Mixdown, Dynamics & EQ (and related) Topic

[ljk32]

Put kick at -8db and mix everything around that. Make sure that NOTHING peaks above -8db.

It doesn't necessarily have to be at -8dB, and telling this to beginners gives them the idea that they should be so set on specific values. I know that wasn't your intention, but that's what happens. The point your making is correct though, practising proper gain structuring is extremely helpful for your mixes.

Here is a great run down on everything it encompasses:
http://www.dubstepforum.com/viewtopic.php?f=8&t=74832

The user 'macc' is a ME and over the first few pages, he goes in-depth about gain structuring and how to properly approach it. Although this is regarding Dubstep, it still makes clear how you should be organising your levels from the start of a production. And Viktor, this wasn't directed at you, just thought I'd include it in this reply.

Using a limiter, of course, allthough there's more to a master than just one limiter

Again, not necessarily. There are a number of producers who simply use a limiter on their master and nothing else. If the quality of your mix is up to standards, then a master should just essentially be bringing up the gain, and nothing else. Of course though, it's whatever works for you.

First of all - NO LIMITER unless you're MASTERING the track.

Once again, this is wrong. Firstly, limiters can be used effectively on various elements in a track much before mastering comes in to play. Even in the case that you were talking specifically about no limiters on the master unless you're mastering, that's also untrue. A limiter on the master while you are working on the mix can actually help you get an understanding of how all the elements are sitting with each other, as well as a general idea of how the completed track will sound. Madeon toggles a limiter on and off while working on his mix downs (I'm pretty sure).

First of all, there are in general 3 things you always want to do while mastering a track - boost its volume with the use of a limiter, compress it to make the quieter parts louder, and EQ it.

I already went into this in my post above, but again, you don't necessarily need to. I'm not saying you shouldn't, if it works on your productions, then that's awesome. However, I don't agree with your choice in eqing during the mastering stage. Every eq decision you make on the master, you could have done so in the mix. This is why it's of utmost importance to focus on polishing the mix as much as you can. In the link above, macc goes into how a solid mix will result in a solid master, well at least something along the lines of that. I really encourage anyone that reads this to check that link out and go through as far as you can/want.

How much, or how little you limit, compress and EQ varies greatly between each and every track. This is why you never should look up a video of a guy mastering one track and then copying his techniques step by step and applying it to your own productions.

Correct. Not to mention the fact that 99% of YouTube videos feature idiots that have absolutely no idea what they are talking about, so you should naturally have the common sense to avoid the majority of them.

What I usually do when I master something, which I btw rarely do because I have somebody else do it for me on my solo tracks, is applying an EQ at first, cutting 17khz> and <20hz, to give the compressor more headroom. After that I apply a multiband compressor, tweak around with it for a bit, then I apply another EQ to maybe reduce or inrease some frequencies that I feel are missing in the mix, and then top it off with a limiter to boost the volume. However, I imagine an experienced master engineer would do a lot more while mastering.

Again, I don't agree, you could've tamed the frequencies you mentioned in the mix if you put some more effort into it. As well as that, when doing it on the master, how can you be sure that every single element in the track will benefit from a slight boost or cut?

[Neutronic]

Here is a great run down on everything it encompasses:
http://www.dubstepforum.com/viewtopic.php?f=8&t=74832

Holy shit, what a gold mine! Bookmarked that shit, thanks!

[ljk32]

No worries mate . Glad you took the time to look into it.

[Euphorizer]

My reaction when I read Lucas' reply was something along the lines of "who is this nitpicke- ohhhhh", and I knew all that

Now, let me defend my post a little bit. Audience is the key word here, as I wrote this with 'beginners' in mind. I also agree with all you said.

However, I said -8db to use it as a thumb of rule. Anything up to -3db though, when you get above that you qon't leave enougy headroom for the ME.

Second, having a limiter on the master slot is utterly useless, as you can just reach for the voume knob on your speakers/interface and increase it there. But that would be a lazy man's way to do it(e.g, toggling a limiter on and off.). Using it on individual elements works fine too.

Also, you DEFINITELY want to fix EQ problems when doing the mixdown, bug sometimes you don't have the stems when mastering

[ljk32]

Second, having a limiter on the master slot is utterly useless, as you can just reach for the voume knob on your speakers/interface and increase it there.

Turning up the gain on a sound-card is not the same as using a limiter..

Also, you DEFINITELY want to fix EQ problems when doing the mixdown, bug sometimes you don't have the stems when mastering

This was solely regarding self-mastering, where you have the opportunity to go back into the mix and fix things; it's not as though I'm going to be giving tips to engineers themselves.

[D-Verze]

What Lucas means with using a limiter on the master while mixing, is the fact that it gives you a clear view of what frequencies are blocking each other. As long as you have enough headroom left, this is no problem, as they will not be pushing each other away. However, this will be the case when limiting the track, so it's good to check how this will sound every now and then

[Euphorizer]

What Lucas means with using a limiter on the master while mixing, is the fact that it gives you a clear view of what frequencies are blocking each other. As long as you have enough headroom left, this is no problem, as they will not be pushing each other away. However, this will be the case when limiting the track, so it's good to check how this will sound every now and then

Oh I see, fair enough

[Neutronic]

Any tips on how to create a nice delay & reverb bus?

[SCH]

Put delay and reverb on seperate channels and an equalizer on those channels.

Then use them as send channels

[Neutronic]

Oh well, thought there was more to it might add a compressor aswell though