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We are not yet signed, but a well known producer is very interested in us (has come to our shows and constantly talks with our manager). When he heard the demo we did last year he said "you need to take this mix to a mastering house so he can make it loud and competitive"... Well guys, most of...

About most of the samples you say something like this " the mix was dynamic and good so all I had to do is make it louder and give it a little polish". I think the "little polish" should be there before the mix hits your desk. Then all you'd have to do is make it louder. Thus, if the mix is...

Well, from what I have read on John's page in the section where there are some masters to listen to, he wrote something like this for some of the samples : " Again the mix was right with good dynamics and good EQ so all I had to do is make it louder". That is suffient to prove my point that...

First, here in Montreal the bands that get the chicks AND the money are Mentake, Simple Plan, Bullet for my Valentine, Panic at the Disco, NickelBack, The country music market is very small here. So yeah, it's really location dependant. Second, I'm not in for the money, I'm in for the FAME! To...

Well you don't seem to like the fact that nowadays your job is MOSTLY to squash hit records.. :rolleyes: This is what keeps you in business.

I agree that you can't squash any genre. But then, what genre is on the radio? What bands get the chicks? What bands get the $$$ ? This is what we want...saying otherwise would be lying. I would never ever squash jazz, classical or vocal music, but then, are any of those bands on the radio and...

Well, someone HAS to say something if we ever want to get back to having some dynamics in the mid-future. You see Lee, I much prefer dynamic mixes, as squashes tend to give me headaches, but people (masses) love squashed mixes and they're the ones buying the music and coming to your shows...so...

People would be surprised to see that even the best mastering engineers just put the mix through the Finalizer and is done with it. It's a GREAT box, but as any tool, you have to use it for the right job. In my opinion, a good mastering engineer with more tools will have better chance to do the...

You should know that limiting and pushing the levels do MORE than make the mix louder. It gives a kind of "digital clipping edge" to the sound which is really nice for rock. If I take a reasonable mix with no clipping and I pump the volume control on my device, the mix doesn't sound radio like...

What does this question has to do with the topic, bro ? :rolleyes:

I'm afraid you are steering yourself away from popular music then.. :confused:

Look at any mastering job - rock genre - done by Sterling since 2000. Everything is squashed. Recently, Ted Jensen took the squashing to a whole new level with the new NickelBack album, Absolutely deliciously squashed and in yer face....as I like it. Guys, I'm into hard driving music, not...

Yep there would have been. It's not the mix engineer's job to brun CD's to redbook standards, ensure coherence between fade ins and fade outs and make a "ready to press" records. But today, with technology and digital crap, it shifted to a "make it louder" job. You just have to accept that the...

First of all, I did a "blind" test with my band. I told them "hey guys I've got new mixes of our songs"...all I did was to push the levels and limit. Guess what ? They all thought it sounded better. My bandmates don't want to sound dynamic, they want to sound "radio-like" and this is what...

Yes it is. Otherwise, there would not be mastering engineers at all. Tom and Chris Lord-Alge would master their mixes themselves and not give them to Sterling sound if they could get it loud and clear right away. Loudness is an ART of itself. It's really hard to get very loud and maintain some...

I just don't get why being competitve is BAD on these boards here? Life is about being competitive and so are music levels. The louder the better, since you have more possibilities facing the labels. Of course, a less squashed mix is better, but who cares of you don't get signed because of that ?

Well, with unlimited funds, time and an excellent design team, it's very possible that the competent guy gets CLOSE the quality of a Bryston. But Dynaudio would have to devote as much time developing those amps as Bryston does and they would have to pick quality (expensive) materials to build...

Of course, the master would sound better at -12 dBRMS, but why would I pay you to do that ? I can get my mix to -12dBRMS easy in my bedroom! FACT is that this level is NOT competitive enough in the business and can keep me from getting a label to sign me. What I CAN'T get in my bedroom is those...

Then I guess you don't love the guys at Sterling Sound. IMHO those are the absolute best. They get loud as shite (-8 dBRMS and louder) masters without squashing too much. Plus they use some kind of enhancer (a Godlike BBE) that cleans the mix and it gets very pleasing in the high-mids. And they...

It largely depends on the mastering engineer and how much he is willing to squash the shit out of the mix to make it sound competitive and "radio-like". More often than not, applying a lot of limiting and compression ends up burying drums and pushing guitars forward. Less severe mastering...