.00 a year website can call themselves a mastering engineer.

Ask yourself : If the monitoring arrangements are not by FAR superior than your own system how is the "Mastering engineer"
going to improve your music? It's impossible. (it's guesswork at best and guessing has no place in mastering)

I suggest you receive a free preview of the mastering engineers work on your track
before committing.

DEPONE! apologies sir, fucking autospell on the iphone...

jyro wrote:DEPONE! apologies sir, fucking autospell on the iphone...

LOL

Macc is the don.

Depone wrote:

Trainrek wrote:

Depone wrote:

Assassin wrote:Sorry depone, I felt condescending after realising you'd posted here.

Just listened to your mastering, good stuff.

Ah no offence taken.. btw those clips arent great, im updating the clips tomorrow, but waiting on permission from the labels

did you by any chance master Roxsonix - Just Jokes/Cmon Now or Skank Tank?
I remember reading somewhere you mastered for them

Indeed i did. If you want to see the labels and artists i have worked for so far just recently hit up http://www.depone.co.uk/mastering

Ahh cool, I'll probably hit you up when I produce something decent

I have a release coming out (badman bounce) with tunes mastered by both Macc and Depone, both sound great!

safeandsound wrote: In recent years any halfwit with a set of Tannoy Reveals and limiter and a $40.00 a year website can call themselves a mastering engineer.

Really hope thats not referencing to me

But yeah really sound advice in your post

Really hope thats not referencing to me

No it wasn't, why ask... what monitors do you make final decisions on people's music with ?

Would be nice to see a picture of the studio you work in.

PMC IB1's here. (and a little set of Dynaudio BM6P's which I know intimately from 10 years of mixing on
so I just could not let em go)

mate i'll stick Ozone 4 on your master out for £20

Hey

You want an a/b? This was mastered at Lacquer channel in Toronto - one of the older mastering houses (around since the 60s)
If you think that mastering your tunes will take them to a whole new level you're very mistaken but it will help them shine and sound more balanced and a touch cleaner and larger.

Source:
http://www.mediafire.com/?qql21sfu0bgsitf

Master:
http://www.schematicsound.com/lacquerch ... MASTER.wav

Some notes from the engineer (schematic)
EQ
- Slight shelf from mids all the way up
- Boost on very high range
- Small boost in mid/vocal range
- Tight boost around the kick
- Tiny cut in low mids
Gain
- High input through the analog chain
- Small amount of clipping at the A/D converter
- Another little bit of soft saturation
- No limiting.

safeandsound wrote:

Really hope thats not referencing to me

No it wasn't, why ask... what monitors do you make final decisions on people's music with ?

Would be nice to see a picture of the studio you work in.

PMC IB1's here. (and a little set of Dynaudio BM6P's which I know intimately from 10 years of mixing on
so I just could not let em go)

Maybe im just a little paranoid. But I do only have a small setup (i cant afford some of the equipment i need to expand)

I'm using some KEF Reference 103's... They are late 70's but sound better and clearer than you might expect. Infact I have grown very fond of the sound, and im very used to how they respond. They are a closed cabinet speaker, so typically the bass is quite tight, but not as extended as some (but you can still hear easily down to 25hz). The 8" cones dont have as sharp transient response as modern monitors, but they still sound very good.

Now, im very new to the game, im trying to change my website to state that im an engineer in training because I dont want to mislead anybody... I work very hard. I believe one of the most important things is to know your speakers 'sound' inside and out, that way you can make better judgements.

This is an old pic of the temporary setup i had when i first started, its not changed much except the speakers are further away from any corners, they are now fully isolated via speaker spikes on some 1" thick cork coasters. Really does the trick actually. and I dont have that horrible Digidesign mbox2.

No cranesong eq's or elysia compressors im afraid, but im working up-to that...

Alright gents, whip em out and measure them already.

decklyn wrote:Alright gents, whip em out and measure them already.

I was literally THIS close to posting a pic of my cock then...decided against it though. Don't wanna make you guys feel bad

Also Depone, that looks like a lovely setup, mostly because of the space. THE SPACE. I'd kill to have that much thinking space in my setup. I hate being so boxed in and cluttered.

Well I am not here to judge and everyone has to start somewhere.
(Although it's debatable as to whether you should charge money for it whilst training, you do know
most mastering engineers have been working full time professionally as an audio engineer
for between 15-30 years?)

However I suggest people look around for the right price/quality combo and
get a free mastering preview, otherwise you will never know and knowledge is power.

There is no benefit from burying your head in the sand.

(Today, I am working with a dubstep track, grime tune and an EP of French electro)

I have some previews here on the site:
(But of course best to get a preview of your very own track IMO)

http://www.masteringmastering.co.uk/onl ... ering.html

cheers

Barry

Well i've only had one experience with mastering: Why the fuck is there crackle all over my fucking track?!?!

Assuming what you are listening on is not at fault then it will highly likely be too high an RMS level for the material.

Did you ask your ME to have very high average levels?

Is the crackling on a 16 bit .wav or as an MP3/lossy coded file?
(Often the MP3 version will have peaks above zero caused by the filtering
used when encoding to a lossy format, not quite ISP's but similar.)