What FX used in my mix could cause problems in the CD master?

Bruce

New member
I will be making a stereo mix on a DAT cassette from 8 channel tape that I want to send off to have a CD Master made.
I was researching /considering buying a sonic maximizer to use (in addition to the compressors,EQ,& reverb I'm using on my mixdowns)and found a caution about the potential of a some bad effects from using sonic maximizers when you get to the CD Mastering stage...
Can the use of certain effects or signal processors sound OK in my mix, yet cause a problem at the CD Master stage of the production?
Are there any of these outboards,a Sonic Maximizer for example, that would be better applied by the folks making the CD Master rather than my applying it in my mix that I give them?
Thanx!!!
 
The 'gotchas' when shipping a 2xMix off for mastering can be many and varied. If you boil it all down, the two key things to remember are:

(Assuming you have a most excellent mix...)

a) COMPRESSION can not be undone while mastering... it can be added but not removed. Make sure you don't overdo it here prior to the mastering.

b) HEADROOM is finite. Make sure youre mixed track levels leave enough room to add some EQ in the final. No sense in having a shithot mix and not being able to EQ it to perfection without taking it beyond edge.

If the FX are good in the mix, they will (typically) be great in the master.

Make SURE the mix is what you want. This is an art... I mean getting detailed... approach it as a science. Do the mathematical calculations to ensure the setting of delays is in sync and not in conflict or contention. (This includes being in sync with each other AND the tempo/beat of the music)!

If you do the right and good work up front, the master will be KILLER!

Good luck!

the guitar half of RockNGunz

(Ps. Check out a posting of mine from a while back... it may offer some MASTERING guidance)


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[This message has been edited by RockIt Recorder (edited 11-21-1999).]

[This message has been edited by RockIt Recorder (edited 11-22-1999).]
 
Thanx for the advice! I hope I've learned my lesson about over compression-I got ear-weary one night and wasted about 2 hours of mix time-listened to it a couple of days later and had to re-do it...Hard lesson to learn.
I WILL pay attention to headroom as well and leave a little bit to expand-Great point!!
...the synching of delays..ahhhh!!I haven't been giving this approach any thought!!thanx for the "do the math "suggestion-this makes a lot of sense in checking the compatibility of frequencies (periods?)of two delays rather than relying on my ear and "what sounds good"...again, been there a couple of days later and it didn't sound right and had to tweak delays and mix it again!!

(Man, what a terrific site this is...I've been checking out the postings and can't believe the great info here!!)

Question-I think I'm getting a handle on compression on guitars (very little) and drums, and luckily the vocals need very little compression-the singer has great control-But any tips on Bass?? Sometimes when I try to cut some peaks the rest gets a bit lifeless. Could a volume difference between different strings cause this? Maybe adjustment of pickup height? I notice this more with the bassplayer's Thunderbird than with his Precision Bass.Any thoughts would be appreciated.
Thanx Again!!!!

(P.S.- I think I got my answer on the sonic maximizer question. I called a couple of Mastering houses and asked a couple of engineers-they both suggested that I avoid using a sonic maximizer on my 2Xmix...!!
It seems some people like using them with an instrument to add to the sound, and I've heard a BBE add some zing in tape copies and I've heard some other good comments, but I'm going to follow their suggestion and am not going to use one on the mix...I'm going to concentrate on a good EQ job. Ive got four 31 band graphics and also some decent parametrics on my Mackie board so I'm in good shape there. Reading the postings here, it seems if I had some extra cash, it would be better spent on getting another reverb or two so I can have fewer channels per reverb)
 
I'm sort of rushed today so this won't be one of my usual verbose replies... but I will drop a couple of quick things:

Comparing T-Birds and Precisions IS a valid point! Most of the Gibson Basses have a noticable limitation while recording... any bass with passive electronics is prone to this problem it just seems very prevalent in the Gibsons. (Too bad too... I'm a hard core Gibson fan!). You can futz with pickup height but I wouldn't expect too much of a solution there. With Gibsons, I usually end up creating the sound I want to hear by processing... not the news you wanted to hear, I know!

http://prorec.com/prorec/articles.nsf/files/C05204C8DC2968B78625665000797D4D

Additionally, you speak of trying to cut highs in the same paragraph as referring to compression... I'd suggest in order to get around the problem you describe, you resolve this issue with a parametric EQ instead... you can dial in the frequency you need to refine and set the width accordingly... then just cut or boost exactly what you want from the recorded signal. (If I misunderstood your scenario, then I aplogize).

Good luck, and keep at it...

Cordially,

the guitar half of RockNGunz

(and you are right: This IS a great site... )

[This message has been edited by RockIt Recorder (edited 11-23-1999).]
 
Regrading the "lifeless" bass, try slowing the attack and upping the ratio a bit. Could be you're attacking too fast, and compressing the attack of the bass itself. That can make it sound really artificial.
 
Regrading the "lifeless" bass, try slowing the attack and upping the ratio a bit. Could be you're attacking too fast, and compressing the attack of the bass itself. That can make it sound really artificial.
 
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