Mastering Discussion

[-mjk-]

Please post your tips, tricks and workflows on the topic of Mastering.

Mastering methodologies are as individual as the performances created by the performing artists themselves. Yet Mastering is probably the least understood and appreciated link in the creative process chain. There is no definitively right or wrong way to Master, and indeed there are several approaches and methods to achieve the end goal.

This discussion will greatly benefit the forum as getting competitive tracks is a compelling subject of discussion in many of the other forums. Over time, the mods will curate individual posts for this thread.

 

[Arjan P]

OK, let me kick this one off with Tip 1:
Treat Mastering as a separate process from tracking and mixing - preferrably also using a different (digital) environment. Personally, I record and mix in Cubase and then use Wavelab for mastering only, for which it is perfect. But even if you stay in the same DAW, I would encourage anyone to create a separate project for mastering, and not have the stereo mix inside the same multitrack project you used to record and mix.

 

[Mark Richards]

I track on a DP-24 portastudio, and mix in a D.A.W. (Harrison's Mixbus).

My tracking and mixing goal is to get as close as I can to how I'd like the final product to sound (balance, dynamics, EQ, etc.). I use very analytical speakers and headphones to help me do that.

I master using TC-Electronic's Finalizer stand-a-lone computer software.

When mastering, I also use a different audio reference system (speakers and headphones) than I use for tracking and mixing.

My audio goal is a high fidelity "musical" sound (full, rounded, dynamic) to mirror how the master is likely to sound when played back on a good stereo system in a home environment.

Technical Mastering Goals are:

• Target LUFS: -12 dBFS.
• Target True Peak Level: -1 dBFS.
• Target Peak to Loudness Ratio: 10 or 11 dB.
• Target average SPL playback : 70-80 dB on consumer headphones & systems

I use Finalizer only to tweak my mix. If I've mixed well, that means adding some very mild compression, EQ, or only using Finalizer's mastering limiter.

If the song needs more than minor tweaking, I re-mix the song in my D.A.W. rather than trying to fix it at the mastering stage.

 

[-mjk-]

Some engineers like to use Pyramix for Mastering sessions.

 

[-mjk-]

OK, let me kick this one off with Tip 1:
Treat Mastering as a separate process from tracking and mixing - preferrably also using a different (digital) environment. Personally, I record and mix in Cubase and then use Wavelab for mastering only, for which it is perfect. But even if you stay in the same DAW, I would encourage anyone to create a separate project for mastering, and not have the stereo mix inside the same multitrack project you used to record and mix.

Hi @Arjan P. Would you please elaborate on why you recommend this workflow with the mastering operation done in a different environment from the main session work? Thanks.

 

[-mjk-]

@Arjan P I bought a Dante interface that came with a license for Wavelab LE. It looks pretty interesting. I'm exploring its use for Mastering.

 

[Arjan P]

@-mjk- I see I never replied to your earlier post. I recommend this separation of mixing and mastering because of psychologic reasons. If you stay in the same DAW for recording, editing, mixing, and also mastering, it is all too easy to make adjustments in the mix or even recording and if the two are separate, you really close one process by mixing to stereo. Then, preferably after a break of a day or so, you do the mastering tasks and only if big issues arise you might need a remix. The benefit is IMO that you dont get lost in tiny (mixing) adjustments during mastering. Mastering is all about the bigger picture - and also about targeting for the type of format/ carrier/ streaming service.

I've been using Wavelab since 3.0 (late 90s) and find it perfect for any surgical audio editing, audio cleanup, mastering tasks and even radio production. The one developer behind the software from even before it became part of Steinberg is very active in the public forum and really listens to user's requests. I'm not sure how Wavelab LE relates to the two versions that are normally available, 'Elements' and 'Pro', but you will need to get used to a couple of basic concepts: 1. There are two main environments to work in Wavelab, the audio editor window (destructive editing for single files) and the audio montage (non-destructive editing of multiple files); 2. The Master Section comes last in the audio processing chain, and is part of any file or montage you are working on - something that many users find hard to get used to.

 

[-mjk-]

Thank you for that valuable explanation @Arjan P! Very useful. I did not realize that about the different environments. I can see that I need to spend time with the software to familiarize myself with the different sections.

 

[-mjk-]

I've been checking out Ozone 10 and the Gain Match was driving me nuts. I made a short video to explain the issue, and the setting to change. I hope this helps anyone who is having an issue with Gain Matching in Ozone 10.

 

[-mjk-]

The YouTube channel Mastering Explained has a nice starter pack for Reaper users. I just used it to Master a track and I got excellent results using Reaper as a portable install (separate instance of it). Here is Part 1 of how to use it:

The video was made private. Here is their YouTube Channel: https://www.youtube.com/@MasteringExplained

 

[-mjk-]

I have been using Ozone 10 and the above mentioned Mastering Starter Pack with very good results. Ozone 10 is so good that now I have a new problem: some of my clients have asked me to go back and use Ozone 10 to remaster their finished masters. Frankly, I can't believe how good Ozone 10 really is. The AI assistant is orders-of-magnitude better than the previous version. The 2 new modules that have been designed for Ozone 10 are very intelligent and make a huge, positive contribution to the outcome. At this point I can recommend using the Starter Pack for Reaper along with Ozone 10 (which is available as a trial) as a viable, professional Mastering solution.

 

[-mjk-]

Been using the Mastering Starter Pack for several weeks now. This is a free tool and I have adopted it as my new mastering environment. The creators have added a very crucial gain matching function that allows you to hear only the sonic contributions of your mastering chain while avoiding loudness bias. The Starter Pack environment also allows you to trim the audio track that you are mastering, and then create a region that will be mastered. This is important because it defaults to a 0.2 second blank space at the beginning of the master and also a 2.0 second space at the end of the master. The space at the end sets the timing between that master and the next song that would be played on a playlist in a streaming service. This is so easy to do with the Starter Pack and its hard to believe that it is free. My studio is making money with this mastering environment and anyone can easily get up to speed on it no matter what their experience is with Reaper. Reaper's stock tools are so good that you can achieve a great master using their stock plugins. Mastering Explained also has several videos about how to other tools for mastering, some free, some not.

 

[-mjk-]

I'd like to add another post of information from Mastering Explained. They have an excellent 5-part series on learning what to listen for and how to use that skill in mastering.

I'm posting the last part in the series because the links at the bottom are complete for all parts.

https://www.masteringexplained.com/the-most-important-thing-when-learning-mastering/

There, now is has the correct link.

 

[Mark Richards]

I've been working for a while on a client project to re-master demo tapes made in a recording studio during the 1980s. I thought I'd share how I've gone about the re-mastering process using my DP-24 portastudio.

In a post I made in the Mixing sticky, I discussed the conversion, mixing and mastering of a multi-track tape using a D.A.W. to compile and time align various takes in order to create a working stereo mix for mastering.

In the following I discuss how I've used my portastudio as a stand-a-lone tool to re-master 1/4-Track demo tapes by the same artist.

Project

• Re-master 15 IPS 1/4 Track Demo Tapes Made in the 1980s, recorded/mixed with little or no FX.

Conversion Plan

• Dub tapes from analog TASCAM 40-4 MTR's Tracks 1 and 3 to Digital Portastudio DP-24 Inputs "A" and "B".
• Assign Input "A" to portastudio Track 1
• Assign Input "B" to portastudio Track 2.
• If needed during dub, enhance recorded tape by applying DP-24 Input EQ or Dynamic Exciter FX to Inputs "A" and "B".

===============================================================
Mastering Plan
1. Use DP-24 Tracks 3/4 to create/simulate various Tape Slapback FX:

Copy/Paste Track 1 to Track 3 and Track 2 to Track 4, applying desired type of slapback offset.

Note: DP-24 ABS meter at maximum resolution measures/adjusts in hrs:min:sec:frames.tenth of frames, 30 frames per second. 1 frame = 33ms. 1/10 frame = 3.3ms
To simulate Tape Slapback:​

• 7.5 IPS is ~ a 10 frame offset (tape actual is 332ms).
• 15 IPS is ~ a 5 frame offset (tape actual is 166ms).
• 30 IPS is ~ a 2.5 frame offset (tape actual is 83ms).

2. Use DP-24 Bounce Mode to create several 100% wet stereo Delay and Reverb tracks using pre-sets or customized settings as desired. ("How To" Described here in the DP-24/32/SD Production Tips sticky thread.)

Tracks 5/6: Stereo Delay
Tracks 7/8: Panning Delay
Tracks 9/10: Multi-Tap Delay
Tracks 11/12: Hall Reverb
Tracks 13/14: Room Reverb
Tracks 15/16: Plate Reverb
Tracks 17/18: Chorus
(Note: doing so leaves onboard FX available in real time for additional uses if desired.)​

3. In Mixdown Mode:

• Use Tracks 1/2 EQ and Pan to modify/enhance the stereo sound stage.
• Using Tracks 5/6, 7/8, 9/10, 11/12, 13/14, 15/16, 17/8 create desired combinations of Slapback, and/or Delay, and/or Reverb.
• Use individual FX Tracks' EQ, Pan and Phase to enhance sound stage width and depth.
• Blend all tracks to create desired stereo mix.

4. In Mastering Mode:

• Select desired Master Compression Pre-set or customize as needed.
• Select desired EQ adjustments as needed

5. Use TC-Electric's Finalizer stand-a-lone software to assure all masters are approximately at a uniform -10 LUFS and with a True Peak of no more than -1 LUFS (per client request).
===============================================================
Here are links to some of the 1980s demo tapes re-mastered by applying to Tracks 1 and 2 various subtle FX combinations described above.

1. He's My Friend (blend of slapback and reverbs/custom settings and EQ)
2. Lazy Days (blend of slapback, panning delay/custom settings, multitap delay delay/custom settings, multiple reverbs/custom settings, EQ)
3. I Want to Know (What's It Like To Be In Love) (blend of slapback, panning delay/custom settings, multiple reverbs/custom settings, EQ)

The above songs composed and performed by Rhett Palmer, accompanied by studio musicians.
© Ron McClendon/Rhett Palmer. All Rights Reserved.
℗ (Remasters) Creekside Recording Studio. All Rights Reserved
Reproduced here with permission.

 

[Mark Richards]

Here's an example of the kind of subtle EQ adjustments to a well done mix that might be made during a typical mastering process.

I suggest first using (if you have a set) very accurate reference headphones; then, after taking a break, listening with your reference speakers.

[ Text & Video Source: http://ethanwiner.com/master_dem.htm ]

I've always admired...Jeff Wayne's "War Of The Worlds" epic production...in 2005 new mixes were made for release on CD and 5.1 surround sound...the CD...[is] bright and clear...a little thin in the bass. But the brightness seems harsh in the 2-4 KHz range, which exaggerates the sibilance on the narrator's voice...The CD...included...the [original vinyl] album on 270 kbps MP3 files. Those sound like what I recall of the original version, and "album version" is embedded in the file MP3 tags...[so I] thought I'd try improving the tonal balance [of the CD to match the original].

When working on a typical album containing unrelated songs, a mastering engineer may use different processing on each song...this production is one long unified whole, so I applied the same EQ to every section.

The CD recording peaks very close to 0 dBFS (full scale), so I lowered the volume to allow applying the EQ...without risk of clipping. Then I excerpted several musical themes as examples, and applied EQ for comparison.

Cutting the harshness range reduced high frequency "air" slightly, so I boosted 5 KHz and above by 1 dB to bring that back...I want to be clear: This EQ is merely what sounds good to me. Others may find the sound still too harsh, or maybe you'll think the 2005 CD source isn't bright enough!

I included two excerpts for comparison...The EQ screen in the video shows the settings I used, and the video shows which version is currently playing.

​

 

[shredd]

Note: DP-24 ABS meter at maximum resolution measures/adjusts in hrs:min:sec:frames.tenth of frames, 30 frames per second. 1 frame = 33ms. 1/10 frame = 3.3ms

I can’t even express how valuable this one tiny bit of info is (I often use the technique of minutely offsetting multiple copies of a track for ‘fullness”, & scattering them around the mix).

Thank you @Mark Richards !!!

 

[Mark Richards]

The thanks should go to @Phil Tipping. I just reported what he once told me.

 

[shredd]

The thanks should go to @Phil Tipping

In more ways than one. He’s like a DP shaman.

 

[Mark Richards]

There's been conversations on going in the computer software forum and the song mixes forum that have raised some questions and comments about mastering.

So I've put this audio clip together from one of my client projects to demonstrate how mastering can polish an already good mix.

The session had been tracked on a TASCAM 40-4 reel-to-reel analog MTR. I don't multi track to my computer and so converted to digital using a TASCAM DP-24 portastudio and ported over to the computer. The digital tracks were mixed using Harrison Console's Mixbus D.A.W.

The mastering was done using TC-Electronic's stand-alone Finalizer program. The description that accompanies the clip has the mastering details.

Also note that song was mixed at -20 LUFS and mastered to -14 LUFS. Keeping the levels in this ballpark range helps assure maximum fidelity if the song will be converted to a lossy format such as MP3.

This graphic compares the final mix audio range to the mastered audio range.

 

[-mjk-]

@Mark Richards I hear a massive difference in the reverb tails on the second verse. Wow.