Blogged by DigiMusicDoc as Kool Skool — DigiMusicDoc Tue 9 Jun 2009 2:54 pm
Mixing & Mastering (Version 3) – Mo Betta Mastering
We recently released Version 3 of our popular Mixing & Mastering course. What started out as a basic update of the versions of the software products used in the course, turned into a major overhaul – especially for mastering. Somewhat to my surprise we wound up adding about 40 minutes of new content on mastering. I thought it would be worth discussing the rationale for some of the subjects that we added. Here is a summary of the big hitters:
Ozone 4 & T-Racks 3 – Plug-In Mastering Suites
One of the major additions to the mastering section was IK Multimedia’s T-Racks 3. We also updated iZotope Ozone to Ozone 4. Although our focus in the entire course is on concepts, not how to use specific products, we do make liberal use of examples from both of these mastering suites. People tend to have strong opinions about T-Racks. While some think the T-Racks plug-ins add too much coloration to the sound, this mastering suite does have a large following. Here is our YouTube video from the course which compares the Ozone Multiband Dynamics with the T-Racks Opto Compressor.
Internet Mastering – Some Gotchas
Although the basic principles of mastering apply to both mastering for CD’s and for the internet, there are some gotchas in internet mastering that trip up even experienced engineers. Thus we have added a section on internet mastering that focuses primarily on the importance of conservative limiting levels and phase analysis.
MP3 Clipping & Phase Analysis
Loudness Maximizing – Mastering Limiter Quality
In prior versions of the course we have discussed the considerations about loudness maximizing quite a bit. However, we haven’t spent any time on the quality of the key component in loudness maximizing, mastering limiters. We have now added a discussion of mastering limiter quality, including null tests of several popular limiters.
Mastering Limiter Quality – Voxengo Elephant Null Test
Stereo Imaging – A Deeper Look
We have also talked about stereo imaging in the previous courses. However, now we have expanded the discussion to include an in-depth look at the underlying principle, mid-side processing. There are examples of how mid-side processing in Ozone 4 can be used not only for stereo imaging but also the enhancement of vocals.
Stereo Imaging – Ozone Mid-Side Processing
Linear Phase EQ – You Can Measure It But Can You Hear It?
Several DAW’s now include linear phase EQ, and there are a number of third-party plug-ins, including the T-Racks 3 Linear Phase EQ. We discuss how to validate the claims about linear phase EQ as well as latency considerations.
While the main emphasis in this update is on mastering, we did find time to create some fresh examples for mixing. Even though we demonstrated side chaining in the prior versions of the course, I decided that a new example would probably be more relevant. This YouTube video is an excerpt from the Mixing Dynamics tutorial which presents side chaining with a twist.
DIY Is Inevitable & Fun!
The table below summarizes how the content distribution of the Version 3 course has changed from Version 2. As I said at the beginning, most of the emphasis has been on beefing up the mastering section.
The course, as it has been from Version 1, is oriented towards musicians who are considering doing their own mixing and mastering. There was an article in Pro Sound News recently which estimated that because of digital processing, the cost of creating a personal studio has been cut in half over the last 20 years. While statistics of what percentage of musicians are now doing their own tracking, mixing, and mastering, are difficult to come by, the trend is fairly obvious. Many musicians have become comfortable with doing tracking and mixing. Mastering still has more of a “black art” aura about it, but don’t be fooled by that. The strongest case for doing mixing and mastering yourself is the time you can spend on it, versus the time you can afford to pay an engineer. To be sure, engineers because of their experience can work faster, but they’re still on the meter (even if you’re getting a fixed-price-per-track deal). And besides, you may even decide you like DIY mixing and mastering.
