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Author Topic: WUMP II masters - Waitin on the Roundup  (Read 19899 times)

mbruce333

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Re: WUMP II masters - Waitin on the Roundup
« Reply #120 on: June 01, 2006, 02:59:11 PM »

Patrik,

Cool, that makes a ton of sense.  Thanks for taking the time to explain..
Mike Bruce
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Mike Bruce
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Pingu

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Re: WUMP II masters - Waitin on the Roundup
« Reply #121 on: June 01, 2006, 03:00:57 PM »

mbruce333 wrote on Fri, 02 June 2006 01:19

Patrik T wrote on Thu, 01 June 2006 09:16

Ged Leitch wrote on Thu, 01 June 2006 16:17


Some great points there Matt, in total agreement mate,
I guess the more i experience i notch up through the projects the more i will feel confident to add different flavours / colour.

cheers,
Ged.


Yes please do! It seems to me that these WUMPs are a bit of "being most pronounced and clear".

I did not listen to the contributions that way since I'm more interested in hearing the signature of the masterer or creating my own signature. I will probably not provide any submission to WUMP with much things sticking out at 10 kHz - simply because I find that area unpleasant. That is part of my signature. As are other things.

Some contributions seemed to have no signature at all. They were just proclaiming the obvious hunt for articulation within the mix, causing it to loose nerve. To me, that will always seem very strange since I do not understand it at all.

The extraction of information at some point pass a limit where it turns into mechanics.







I'm not so sure I agree with you on the whole "signature" thing.  It sounds like you are more concerned with imparting your signature than doing what is best for the music.

I'm not trying to carve out a sound intentionally, just trying to make it sound the best I can.  It seems to me that "my signature sound" will grow out of that intention since everything from the gear I buy to the way I use it cannot help but be a product and reflection of me.  

Is this not the beginning of my own "signature?"  

Does anyone really think that they should or should not apply EQ (for example) in certain area for fear of sounding like someone else?  

How far should one go just to "create a signature sound?"  

I've known quite a few drummers that were so bent on "not sounding like drummer X" that they often missed the point of the music they were trying to play.

I would think that it would be easy to make the same mistake in mastering. No?

Mike Bruce






I think a combination of both would work well.

Do what the song is asking and at the same time apply the signature in the process.


Good discussion guys, keep it up.
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mbruce333

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Re: WUMP II masters - Waitin on the Roundup
« Reply #122 on: June 01, 2006, 03:43:33 PM »

Quote:

Do what the song is asking and at the same time apply the signature in the process.


What I think Patrik is saying, and I agree, is that there is NOT a specific thing you do to stamp the music with your signature.  For example, getting the song "perfect" and then boosting 500hz by 1.5db to add MY signature to the track.

Instead, your signiture comes from the your unique vision of what the song needs and how you acheive that goal.  So there is not a seperate process involved.

But for now, I don't really care about havng a signiture sound because my sounds needs to be improved before I want someone saying..."ahhh, that's an Mike Bruce master!"  Very Happy

Mike Bruce


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Patrik T

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Re: WUMP II masters - Waitin on the Roundup
« Reply #123 on: June 01, 2006, 04:56:00 PM »

Mike, yes. You've got my point there.



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Matt_G

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Re: WUMP II masters - Waitin on the Roundup
« Reply #124 on: June 01, 2006, 08:07:55 PM »

mbruce333 wrote on Fri, 02 June 2006 03:19



I'm not so sure I agree with you on the whole "signature" thing.  It sounds like you are more concerned with imparting your signature than doing what is best for the music.


No one is saying that you just wack your stamp on it without regarding what the music needs. Your artistic interpretation & vision for the music becomes your own personal signature & as you gather experience & consistency over time, people will recognize your work.  

Quote:

I'm not trying to carve out a sound intentionally, just trying to make it sound the best I can.  It seems to me that "my signature sound" will grow out of that intention since everything from the gear I buy to the way I use it cannot help but be a product and reflection of me.

Is this not the beginning of my own "signature?"
 

Exactly, we agree here 100%

Quote:

 Does anyone really think that they should or should not apply EQ (for example) in certain area for fear of sounding like someone else?


Not really, although there was a trend a few years back where everyone seemed to want to make their masters excessively bright. I didn't buy into it & decided to remain true to 'my own sound/interpretation'. You have to be careful that trends don't get in the way of the music, this also applies to the loudness race, which I've been guilty of over abusing in the past.  


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Matthew Gray Mastering

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Patrik T

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Re: WUMP II masters - Waitin on the Roundup
« Reply #125 on: June 02, 2006, 05:44:04 AM »

mbruce333 wrote on Thu, 01 June 2006 20:43



Instead, your signiture comes from the your unique vision of what the song needs and how you acheive that goal.  So there is not a seperate process involved.




Well Mike...that is surely part of the story, but there is something else, even more important when speaking about the signature and that is what the ME think sucks with a mix that comes in.

This is kind of HUGE in the signature process! Think about it.

To decide where the weakness or disturbances of the mix lays. Figuring out where those are. Adjusting them. Shift them. Replace them. Get rid of them. Anything. That is a HUGE HUGE part of ones own signature.

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Patrik T

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Re: WUMP II masters - Waitin on the Roundup
« Reply #126 on: June 02, 2006, 12:36:50 PM »

Attention Matt G!

I now understand why I only descirbed your track as "nice". With only that word. Simply, because to me, this is the one I like most. I could not find anything disturbing me in your version.

The strange thing is that our tonal balances are very close in the higher end and the lower end. Same kind of bass impact, same low end in the singers voice and same kind of control over the 8-10 kHz's. If I set our tracks to playback at the same level they are almost brotherly.

Very strange.

Your verison is better than mine, but I really understand why I like your so much. Excellent work!
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Matt_G

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Re: WUMP II masters - Waitin on the Roundup
« Reply #127 on: June 04, 2006, 03:40:08 AM »

Patrik T wrote on Sat, 03 June 2006 02:36

Attention Matt G!

I now understand why I only descirbed your track as "nice". With only that word. Simply, because to me, this is the one I like most. I could not find anything disturbing me in your version.

The strange thing is that our tonal balances are very close in the higher end and the lower end. Same kind of bass impact, same low end in the singers voice and same kind of control over the 8-10 kHz's. If I set our tracks to playback at the same level they are almost brotherly.

Very strange.

Your verison is better than mine, but I really understand why I like your so much. Excellent work!



Thanks for the kind words Patrik, I would agree that EQ/tonally ours were quite close. Perhaps we have a similar headspace Smile

Matt
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Matthew Gray Mastering

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cerberus

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Re: WUMP II masters - Waitin on the Roundup
« Reply #128 on: June 04, 2006, 04:48:04 AM »

your bass tones were  both intentionally altered significantly from the mix.  i hear sonic differences. but a certain degree of risk taking in the same area.

jeff dinces

Patrik T

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Re: WUMP II masters - Waitin on the Roundup
« Reply #129 on: June 04, 2006, 07:10:39 AM »

It is not only the bass tone, Cerberus. I think it more have to do with the relationship 100-200 Hz and 7000-10000 Hz which was making the drum keep its subtility as level increased.

The bottom of the male voice versus the krazz-hozzk at 7-10 K.





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cerberus

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Re: WUMP II masters - Waitin on the Roundup
« Reply #130 on: June 04, 2006, 01:07:15 PM »

well yes, you guys did not go for a chrome top that would reflect every detail coming off the guitar. but it still sounds open, not filtered dull or muffled at all.

it is another decision that the mix itself doesn't imply to me...also a strategy i did not seriously consider pursuing because i can be stupid silly about bringing out more detail.. clients can be impressed when they hear details they thought got buried forever in the mix, but hearing a fly land on the mic stand... (stuff that impresses engineers) is a relatively unimportant facet of music.

so i do notice what you pointed out...  although i derive much the same lesson from it as i already mentioned:  you are both hearing things that seemed obviously in need of change...aspects of the recording and mix that others were more accepting of, or even embraced.

jeff dinces
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