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Lowpass wrote: Could you enlighten me a little on the subject of distortion? things like odd/even harmonic distortion, what is the result from analog distortion?

Could you ask a less specific qustion?

'analogue distortion' can take about 80 berzillion forms, being dependent on a wide variety of factors. In the absolute most general terms, the most important thing is 'what is doing the distorting?'.

I've tried writing more but it's so tough, being such a wide thing. It all depends. All tubes don't sound the same, all transformers don't sound the same, etc etc etc etc.

Get thee to wikipedia!

Biggup on this thread, helped me out a lot...just one question.. and after reading through 14 pages I hope this hasn't been covered already

So I took Macc's mixing advice and it certainly showed in my latest track. Now I'd like to give the tune a little mastering of my own so I can play it out.

Whats the best way to go about this? Should I start bringing up each individual track? Use multiband compression, and limiters?

At the mo' I've just added a little L2 on the master channel, I know this is probably a big no no...nevertheless, I tried not to squash it, none of the peaks have been lopped off, and it has raised the overall output put level (now approx -13db global analysis in wavelab), but it seems like there is still room to boost levels a little more.

I'd generally suggest some overall compression for tone/glue IF IT NEEDS IT (sorry, have to stress that bit), and limiting to get the level up. If you need to do multibandsuperbollockswhatever or eq etc then you should address it in your mix. Sounds like you're going the right way.

If you're using L2, use the little handle between the threshold and ceiling to bring them both down together. Otherwise the extra level can fool you into thinking it is better cos it is louder, when in truth you are doing damage. Bring them down together, ease off when you start to hear damage to the sound, then put the ceiling up to -0.3/-0.2 or so. Oh, and watch your ears

Macc wrote:If you need to do multibandsuperbollockswhatever or eq etc then you should address it in your mix. Sounds like you're going the right way.

I'm glad you said that! I never used multiband comp just thought it might be a tool mastering technicians used.

There doesn't seem to be any problem frequencies that need addressing in the mix. So I'll take your tips using L2 and see what I can do...

Thanks again for the advice...

Safe.

what means L2, sorry for the stupid question

does somebody know a good limiter, I'm currently using the standard in ableton it self

L2 is a limiter like the one you're already using. I'm sure the one in Ableton is adequate (not used it myself).

oke then, so there isnt really a difference between other limiters that you can download or buy?

Yes, but they all have the same purpose. If you don't have a particular problem with the limiter you're using, I wouldn't worry too much about it.

That said there are lots of decent limiters available on the market at all sorts of prices

I have another question, can you give a example on how to solve the problem with clashing the kick and bass, so it doesn't sounds muddy....

I'm sidechaing my subs nowadays but I understand thats not the right way, but how to do it I don't know.

people say use an eq, but HOW to use the eq that's another story....

I've read this whole thread and there is not an obvious explanation in here....

I think alot of people are struggling with this

It takes a long time to learn to EQ properly, a good rule of thumb to go by is to use your ears not your eyes, make sure it sounds good. You can ballpark it by using a spectral analyser on a solo'ed kick to find the peaks and see where abouts the frequencies you want to make way for are, then get to your sub and make some space around there. You should be cutting below 30Hz anyway, so you should have at least 1 eq already.

so my kick peaks around 90/100 hz, so I need to make a cut around 90/100 hz in my sub? does it matter how big the cut is? It prety difficult to hear you know

The thread was about gain staging and level balances, not eq

That said, I spose I can try to help in a bit (work to do).

Really it's a whole thread at least this big in its own right.

Thats the thing with mastering, its such a detailed and artistic topic, i'm sure we could fill a whole forum with threads on how-tos. I am a total mixing/mastering/production noob, but it's threads like this where we can gain valuable knowledge on production techniques and best practices.

Kudos macc (and others) for indirectly teaching me all I know

jjbutler88 wrote:Thats the thing with mastering, its such a detailed and artistic topic, i'm sure we could fill a whole forum with threads on how-tos. I am a total mixing/mastering/production noob, but it's threads like this where we can gain valuable knowledge on production techniques and best practices.

Kudos macc (and others) for indirectly teaching me all I know

Like Macc said, this thread is about gain staging and leveling not mastering. Mastering is a totally different proces. I think it's best to first learn how to mix properly and leave the mastering to the pro's (like macc).

And indeed this is one of the most valuable threads on this forum imo. It helped my mixing go from 10% to 70%. i'm now trying to find out the remaining 30%

quick question;

should i be eqing out everything below about 20hz since we cant hear below about 20hz, would it leave more head room?

VOLUME QUESTION:

how do I solve this problem too remain 6db of headroom....

I have my kicks on -8db and my snare on -8db and my hats are at -20....

in my drum loop my kick and snare are layered so every time they hit on the same time my volume goes to -2 db....

how do I solve this so my master volume stays below 6 db?

How good is Izotope Ozone 4 compared to hardware?

Is it really a good enough 'all in one mastering soultion' or does it need to be used with other hardware, or just not in the same league?

When did this turn into an 'ask anything at all about anything at all' thread? Anyway, despite the fact these have been answered elsewhere (even today!!) ;

Osky wrote:quick question;

should i be eqing out everything below about 20hz since we cant hear below about 20hz, would it leave more head room?

Removing low frequencies from signals that REALLY don't need them is usually a good thing. You can remove below 100-200hz from a shaker without worrying too much, it doesn't need lots of LF. Removing low frequencies - even if 'you can't hear them' - from things that are primarily there because of the fact they are low frequency instruments might not be such aa good idea. it might help. It might not. What sounds better?

It may leave more headroom, it may not. It depends. Don't default to anything. What sounds better?

@ Dav.id - turn it down. Stop obsessing over the numbers. Going by what the general criteria I wrote down, about 6 years ago, in the thread, you're too loud. Drums peaking at -6 would still be too loud. The summed drum signal needs to be lower, not each drum. Read the thead again.

@obri3n - I haven't used ozone myself. However, going by what I know of it I could venture that

- it's probably better than crap hardware
- it's probably not as good as proper hardware
- either way, it isn't hardware and a direct comparison is largely nonsense

and most importantly,

- it's definitely only as good as the person using it.

Macc wrote:When did this turn into an 'ask anything at all about anything at all' thread? Anyway, despite the fact these have been answered elsewhere (even today!!) ;

Osky wrote:quick question;

should i be eqing out everything below about 20hz since we cant hear below about 20hz, would it leave more head room?

Removing low frequencies from signals that REALLY don't need them is usually a good thing. You can remove below 100-200hz from a shaker without worrying too much, it doesn't need lots of LF. Removing low frequencies - even if 'you can't hear them' - from things that are primarily there because of the fact they are low frequency instruments might not be such aa good idea. it might help. It might not. What sounds better?

It may leave more headroom, it may not. It depends. Don't default to anything. What sounds better?

@ Dav.id - turn it down. Stop obsessing over the numbers. Going by what the general criteria I wrote down, about 6 years ago, in the thread, you're too loud. Drums peaking at -6 would still be too loud. The summed drum signal needs to be lower, not each drum. Read the thead again.

@obri3n - I haven't used ozone myself. However, going by what I know of it I could venture that

- it's probably better than crap hardware
- it's probably not as good as proper hardware
- either way, it isn't hardware and a direct comparison is largely nonsense

and most importantly,

- it's definitely only as good as the person using it.

oo come on mate, there is a thread like 5 feet down from this which it states the answer it dont think macc will just answer anything for you, a little work on your half will help it he only does it because he loves us