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jstcrsn
post Jul 10 2011, 12:16 AM
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QUOTE (thefireball @ Jul 9 2011, 04:57 PM) *
It's amazing what you hear, Tony Pro! smile.gif

Great song, man! I'm putting this on my iPod.

their is atotal of 3 songs you can download in this thread ,or you can go to gmc radio
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zen
post Jul 10 2011, 02:16 AM
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Listening to these again bro... Good stuff.

Find some more old recordings smile.gif


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Saoirse O'Shea
post Jul 10 2011, 11:21 AM
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Had a chance to give track 3 and track a quick listen to. Again nice tracks and some good musicianship with good vocals smile.gif .

I'd have to say that my previous comments about tonal balance apply to these. Track 3 has better low mid but that is because compositionally it's less busy in this area. Both still have too much low and sub bass. Also I'd assume the mix engineer has put a low pass filter at around 12kHz as there seems to be quite an obvious high frequency roll off. Spatial width of track 3 is much better than the other two, track 12 is pretty narrow. Again I can hear some quite pronounced pumping - if I remember rightly (didn't take notes as this is just a quick listen) it can easily be heard around the 2:30-2:40 mark on track 8. There's some odd resonant peak on track 3 which is pretty noticeable towards the end of the track and the vocals here gets a bit grainy and distorted. There's clipping and distortion on both though this may be due to the wma encoding and internal summing.

The mixes aren't bad - they're on a par with many that come in here for mastering - but could be improved.



QUOTE (thefireball @ Jul 9 2011, 04:57 PM) *
It's amazing what you hear, Tony Pro! smile.gif

...



Thanks smile.gif .

It's partly experience, partly having a room set up and acoustically treated for mastering and partly having a good monitoring chain (one which costs more than your average, new family car laugh.gif ).

Seriously though many mixes suffer from messy low mid and booming bass and that to a great extent is because they were mixed on small two way near field monitors. With a small two way (i.e. the monitor has two speakers cones) the main speaker cone and power amp has to try and resolve and present all of the mid and low end. So that is often everything from 20Hz - 5000 Hz. The amp is trying to deliver power to drive a bass end that actually requires considerably more power than the high mid - so both become compromised. The speaker cone is usually 6 inches or less and physically is incable of moving sufficient air to really handle low and sub bass - something that is made worse as near fields usually are flat only to about 60-90 Hz for f3. What that means is that they start rolling off from 120-180 Hz and by the time they get down to 60 Hz have already attenuated the volume at this frequency by at least 3dB. By the time you get to 40Hz it's down by 12dB and at 20Hz there's pretty much nothing. (Each 6dB drop means the perceived volume for that frequecy has been reduced by 1/2 - as bass is particularly hard for us to perceive any volume drop is significant.) (Most near fields also rely on the rear wall to enhance their weak bass response. The speaker manufacturer however can not know how your rear wall is acousticall treated for bass and so this is again compromised.)

So the mix engineer can't hear the bass and responds by turning it up louder when all the time it was there but s/he couldn't hear it because their speakers couldn't resolve it. This is a major reason why us MEs use 3 way mid/far fields where one cone and power is dedicated to bass, one to mid and one to high. It's also why our bass speakers are nearly always @8 inch or so and are flat to @30Hz. Put another way we can actually hear the bass end, which most mix engineers can't hear, by the time they've turned it up so that they can it's pretty over powering...

Speakers and the listening position ideally should form an equilateral triangle, one speaker and the listener on each corner to present stereo imaging properly. There's a minimal distance between the speaker and the listener that is required to allow the frequencies to be reflected and to arrive directly to the listener properly. The BBC recommend and use a minimum placement of 6 foot between speaker cones*, so you'd have to sit about 5 foot away and in the centre between the monitors for accurate stereo. Near fields (and headphones) are usually positioned in such a way so that they don't present the stereo field properly, left to right usually because the mix engineer sits very close to them. Most are less than 2 feet away from their monitors, many are much nearer than this. 2 feet just doesn't do it and so you will not get a clean, clear stereo image and accurate and stable instrument placement.

Ultimately if you can't hear something properly then you will struggle to mix it and as for mastering it...
Amazing though how many mix engineers nowadays master as well on their two way near fields rolleyes.gif

* Should say that the beeb prefer 8 foot between speakers so you'd have to be nearly 7 foot and in the centre. In addition you have the clearance to the side and rear walls from the monitors - that means the width of the room would need to be roughly 14 feet and the length would be around 30 feet or more They accept 6 because a lot of small studios just aren't big enough for an 8 foot distance, 6 foot and you can get down to roughly 8 foot by 20.

This post has been edited by tonymiro: Jul 10 2011, 11:40 AM


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jstcrsn
post Jul 10 2011, 08:29 PM
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thanks ,tonymiro, don't take to much out of your day for these, as they were finished long ago ,would of been nice to have had your year back then,we had to master them at the recording studio- he did tell us that it would not be great, but would be better then not mastering it,we just could not afford 200 dollars per song ,
but I do have question. if I could get my hands on the original tracks how much would it cost to get you to tweak one?
p.s.I would be interested in hearing the difference

This post has been edited by jstcrsn: Jul 10 2011, 08:31 PM
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Saoirse O'Shea
post Jul 11 2011, 09:46 AM
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QUOTE (jstcrsn @ Jul 10 2011, 08:29 PM) *
...,we had to master them at the recording studio- he did tell us that it would not be great, but would be better then not mastering it,we just could not afford 200 dollars per song...


Well the good news is that prices have come down a long way in the last 15 or so years. We used to charge around that as well but it's considerably less nowadays smile.gif .


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Get your music professionally mastered by anl AES registered Mastering Engineer. Contact me for Audio Mastering Services and Advice and visit our website www.miromastering.com

Be friends on facebook with us here.

We use professional, mastering grade hardware in our mastering studo. Our hardware includes:
Cranesong Avocet II Monitor Controller, Dangerous Music Liasion Insert Hardware Router, ATC SCM Pro Monitors, Lavry Black DA11, Prism Orpheus ADC/DAC, Gyratec Gyraf XIV Parallel Passive Mastering EQ, Great River MAQ 2NV Mastering EQ, Kush Clariphonic Parallel EQ Shelf, Maselec MLA-2 Mastering Compressor, API 2500 Mastering Compressor, Eventide Eclipse Reverb/Echo.
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