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Author Topic: WUMP 13 Tech  (Read 7020 times)

Tubefreak

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WUMP 13 Tech
« on: September 16, 2007, 05:16:07 AM »

Again, it was a great song.

Normally I contact the client and talk the project through. I did not do that this time, to keep the starting point equal.

In my session I took some choices/risks on purpose, because I think this is a great place to try things out. The stereo image was wider when I finished, because imho it added a sense of depth and at the same time brought it more life. The S'es were on the side of harsh, I addressed this.

Both these changes did influence the snare and highs a bit. Normally I would give my client two versions to listen to so they can decide what brings out the best of their music.

Here's the tech part

Repear audio software
M-audio Delta 66 clocked by Drawmer for D/A
Drawmer Masterflow for A/D and clock
SM Pro M-Patch 2
Klein + Hummel O98 3 way active monitors + sub
treated room

Voxengo MSED
Side gain +1.6dB

UAD Prec Limiter
+3.46dB input
-0.1dB output
Auto Release
Mode A

M-Audio Delta 66 (clocked by Dramer)
D/A conversion

Audio through Neumann and Protec transformers

SPL Stereo Q
+2db 1.5Q 55hz
+2dB 0.7Q 3.3kHz
+1.5dB Air
+1.5 3d Enhace

Art Pro VLA (modified)
+9dB threshold (no real GR)
2:1 ratio
Auto Attack
Fast Release
-1.5dB Output
11 o' clock Tube Drive (custom option)

Dramwer Masterflow DC2476
AD conversion
  Multiband Compr
lowband 128hz
Threshhold -18 dB
1.2:1 Ratio
13ms Attack
170ms Release
  Tubedrive
low +6
mid +4
high +2

Reaper return

Spitfish De-Esser
23 sense
22 depth
22 tune
soft

Voxengo Marquis compressor
keyfilter 140hz shelve -7.3dB
-12 Tresh
12.66:1 ratio
0.1dB knee
round Detector
61.4ms Attack
155 ms Release
70% Force
41% DRY
-1.1 dB Out
Linear
Feedback
Soft
T1

UAD Pultec Pro
no boost/atten

Voxengo R8brain
SRC to 44.1kHz

Repear (new session)
Fade in/out
UAD Prec limiter
4.7dB input
Output -0.1dB
Release auto
Mode B

Psycho Dither
16 bit
Noise shape on
Dither on (high pass TPDF)
dither bit width (LSB) 2.0

escape

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Re: WUMP 13 Tech
« Reply #1 on: September 16, 2007, 09:43:23 AM »

kick drum was overpowering.
major essing problems, otherwise a decent mix.
nice concept.

notches at 5k and 3.6k in plpar eq for some of the esses in general. all pass at 200Hz Q 0.5 for some phase rotation of the lows. there's the explanation for the nasal sound. I wanted to even out some of the symmetry of the lowend waves, because of the DC offset. I also used a HP filter for the offset. seemed to work ok. the phasy sound of the allpass seemed to help with the perception of the highs too so I left it.

out thru lavry gold

maselec mea-2:

lo-shelf 218 cut 6dB to clear up the Kick and the busy lowend, gain some room, thin it out, tad overdone, I'll admit. I would revise it to a 3 dB cut instead to retain some thickness.

bell at 400 cut 1dB, more thinning and more room, washed away the mud.

hi-shelf 2k2 boost 3 for high end enhancement and loudness. I would revise this to 1dB boost and change the freq to 5k9 to fix the harshness that it imbibed while retaining a touch of air to the synths.

manley vari-mu, fast attack, medium release, max of 2 gr. limiting mode. trying to tame the kick with this. Smoothed things out, in a general sense.

back thru the HEDD, some light clipping. no processing.

Wavelab:
Steinberg loudness maximizer, 2dB. normalized the rest.

Zero-Point Dither and downsample to 44_1. (my own VST algorithm with down-sampling built in)

Fades. done.


My monitors are THX certified Dynaudio M3Fs powered by Hypex 700w UcDs and my room is acoustically fit for mastering so no probs there either.

My biggest problem was time constraints, I really didn't have the time for this Wump after all. I'll have to be doubly sure next time I decide to play.

It was either cut those lows or use a digital multiband for the kick overload, or divide into regions.
I didn't want to use the multiband, neither did I have the time for the extra editing if I was going to region out the track.

Also the de essing alone would have taken at least a half hour to do it proper, because no automatic de-esser was doing a favorable job. Needed major time to go through and individually notch out all of those esses, which I never got around to. Either that or request a stem for the vox..

I won't be doing another wump unless I actually have the time.
My biggest mistake in this wump is that I overbooked it.


Thx for the mix anyway, was a refreshing break, albeit brief, but that's my fault. I'll go back and fool around with this one on my own when I have the time. So again, Thx. It's a nice listen.
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cass anawaty

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Re: WUMP 13 Tech
« Reply #2 on: September 16, 2007, 12:37:20 PM »

Greetings all,
Thanks for the track, thanks to Brad, thanks to the academy  Very Happy

Platform: Sequoia V9
Converters: D/A DAC-1 to analog chain, A/D and monitoring through Lynx Aurora 8
Isochrone OCX
SPL monitor controller
Monitors: Adam P33a, P11a.  No sub used.
Outboard gear: Crane Song Ibis
Treated room

To me this track was all about the low end, and I probably spent a lot of time listening to lucid's influences, so that's where I was coming from.  I wanted a big bottom  Very Happy

I first divided the track into 3 parts volume-wise.  I was troubled that when the kick drum and heavy synth kicked in, it didn't push me back into my chair.  So each time we came to that sound, I increased the volume about 2.5db, which gave it a nice bump each time and allowed the tune to continue building.  You should see this in the waveform.

I did not de-ess, and I didn't do any M/S processing.  I removed a couple of clicks from the original track.

EQ:
Low Cut @ 20 Hz
1db boost @ 131 Q.2
1db cut @349 Q 2
1db cut @ 4.7k Q 1
Hi Shelf @ 10k
"color" function of Ibis on band 1 (low band), set to 4.  It generates a little harmonic distortion, which I liked.

I played w/ a few different compressors--Quantum II, MD3, and a couple more, but wasn't digging them.  Instead, I went w/ a stock Sequoia "classic" compressor, which is extremely transparent.

Compressor:
Broadband
Ratio: 2:1
Threshold -20
+7.7 db makeup gain

I put a TC Brickwall in place for downsampling @ -.03, then again for export at target format @ -.01, Powr #1 dither.  SRC was within Sequoia.

Limiting:
Broadband
Softlimit @ 0.0db
No more than 2 db

Areas of concern:
I did "remove DC offset" (a few times), but it didn't seem to work 100%.  Now that I've seen Tubefreak's post, I know that's the case.  I will have to investigate this further w/ Magix.

There is a click at the beginning of the track, an occasional by-product of Sequoia's "object" editing.  I didn't adjust the fades on the track, and was worried about getting it uploaded in time.  My fault, and I'm aware.

I'm not sure inserting a limiter during conversion has an effect--but at any rate max amplitude was -.037 when downsampling.  Maybe someone can clear that up for me.

I look forward to taking notes on all tracks, and will post my impressions this afternoon.

Humble thanks to all!
Cass

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lucidwaves

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Re: WUMP 13 Tech
« Reply #3 on: September 16, 2007, 09:31:00 PM »

Cass Anawaty wrote on Sun, 16 September 2007 09:37


To me this track was all about the low end, and I probably spent a lot of time listening to lucid's influences, so that's where I was coming from.  I wanted a big bottom  Very Happy


Hey Cass,
Just curious as to what you listened to as reference.
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cass anawaty

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Re: WUMP 13 Tech
« Reply #4 on: September 16, 2007, 09:56:46 PM »

Hi Aaron,
Was thinking along the lines of Depeche Mode and related--even checked some Bjork material as some of the more ambient sounds and beats led me to that stuff.  I've been listening to some 5.1 remixes, where the low end and kick drum downbeat is much more pronounced these days, as the "rolloff at 80hz" is hopefully a thing of the past.  When the kick "kicks" in, I wanted it to be BOLD!

Hopefully I wasn't too off the mark  Embarassed

Enjoyed it for sure,
Cass
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Viitalahde

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Re: WUMP 13 Tech
« Reply #5 on: September 18, 2007, 09:55:31 AM »

And here's what I did to my entry.. The clipping distortion was not intended - to be fair I tweaked the output of the compressor for the sound I wanted on the drums part, hit the record and went to take a leak. Laughing I should've backed off by a dB, maybe even two - maybe just lower down the part at 3,00 minutes. Well, I didn't..

The mix was perfectly fine and did not have any essing problems IMO.

The chain..

1) 88k2 source file, playback from Samplitude through Lynx Two converters:

2) My DIY parametric EQ:

-55Hz bell Q0,4 +1
-147Hz bell Q1,0 +1
-1k76 bell Q0,7 +1
-15k8 bell Q0,4 +2

3) A DIY compressor (opto with tube line amps, no transformers)

-IN -4/-4
-COMPRESSION 12/8
-OUT -7/-7

Stereo link was off. The numbers simply represent the attenuator values of the compressor..

4) Back to DAW, Lynx Two convertors once again (A/D clipping)

5) Fader set back by -0,3dB, converted to 16bit/44k1 with POW-R1 dither.

These days I do not care about intersample peaks. I think putting a one more limiter in the chain for the cosmetics makes things worse..
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Patrik T

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Re: WUMP 13 Tech
« Reply #6 on: September 18, 2007, 12:13:27 PM »

Notes:

Good but a very diffuse and two-dimensional mix. Delays and reverbs a bit buried. Slightly too loud mix already. Congested, yet "dry" density. Slightly aggresive snare-sounds. Unpredictable ess's.

1. SRC to 44.1 with r8brain pro.

2. Played through Lavryblue to analogue:

5033 eq:

30 Hz: +1 dB      shelf
65 Hz: -1 dB      q=0.7
500 Hz: +1 dB     q=0.7
5800 Hz: - 1 dB   q=0.8
16000 Hz: + 1 dB  shelf

5043 comp:

2.1:1
50 ms attack
220 ms release

half dB GR at most

3. Caught back through Lavryblue

4. Digital gain +2.6 dB

5. TPDF


Will be back with feedback on all entries in two days or so. Haven't downloaded all yet.

Best Regards hugs kisses and a happy new year
Patrik
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aivoryuk

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Re: WUMP 13 Tech
« Reply #7 on: September 18, 2007, 01:05:22 PM »

Viitalahde wrote on Tue, 18 September 2007 14:55


These days I do not care about intersample peaks. I think putting a one more limiter in the chain for the cosmetics makes things worse..


agreed.

by the way jakko was really digging your diy eq on this track had a real sense of depth i thought.

In fact its about only one of the pieces of equipment that i've thought hmm i really like that.
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aivoryuk

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Re: WUMP 13 Tech
« Reply #8 on: September 18, 2007, 01:16:32 PM »

here is my technique

mix was generally but was a couple of elements that i felt was detracting from the overal balance, like the low end mixed with the sibilance and agressive snare.

spitfish
12khz depth about 2 oclock sens not quite halfway, soft on.

Bx digital eq, not one of my to go to but seem to serve its purpose here as its swiss army knife of a eq.
so more dessing but just in the mono channel.

roll of in mid channel 33 hz whcih was prob to much for most people but i just wanted to give the kick a bit more definition.
300 hz -1 mid q
4.5Khz - 1 mid q.
i also used the presence shift option as well in the mid channel whcih boost as well as cuts, i think it was about 3dB maybe should have cut back on that but i still like it.

plpeq
just in side mode to roll of the side syths set to about 60Hz

PSP mastercomp
ratio 4
max reduction prob about 2 db i wasn't really paying attention was just going by ear.

attack 85ms
link off.

Flux soleara
just for clipping, went by ear.

src using r8brain pro no clipping

then used the elephant just to make up what was lost in the src

apogee dither.


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cass anawaty

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Re: WUMP 13 Tech
« Reply #9 on: September 18, 2007, 01:30:36 PM »

aivoryuk wrote on Tue, 18 September 2007 18:05

Viitalahde wrote on Tue, 18 September 2007 14:55


These days I do not care about intersample peaks. I think putting a one more limiter in the chain for the cosmetics makes things worse..


agreed.

by the way jakko was really digging your diy eq on this track had a real sense of depth i thought.

In fact its about only one of the pieces of equipment that i've thought hmm i really like that.


Some limiters upsample and protect against it--TC's for example.  What do you mean you "do not care"--why not?  Do you have the confidence in the consumer's equipment to handle it?

I certainly care--but am always open-minded.
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aivoryuk

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Re: WUMP 13 Tech
« Reply #10 on: September 18, 2007, 01:46:49 PM »

Cass Anawaty wrote on Tue, 18 September 2007 18:30

aivoryuk wrote on Tue, 18 September 2007 18:05

Viitalahde wrote on Tue, 18 September 2007 14:55


These days I do not care about intersample peaks. I think putting a one more limiter in the chain for the cosmetics makes things worse..


agreed.

by the way jakko was really digging your diy eq on this track had a real sense of depth i thought.

In fact its about only one of the pieces of equipment that i've thought hmm i really like that.


Some limiters upsample and protect against it--TC's for example.  What do you mean you "do not care"--why not?  Do you have the confidence in the consumer's equipment to handle it?

I certainly care--but am always open-minded.



well okay, don't care is maybe slightly harsh, and i'm aware of it what it can do but it seems to be focus of everyones attention at the moment with numerous threads about it.
Its just not as important to me,as other areas within mastering.

From what i've read other people feel the same. and then on the other side some people feel quite strongly about it
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Viitalahde

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Re: WUMP 13 Tech
« Reply #11 on: September 18, 2007, 01:54:02 PM »

Yep, I'll need to be convinced on this topic.

A zero is zero in digital audio. When we're dealing with CD's, I try to leave at least some headroom (-0.3dBFS is my current norm) before the digital zero, but the truth is that something like -1.5dBFS would be way better - but we won't be allowed that.

Frankly, I don't think -0.3dBFS and 0.0dBFS makes much of a difference. Many CD's come slammed to zero.
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cass anawaty

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Re: WUMP 13 Tech
« Reply #12 on: September 18, 2007, 03:38:31 PM »

Viitalahde wrote on Tue, 18 September 2007 18:54

Yep, I'll need to be convinced on this topic.

A zero is zero in digital audio. When we're dealing with CD's, I try to leave at least some headroom (-0.3dBFS is my current norm) before the digital zero, but the truth is that something like -1.5dBFS would be way better - but we won't be allowed that.

Frankly, I don't think -0.3dBFS and 0.0dBFS makes much of a difference. Many CD's come slammed to zero.


Well, I think that -0.3 dbfs will protect you anyway.  It's not really a question of a CD being slammed to 0.0dbfs, it's more of an issue of "is it actually slamming to 0.3dbfs".  So the difference may be digital overs or not.

I think there are some hard and fast rules in mastering.  To me, crossing 0.0dbfs at all is wrong, especially if preventable.  

Why take a chance?  I would bet that the super hot masters coming out of the top facilities are paying attention.  A brickwall is essential.

Discuss?
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cass anawaty

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Re: WUMP 13 Tech
« Reply #13 on: September 18, 2007, 03:41:10 PM »

aivoryuk wrote on Tue, 18 September 2007 18:46


well okay, don't care is maybe slightly harsh, and i'm aware of it what it can do but it seems to be focus of everyones attention at the moment with numerous threads about it.
Its just not as important to me,as other areas within mastering.



Okay--it shouldn't be an obsession  Razz   Certainly there are more important concepts, but to me it's a quality control issue.  I know I don't have digital overs, not a second thought about it.
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aivoryuk

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Re: WUMP 13 Tech
« Reply #14 on: September 18, 2007, 04:26:20 PM »

Cass Anawaty wrote on Tue, 18 September 2007 20:38



I would bet that the super hot masters coming out of the top facilities are paying attention.  A brickwall is essential.

Discuss?



well i've never set out to measure theirs so who knows. I don't really have a meter that can measure intersample peaks (know any good ones for PC?)

what i do know is that some of the top engineers still hit 0dBfs even though there are debates some poor designed consumer units can't even handle a signal thats approaching 0dBfs.

And of course there is the trend of mp3's, whcih we know if you convert the file and its to close to 0dBfs then it prob will send it over.
But still some top mastering houses who are well aware of mp3's still do that.

so i don't know how much of a worry it all is everyone.
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cass anawaty

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Re: WUMP 13 Tech
« Reply #15 on: September 18, 2007, 04:56:38 PM »

Sony Oxford Limiter--the others I'm aware of aren't native.  Pinguin probably does.

I think there's some complaining among MP3 users re: the distortion they're hearing post conversion, but will that change anything?  Probably not.

I never really thought too much about it--maybe no one does care.  Maybe I don't anymore  Laughing
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aivoryuk

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Re: WUMP 13 Tech
« Reply #16 on: September 18, 2007, 05:32:29 PM »

Cass Anawaty wrote on Tue, 18 September 2007 21:56



I never really thought too much about it--maybe no one does care.  Maybe I don't anymore  Laughing


right on bro  Laughing

but i'll check out pinguin i've just looked and their pro seems to do the whole oversampling thing
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Tomas Danko

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Re: WUMP 13 Tech
« Reply #17 on: September 19, 2007, 06:14:57 AM »

Cass Anawaty wrote on Tue, 18 September 2007 20:38

Viitalahde wrote on Tue, 18 September 2007 18:54

Yep, I'll need to be convinced on this topic.

A zero is zero in digital audio. When we're dealing with CD's, I try to leave at least some headroom (-0.3dBFS is my current norm) before the digital zero, but the truth is that something like -1.5dBFS would be way better - but we won't be allowed that.

Frankly, I don't think -0.3dBFS and 0.0dBFS makes much of a difference. Many CD's come slammed to zero.


Well, I think that -0.3 dbfs will protect you anyway.  It's not really a question of a CD being slammed to 0.0dbfs, it's more of an issue of "is it actually slamming to 0.3dbfs".  So the difference may be digital overs or not.

I think there are some hard and fast rules in mastering.  To me, crossing 0.0dbfs at all is wrong, especially if preventable.  

Why take a chance?  I would bet that the super hot masters coming out of the top facilities are paying attention.  A brickwall is essential.

Discuss?



Not that it's related to the actual CD, but MP3-encoding the same file slammed to 0dbfs will sound noticeably worse than MP3-encoding the -0.3 dbfs version. Sometimes this is very noticeable.

Since a lot of people (the majority?) will lossy compress their purchased CD's and load those MP3 files into their iPOD's this is a valid topic indeed.

Sorry for the intrusion, not being a WUMPee.
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aivoryuk

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Re: WUMP 13 Tech
« Reply #18 on: September 19, 2007, 07:35:23 AM »

Tomas Danko wrote on Wed, 19 September 2007 11:14


Not that it's related to the actual CD, but MP3-encoding the same file slammed to 0dbfs will sound noticeably worse than MP3-encoding the -0.3 dbfs version. Sometimes this is very noticeable.

Since a lot of people (the majority?) will lossy compress their purchased CD's and load those MP3 files into their iPOD's this is a valid topic indeed.

Sorry for the intrusion, not being a WUMPee.


not a problem discussion is always welcomed.

its the reason to why i'll always set the file to below 0dBfs. normally -0.3.
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MT Groove

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Re: WUMP 13 Tech
« Reply #19 on: September 19, 2007, 12:31:01 PM »

10 years ago, I always set it to peak at -0.3 Very Happy  These days I just go with -0.1.  For a while I was using TC's Brickwall Limiter for Powercore and set it to oversampling mode for the intersample peaks.  However, I noticed on loud masters, it kills the punch a bit too much for my taste.  Now I've been using Voxengo Elephant in Clip or EL-3 mode both with 4x oversampling and find that it's a relatively acceptable compromise.  
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Re: WUMP 13 Tech
« Reply #20 on: September 20, 2007, 07:22:07 AM »


Hi all, here are my tech notes:

I kept things fairly simple. I just cleaned up some of the low-end mud from the mix and brought up the level. No automation.

Host: Sonar 6
Playback system: Terratec EWS 88MT, Yamaha MSP10, no acoustic treatment. (But I'm very familiar with this setup).

PSP Neon HR:
============
Max resolution
LP off, FAT off.

Hipass 30Hz, 24dB/Oct
- 1.06 dB LowShelf @ 136 Hz Q 0.71
- 1.44 dB @ 330Hz Q 0.6
- 0.67 dB @ 566 Hz Q 1.0

PSP MasterComp (couple of dB GR max)
==============
Ratio 1.4
Attack 47.6 ms
Release 100 ms (Auto)
Threshold -18.41
Side-Chain filter @ 70Hz
Make-up auto
Mix 100%
Stereo Link 50%
Soft Knee
Detection:RMS

URS 1970 Compressor (Couple of dB GR max on the loudest peaks)
==================
Attack 3.0 ms
Release 31 ms
Threshold -6.2
Ratio 4:1

Voxengo Tapebus (At a guess, maybe a dB of GR max)
===============
Tape bypass (no tape modelling)
Rec gain: +13.6
Everything else flat.

Voxengo MSED
=============
+0.5 dB on the side-band.

iZotope Ozone limiter
================
Threshold -4.5 dB
Margin -0.2 dB
Character 0.6 (Very fast)
Prevent inter-sample clips: on
Mode intelligent

Exported at 88.2Khz 32 bit.

Used some beta software to convert and dither to 44.1Khz 16 bit.

Alistair





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MT Groove

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Re: WUMP 13 Tech
« Reply #21 on: September 20, 2007, 04:00:42 PM »

Here's what I did

Samplitude Pro 9.11

Spitfish Deeser to tame the sibilance a bit

Angeltone
-1.5 @ 184; Q 1.22 Sonny
-1.3 @ 4186 Q 1.12 Milly

TC Master X 3 (This is unethical but it sounded good for this job to my ears)

Expander/Limiter OFF
COmpressor
Crossover 121; 3.56kHz
THreshold -9.0
Ratio 2.0
Attack 20ms
Rel 0.14S
Linear Mode, Target Factor Off


Sony Oxford Inflator

Input 0.9
Effect 100
Curve 10.1
Split Band
Output 0


Voxengo Elephant

In 0.0
Out -0.2
Lim Mode : Clip
St Linking 100%
OVersample 4X

Exported File out while Converting to 44.1 16 Bit using Samplitude's SRC and POw-R 1 dithering in one pass.


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cass anawaty

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Re: WUMP 13 Tech
« Reply #22 on: September 21, 2007, 10:21:52 AM »

MTGroove,
Can you include the monitoring chain?
Thanks,
Cass
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Luke Fellingham

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Re: WUMP 13 Tech
« Reply #23 on: September 22, 2007, 05:48:33 PM »

Sonnox Eq HPF at 28Hz
Out through Lavry DA10
Gyraf G X - Low ratio, med att, med/fast release. <0.5 dB reduction.
Gyraf GXIV - small boost at 100, 750, 2k1, 3k5, 12k
In through Apogee AD16. No soft limit.
Sonnox Eq 1dB cut at 80Hz and 140Hz
SRC Using Sample manager to 44.1KHz
Sonnox Limiter. Input set for 2 or 3 dB of reduction on peaks. No Auto Gain no Safe Mode. 100% enhance, autocomp on. Output just below zero.
Pow-r 1 dither.

Monitoring provided by Dac1, Lipininski L-505s and REL sub. I've only just started using the Lipinskis and I'm really enjoying getting to know them (thanks Aaron). This wump was actually the first thing I mastered on them. Since doing this master I've improved their integration into my room and with the sub so I think that they're now translating better. I guess we'll see if I find time to join in the threatened round of revisions.

MT Groove

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Re: WUMP 13 Tech
« Reply #24 on: September 22, 2007, 07:32:12 PM »

Cass Anawaty wrote on Fri, 21 September 2007 09:21

MTGroove,
Can you include the monitoring chain?
Thanks,
Cass


I would prefer not to reveal my monitoring chain.  It is just too embarrassing to mention and I will lose all respect from anyone on this forum.  So let's just leave it at that.    Shocked
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cass anawaty

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Re: WUMP 13 Tech
« Reply #25 on: September 22, 2007, 07:58:48 PM »

MT Groove wrote on Sun, 23 September 2007 00:32

Cass Anawaty wrote on Fri, 21 September 2007 09:21

MTGroove,
Can you include the monitoring chain?
Thanks,
Cass


I would prefer not to reveal my monitoring chain.  It is just too embarrassing to mention and I will lose all respect from anyone on this forum.  So let's just leave it at that.    Shocked



More likely I'd be impressed, but I understand.  Razz
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Catalin Truta

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Re: WUMP 13 Tech
« Reply #26 on: September 23, 2007, 04:37:47 AM »

Here's what I did:

- First thing noticed was the lack of punch so I used Flux BitterSweet, mode: Main, value: 515, to bring the transients up;

- Some strong sibilances here and there, attenuated with Spitfish 4k, medium sense, medium depth, soft: off;

- The track had too much low-mid information and was overall pretty dark sounding so I used AngelTone 195Hz, q: 1.5, -2dB, 7.9k, shelf, 3.5dB, both with the sonny algo, to help open it;

- The voice and the intro pad were fighting each other, the pad had a very proeminent sound in the mids and the voice was a bit buried and unclear, so I used AirEQ in M/S mode in an attempt to gain clarity on the voice and push back a bit the pad, settings: Mid: 416Hz, q: 1, +1dB, Side: 770Hz, q: 1, -2dB. Some people had a few comments wich I know are related to this specific step, I'd probably use PSP Neon HR next time;

- Although dark sounding, I felt the track needed the low-end to be tightened and pushed up, so I used MD3, comp section in multiband , only the low band active, crossed-over at 80Hz, ratio 2:1, attack: 70, release: 140, thresh: -10, gain: 2dB, limiter in bypass;

- BrickWall Limiter, input: 1dB, thresh: 0, link: on, upsampling: on, auto;

- Sony Inflator, effect: 100%, curve: -50, out: -0.3dB (this was perceived by someone as compression artifacts, being in fact the distortion added in the process, indeed not exactly suited to this track);

- Fade out;

- Dithered to 24bit with POW-r#1;

- Imported and SRC-ed in Barbabatch to 44.1kHz;

- Reimported into Logic (this was the reason it was first dithered, as Logic doesn't export or import 32bit files) and dithered to 16bit with POW-r#2.

I would like to hear and comment others' entries but for a month or so I'm accessing the internet with the mobile phone so it's not possible for me to download them right now. Appologies to everybody for that, I hope I'll get a better connection in time for the next WUMP.

aivoryuk

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Re: WUMP 13 Tech
« Reply #27 on: September 24, 2007, 01:11:50 PM »

aivoryuk wrote on Tue, 18 September 2007 22:32

Cass Anawaty wrote on Tue, 18 September 2007 21:56



I never really thought too much about it--maybe no one does care.  Maybe I don't anymore  Laughing


right on bro  Laughing

but i'll check out pinguin i've just looked and their pro seems to do the whole oversampling thing


well i've been following this up and found a way to check for intersample peaks on in ozone.

and i found all the tracks i tested that come out of sterling, gateway etc had intersample peaks.

just to make sure i wasn't been deceived i looked at a few of the wump tracks and one that i did myself, and it didn't register any intersample peaks.

so there is food for thought
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cass anawaty

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Re: WUMP 13 Tech
« Reply #28 on: September 24, 2007, 02:07:21 PM »

aivoryuk wrote on Mon, 24 September 2007 18:11

aivoryuk wrote on Tue, 18 September 2007 22:32

Cass Anawaty wrote on Tue, 18 September 2007 21:56



I never really thought too much about it--maybe no one does care.  Maybe I don't anymore  Laughing


right on bro  Laughing

but i'll check out pinguin i've just looked and their pro seems to do the whole oversampling thing


well i've been following this up and found a way to check for intersample peaks on in ozone.

and i found all the tracks i tested that come out of sterling, gateway etc had intersample peaks.

just to make sure i wasn't been deceived i looked at a few of the wump tracks and one that i did myself, and it didn't register any intersample peaks.

so there is food for thought


Thanks for that--interesting.  But these days I look less and less to the big boys for quality output, whether they have a choice or not isn't worth the discussion.
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aivoryuk

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Re: WUMP 13 Tech
« Reply #29 on: September 24, 2007, 02:36:27 PM »

Cass Anawaty wrote on Mon, 24 September 2007 19:07


Thanks for that--interesting.  But these days I look less and less to the big boys for quality output, whether they have a choice or not isn't worth the discussion.



oh god don't get me started i have just today bought the new Foo fighters album and I am horrified I really am. I don't normally say anything about cd's like this but this one takes it it to a whole new level.

It has to be without doubt in my CD collection the brightest thing i have ever heard. I thought my ears were playing tricks so i put on the last studio one (in your honor) and that sounded dull compared to it as well as Greenday as well. The high hats are just ear splitting. I don't mind loud but loud anf that bright no!!!!

It's the first one mastered by brian gardner (the rest were by ludwig) not that i think that has anything to do with it i'm sure he just gave them what they wanted.

i bet it sounds great on mp3 though.

but i'm quite speechless

thankfully i also bought the new PJ harvey album which i'm glad to say is nice and low.

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OTR-jkl

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Re: WUMP 13 Tech
« Reply #30 on: September 28, 2007, 01:22:42 PM »

Here are my tech notes:

Monitors:
B&W N805s
Velodyne pwrd subs (2)

Amp:
Hafler P1500

Platform:
Samp Pro v9

Chain:
Samp playback track 1 (EQ > Comp) > Dig out to ART DI/O custom loaded w/NOS Telefunken 12AX7 > Dig in to Samp track 2 (Limiter)

EQ:
EIOSIS AirEQ -
LoCut; F= 24.95, Q= 0.67, Slope= 12dB/oct
Bell; F= 35.71, G= -0.5, Q= 1.42
Bell; F= 65, G= 0.5, Q= 1.96
Bell; F= 184.2, G= -0.3, Q= 1.91
Bell; F= 3941, G= -0.3, Q= 1.43
HiShelf; F= 12k, G= 0.4, Q= 0.59

Comp:
PSP MasterComp -
Knee= Soft
Detect= RMS
FAT= Off
Thresh = -13.74
Ratio= 1.68:1
Attack= 316ms
Release= Auto
Link= 100%

>>Track attenuation of 11.5dB applied post EQ/Comp (prior to routing to Dig out)

ART DI/O:
Input gain= 11.5dB
Tube Sat= 3 (on a scale from 0-5)

Limiter:
PSP VintageWarmer2.14 -
Mode= Multiband
Link= Off
FAT= On
Drive= +5.14
Knee= 1.2
Speed= 61.7
Release= Auto
Ceiling= +0.09
Out= -0.39
LoXover= 86Hz
HiXover= 3.9KHz

(Back panel)
LoSat= 0.0
MidSat= 0.3
HiSat= 0.3
LoRel= 1.14
MidRel= 0.87
HiRel= 0.57

>>After all processing parameters were set, mix was captured in real-time at 88.2/32 within Samp using MixToFile.

SRC:
r8brain Pro -
Out samplerate= 44.1k
Out bit depth= 32 float
Filter= LinPhase
Ultra-steep mode= On

>>Placed mastered 44/32 file on new Samp EDL; edited top and tail; added PQ markers; bounced to final 44/16 file.

Dither:
Samp TPDF; bit depth= 0.5
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