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I don't think there's much of a need to do a remix. The stems were good quality. Here's what I came up with as a first master. I referenced against some Underoath as the drum tones were similar. I tried to keep the crispiness of the original mix, but tamed it and did some work on the midrange...

I think your tone is close and just needs to be tweaked. Could you post a WAV that is un-processed? I'd like to do a master and see if I can bring out all of the detail and punch of the track while keeping it edgy #edit ... now that I've downloaded, I see that this is a stem mastering situation.

I'm not looking for tips, no. But I'm also not looking to soley fix problem mixes. I figure it's a way for everyone to learn more about mastering by doing it, and we can all learn from each other by communicating what we do to get results.

I'm curious about mixes that have been problems and what mastering can do to fix them ✅ For example: Sounding good on monitors but not headphones Sounding good on headphones but not monitors Sounding good lots of places except the car (where other things sound fine) Not sounding good anywhere...

Thanks :) I did a third mix ... just to experiment with different clarity in the vocals and guitars, and messing around with the bass guitar and kick. Also did a bit more of a mastering attempt, but that's always tricky having also done the mixing ;)

I made the mistake of buying into the new loudness wars, which is to master music to the specs of platforms. The truth is it doesn't really matter, unless making it louder sounds objectively worse than not making it louder - but that could be a user issue more than an issue with making something...

I'm seeing this late, but what a great song! Killer drumming too! I did a quick mix ... I was hearing some depth that I wanted to coax out of things. Not sure if I got there or not

😂 Man wins? The price of non-human mastering is you get what you get and there is not much recourse. If that swapping weirdness happened with me as the M.E. I'd have serious explaining to do

The answer is that the track was tonally balanced through a combination of passing through boutique hardware compressors/EQs and manipulated by other bourique compressors And eQs. And then limited with boutique hardware. Also, it involved being recorded by someone else and mixed by another...

I think mastering is essential. Even if you master with an AI platform, you are still in effect the final engineer. So ... You can be the final person, or you can get a second set of professional ears. This is my experience mixing large format concerts, studio bands, self produced music, and...

This is the essence of a great master ... It translates perfectly across any playback system. But, this assumes the mix is high quality as well. If the mix is not excellent, the mastering engineer needs to play a dual role, using tools like ozone RX to balance the mix before mastering can begin.

There is a fine line between accuracy in monitoring and knowing your monitors. It is possible to have accurate monitoring and still produce an undesirable master. It comes down to learning how to create a good balance across the frequency spectrum based on what you are working with, and...

And more, if mastering for vinyl, there are additional considerations. Too much bass or high frequency content will mess up the lathe and you won't get a clean pressing. So proper mastering is essential for pressing to vinyl.

I'm half way through a course on mastering and have realized a few things: 1. If the mix is balanced amazingly, the stereo image is good, no phase issues, and everything is where it should be, then mastering is the stamp of approval and loudness management based on Ulta linear monitoring and...

That's a huge compliment. Thank you! It's what I was aiming for in both the music and production. Kind of a throwback for late millenial dad rockers 😆

Thanks @Flyguitarfish Creed, Pearl Jam, and Stone Temple Pilots ... Those were the influences for sure. I remember seeing a claymation death match where Eddie Vedder and Scott Stapp duel to the death over their voices 😂

I used an SE V7 on a track recently and loved it. It's a dynamic stage vocal mic, built like a tank, and is not dull at all. I think I paid $100 for it. Worth every penny. If you can afford it, a Rhode NT1 is a good option for studio recording on a budget. I see them used all the time for...

Pop shields don't de-ess. There might be some slight High frequency attenuation, but not enough to make much of a difference. You could turn the microphone sideways to tame esses as well. De-essing is much less about the raw sound of the microphone or vocal track and more about how the vocal...

Thanks @RFR :D

A couple of things I've learned Use a de-esser on vocal tracks. Every vocal track I've ever recorded or have captured live, or have mixed live, absolutely needs a De-esser so that it sits nicely in the mix and doesn't kill either the audience or a mix. It almost doesn't matter what microphone...