urbando1 wrote:
Hi Byron,
I'm using the technique I saw posted here for mastering: I do my final mixdown to the stereo track, edit/copy the stereo track to an unused stereo virtual track, and then mix that stereo pair back to the stereo track with the Soft Comp mastering preset engaged.
I would prefer to do my compilation directly on the G, but the hard drive space limit is making me consider the necessity of compiling on the PC. I'll send you a PM with more detail and questions.
Thanks, Randy
What you describe is definitely a workflow that will work to bump the volume levels up a bit, if I understand you correctly. You are moving the mixdown back to a paired track, and then rerecording the mix, processing it as you go. Your description was/is a bit confusing when you said you copy back to an "unused stereo virtual track" I think T. Mac thought you were describing mixing two identical stereo tracks, one processed, the other not. Hence his thought that there may be phasing (chorusing) issues. But his description of "New York", parallel compression sounds interesting too. I have used such technique with individual tracks within a mix, but never on a "complete (final)" mix. I am going to give that a go.
But if you are working as I described, back to the stereo track (rather than mixing two stereo tracks), then I would suggest you apply the Soft Comp Mastering Library and then go to the individual processing screens for the stereo track and see what the parameters look like. (EQ, DYN and check out the EFF too) The Mastering Library presets might adjust any of these three,(usually just the EQ and Dyn). Compare these preset parameters in various ways. Soft Comp, Hard Comp, Vital etc. Listen to your material run back through each of these and then start tweeking. You will find that the very wide EQ settings and where they are centered can have great influence, even though there is seemingly very little gain and/or cut. The threshold of the DYN presets often need adjustment as your material may be louder or softer than was envisioned by the creator of the preset. Aim to see the the compressor's meter indicate about 3 dB of compression and set the makeup gain to boost the overall volume. All the while keeping the eye on the output meter and your ear on the product you are influencing. You may be pleased with what you hear, and your tweeks may bring further satisfaction (or you may find yourself waltzing down the wrong path too). Ear fatigue and the understanding that louder is not always better (despite first impression) need be kept in mind. rest is important before making final decisions.
All this said, if you are trying to push the track up quite a bit, the G has limitations, largely depending on characteristics of your final mix, which in turn are products of your tracking and processing of the individual components. Those spikes, of which I spoke in an earlier message, can be very difficult to control on the G as the DYN setting seem not establish a "brickwall", beyond which no samples sneak. Software editing on you computer, using "mastering" or "brickwall" limiter plugins will/may place a tighter grip if they are configured effectively.
Fiddle with these techniques as you become very familiar with the track you are using for comparison. Once you begin to hear the subtle nuance, >> push the limit, pull it back, tweek, listen, rest >> go back and listen to what you started with. Over and over. Do the same with another mix. You will gain understanding and confidence in the techniques you develop and these then will become your "go to" steps as you polish up your tracks, aiming for similar overall average (RMS) volumes, mix to mix. This is where this whole thread was heading, based upon your original topic.
Don't be afraid to invest the time needed to build confidence in your process.