A mastering question for someone that knows something....

As far as mixes I prefer, mixes that are as close as possible to what you want in the final product but with a enough wiggle room to mold a cohesive album.

I can tell already that this is one of those (kinda rare) quotes that I'm never going to forget. Thanks for that (don't I feel all sentimental and shit...):o

I must spread some rep around, etc - but carry on - great thread!
 
BTW, if you record snare with a SDC mic you will have so damn much attack (crack) you won't know what to do with it all. But there will be far more to work with while compressing the snare track.

Dynamic mics don't offer as much attack due to their slower transient response. They naturally give you more of that fat body.
 
Tessla Pro. Great plug-in, it will shrink your transients (snare hits) without affecting the sound....then normalize/limit that.
 
it will shrink your transients (snare hits) without affecting the sound....

Not possible.

This is why everything sounds like crap these days. It will shrink your transients without changing the sound. It will raise the volume without changing the sound. It will reduce the dynamics without changing the sound. It will line up hits to a grid without changing the sound. It will replace the snare with a sample without changing the sound. It will make the singer sexy without changing the sound. It will shift the genre from elevator music to death metal without changing the sound.


No. It won't.
 
If you were going to try Tom's suggestion I would also listen for the kick as well, as usually the transient attack starts to go on that at about the same time the snare starts to go south.

I haven't really had that problem with the kick. In fact, it's just the opposite. I like the way the squashing fattens the kick. It sounds huge on home systems and in the car.....my two main reference setups.
 
It will shrink your transients without changing the sound. It will raise the volume without changing the sound. It will reduce the dynamics without changing the sound. It will line up hits to a grid without changing the sound. It will replace the snare with a sample without changing the sound. It will make the singer sexy without changing the sound. It will shift the genre from elevator music to death metal without changing the sound.
Some stuff does it's job better than others. It's a good idea to a/b several processes and processors to see which one does the best job while incurring the least amount of damage.

Some stuff can be very transparent to the process when chosen and used correctly.
 
Not possible.

This is why everything sounds like crap these days. It will shrink your transients without changing the sound. It will raise the volume without changing the sound. It will reduce the dynamics without changing the sound. It will line up hits to a grid without changing the sound. It will replace the snare with a sample without changing the sound. It will make the singer sexy without changing the sound. It will shift the genre from elevator music to death metal without changing the sound.


No. It won't.

I'm not sure what it does. It does not act like a limiter. Limiters obviously change the sound of transients. This does something else with the transients. It *does* alter the sound, I'll give you that, but its not the same alteration that a limiter causes.

Try it out yourself: http://varietyofsound.wordpress.com...tesslapro-a-transient-aware-signal-saturator/
 
you must be a drummer if only the snare is bugging you in your "mastered" mixes. :p

Parallel compression sounds like a looong end around just for a snare. What is this, marching band music! :laughings::laughings:

all good advice though... or just use Toontrack :D
 
you must be a drummer if only the snare is bugging you in your "mastered" mixes. :p

Parallel compression sounds like a looong end around just for a snare. What is this, marching band music! :laughings::laughings:

all good advice though... or just use Toontrack :D

I am a drummer, but not only a drummer, and there's nothing I hate more than buried drums. The difference between a pro sounding recording and a home recording is good drums.
 
I loves me some drum decay, and most of the time I don't use any damper (every now and then a mool gel makes it's way onto the kit). And while I've never taped a wallet to the snare head, I do have to admit to damping one snare with a large dog toy and duct tape. :D It turned out to be just what that track needed. :p
 
i dont know if the issue was resolved or not. But i too used to have the same problem. Mastering my own audio resulted in losing the snares transient attack.

But.....there is hope. Its called experimenting and learning, which is why we are all here on this "home recording" board, trying to learn to sound PRO at home.

What i found works wonders, is not to let a single plugin do all the work (limiting/maximizing), but pace it out into a few plugins. I use 3-4 limiters on my master buss while mastering, but let each one do something different.

for example, ill start with having the first limiter do the bulk of the volume maximizing, but set it up so the knee is a hard knee and its agressive (like a Clipper plugin). But dont let this plug in do any gain reduction, just give it enough juice so it boosts volume a bit without doing any compressing of the audio.

the 2nd limiter, ill have it again doing some maximizing, but now its going to do some compressing....cause at this point things will start going over 0dbFS. This limiter will have a different knee setting, a bit of a small curve. At this point, ill set this limiter so i ALLOW digital overs........so.....

the 3rd limiter will be my brick wall limiter. This last limiter will really wont boost anything volume wise, but here adjust your final ceiling level and a very smooth knee so there are no digital overs at all.

try it.

The key is to mess with the knee settings on each one while stacking your limiters. Heres an audo example of one of my songs, in which i think is pretty damn loud (competitive), and the snare is still intact. I even still have more room to push it louder if i wanted too....

Listen Here

Like i said....were all in the same boat. I hope this helps.
 
better

Okay, so you've heard my mixes? What would you do in my situation? Leave it alone? How do you as an ME get around snare squashing?

I'm not trying to compete with commercial masters. I'm just trying to make better home "masters".

dont confuse louder with better
 
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