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ekidd91 wrote:I don't dig his music. But fair play on this interview, relatively interesting.

Only thing I'd fault is the last question. "I think mastering is something that's given too much credit."

Fuck off, proper mastering takes real skill and talent. It's an art in itself.

thats the thing about skrill.

TBH, he probably doesn't have to worry about doing his own mastering given the label he's signed to. Listen to some of his early work (Bees is a good example), interesting ideas but the production is raw as fuck. But it doesn't matter as the song is good, and a good song with a shitty mastering job will beat a shitty song with a good mastering job anyday.

legend4ry wrote:

ekidd91 wrote:I don't dig his music. But fair play on this interview, relatively interesting.

Only thing I'd fault is the last question. "I think mastering is something that's given too much credit."

Fuck off, proper mastering takes real skill and talent. It's an art in itself.

I heard over some kid smoking outside of a club saying to his mate "yeah the master they gave me back was so quiet so I just loaded up Audacity > Hard Limiter > -8db then compressed it back up to 0db and they loved it and released it."



Shocking stuff .

Mastering is a dying art.

Well... Is it now? isn't that just the case with this sort of music? I know most dubs which are being thrown around the internet are not mastered in any way - but the real music will always have a good master behind it. Am i totally wrong in saying that? It is just the effect of this laptop music generation, but that isn't the music we listen to?

JensMadsen wrote:

legend4ry wrote:

ekidd91 wrote:I don't dig his music. But fair play on this interview, relatively interesting.

Only thing I'd fault is the last question. "I think mastering is something that's given too much credit."

Fuck off, proper mastering takes real skill and talent. It's an art in itself.

I heard over some kid smoking outside of a club saying to his mate "yeah the master they gave me back was so quiet so I just loaded up Audacity > Hard Limiter > -8db then compressed it back up to 0db and they loved it and released it."



Shocking stuff .

Mastering is a dying art.

Well... Is it now? isn't that just the case with this sort of music? I know most dubs which are being thrown around the internet are not mastered in any way - but the real music will always have a good master behind it. Am i totally wrong in saying that? It is just the effect of this laptop music generation, but that isn't the music we listen to?

But yeah, some music is just poorly mastered - even tunes from well respected artists.

wub wrote:TBH, he probably doesn't have to worry about doing his own mastering given the label he's signed to. Listen to some of his early work (Bees is a good example), interesting ideas but the production is raw as fuck. But it doesn't matter as the song is good, and a good song with a shitty mastering job will beat a shitty song with a good mastering job anyday.

Listening to some of his earlier work now, it is really raw, but I like it. Last thing you said is true too, a good mastering job doesnt make the track.

legend4ry wrote:

ekidd91 wrote:I don't dig his music. But fair play on this interview, relatively interesting.

Only thing I'd fault is the last question. "I think mastering is something that's given too much credit."

Fuck off, proper mastering takes real skill and talent. It's an art in itself.

I heard over some kid smoking outside of a club saying to his mate "yeah the master they gave me back was so quiet so I just loaded up Audacity > Hard Limiter > -8db then compressed it back up to 0db and they loved it and released it."

Shocking stuff .

Mastering is a dying art.

That genuinely makes me quite sad.

ekidd91 wrote:I don't dig his music. But fair play on this interview, relatively interesting.

Only thing I'd fault is the last question. "I think mastering is something that's given too much credit."

Fuck off, proper mastering takes real skill and talent. It's an art in itself.

He doesnt say it's not an art, or that it doesnt do any good, he is just stating his opinion.

i think what he meant was that getting a good mixdown is more important than the final master? i think he has a point, as the mastering process should only add the final shine, and 99% of the work is done in the production and mixdown process. i really doubt that all his released tunes have only had a limiter put on them.

As for things hitting at 200hz - i'm guessing the snare and parts of the bass.

I figured He meant that we (producer kids) give the value of a good master too much credit. It probably DOES wonder as icing on the cake, but god damn, learn to bake first, right? Good icing doesn't make the cake unless everything before that is great.

legend4ry wrote:Audacity

Haha I "master"/check my stuff/make mp3s in Audacity also. I don't do any compression with it though, I just use the amplify to get it as high as possible without clipping, if necessary.

might be time to rename this forum to the "every discussion turns to mastering" forum

haters gonna hate

Hey, I don't get the whole 200hz shit..
Does he just boost those freq' when he's mastering or does he eq the drums and bass?

Love this thread.

Kingofstreet wrote:Hey, I don't get the whole 200hz shit..
Does he just boost those freq' when he's mastering or does he eq the drums and bass?

Pretty sure he means cut/notch other elements around 200hz, to make room for your snare and/or drums that are fundamentally hitting around 200hz. Making room for the drums around 200hz essentially so they are the prominent noise and will cut through the whole mix better. Just good basic eqing sense nothing special or super secret about 200hz or his comment, hope i helped clear that up. Also beware boosting sounds around the 150-250hz-ish range can cause "muddy-ness" to creep into your mixdown.

lol, I used to use melodyne when editing vocal samples too.

He can afford melodyne but can't afford a decent laptop?

blinx wrote:

Kingofstreet wrote:Hey, I don't get the whole 200hz shit..
Does he just boost those freq' when he's mastering or does he eq the drums and bass?

Pretty sure he means cut/notch other elements around 200hz, to make room for your snare and/or drums that are fundamentally hitting around 200hz. Making room for the drums around 200hz essentially so they are the prominent noise and will cut through the whole mix better. Just good basic eqing sense nothing special or super secret about 200hz or his comment, hope i helped clear that up. Also beware boosting sounds around the 150-250hz-ish range can cause "muddy-ness" to creep into your mixdown.

Hey, thanks man.. I was pretty certain I'd get some fire for asking for anything skrillex-related nowadays..

keep your friends close and your skrillex's closer, i guess lol. I love to hate the kid lol

haha yeah the hating on skrillex band wagon has become so packed and heavy lately, the wagon cant really move anywhere.. crazy times..