Building a mastering studio on an $8k budget.

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ryanlikestorock

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If you were to build a mastering studio on $8k, what pieces would you purchase? Exact model numbers and brand names would be a great help.

I've been doing the DIY home studio thing for a while, and I'm looking to get a bit more serious with some outboard gear, monitors, etc. Hardware primarily, but software would be a great mention as well.

Thanks!
 
If you are planning on building a mastering studio where you are going to do commercial work, then $8K isn't even going to cover the monitoring system. If you are just wanting to sweeten up you own mixes, then check out something like Ozone and build yourself a nice computer with decent monitors.

Just my 2cents.:)
 
Thanks. Anyone else have any suggestions? I'm not looking to work on Rolling Stones records... just to increase the ability of the software setup I've already got. Maybe I should just search around the other topics to seek out the equipment I'm looking for.

I saw what seemed to be really nice Mackie monitors in Toronto for about $1200 (canadian) each, and what appeared to be decent compressors and EQ for about $3500 each...

I guess I was looking for some suggestions in that range.
 
Nothing wrong with that, but it aint gonna make it a "mastering studio". But good monitors is important in any case.
 
You're really not going to want to master through studio monitors...

Having a set handy for reference? Sure. I've got a pair here for that. But for the actual mastering session? No way. Bad idea (say "bad idea" like the Terminator for best results :D)

I couldn't even tell you where to start on gear and software... My choices leave some scratching their heads while others wonder what's holding up everyone else.

I know it sounds typical, but mastering really IS all about technique. You need the gear that will allow your technique to work. There is no substitute for practical experience and experimentation. Once you find a base of "quality" gear, your stacking nickles with diminishing returns - Every $100 more that you spend get's your sound $1 better.

You can put together a pretty nice "project studio mastering" setup with 8K if you're careful about what you're going for. That being said, my current setup is ALSO a "project studio mastering" type of situation... The only reason I think it's doing as well as it is right now is that I had a lot of time and experience in the "big time" mastering rooms. Once you fly with eagles, it's hard to work with turkeys. So, you do whatever you can to squeeze technology and push gear to its limits until the eagles are in sight again. I still hit up the big rooms occasionally just to make sure I'm still in the game.

The big thing to keep in mind (I don't know your experience level here) is that "Mastering" is a LOT more than just putting a compressor and an EQ across a stereo track - If anyone out there is planning on getting a PC with CD Architect or WaveLab on it and calling themself a "Mastering Engineer" you've got a LOT to learn first... Although, that's exactly where a BIG chunk of the industry is going right now. Inexperienced home & project recordings going to inexperienced and unqualified mastering engineers - When THEY are the ones who could REALLY benefit from quality mastering.

DISCLAIMER: No, I'm not trying to discourage anyone from learning to become a mastering engineer. Come on in - The water's fine.

John Scrip - www.massivemastering.com
 
Massive Master said:
DISCLAIMER: No, I'm not trying to discourage anyone from learning to become a mastering engineer. Come on in - The water's fine.
Click to expand...
I would never discourage someone from trying to become a mastering engineer either...... but so many rookies really do think it's all about having a copy of Wavelab/CD Architect.............

Before anyone THINKS about becoming an ME, they should try to learn more about it!!!!!! (And definitely don't start shelling out money for gear until you do!!!)
 
Having a copy of Quark Express and Photoshop on a Mac computer doesn't make you a graphic designer, either. Although some people might also like to believe that.
 
i weigh 360lbs but that doesnt make me a sumo wrestler! its a hell of alot of fun at pool parties though. when it comes to mastering...I'm still so "nit-picky" with mixing that i havent really gotten to the mastering portion yet.....I'll be sure to get a copy of wave lab and say I'm not a mastering engineer....but i did stay at a Holiday Inn last night :)
 
Before you buy ANY gear, Ryan -- pick up a copy of Katz' Mastering Audio: The Art and the Science...........
 
and get room treatment...didn't read the thread so it may have been covered but can't be stressed enough....you NEED a GREAT ROOM!
 
Yes even a moderate monitoring chain, DAC-AMP-Audiophile speakers, will eat that 8k very quickly, now you have to have a room to support that system, chances are your current control room, even if treated, is most likely not the place to Master.
 
Haha. I'm not really one to let the tail wag the dog. My situation is that a whole lot of punk and hardcore bands come to me asking me to make their music sound better, and I'd like to invest a bit of money into doing that job better. Some people aren't uncomfortable calling that "mastering", and that's fine. I really just want to make records sound better. Call it what ya want, really.

I used T-Racks for about a year, upgraded to some WAVES plugs last summer, and now I'm looking for something a couple steps more serious. My experience involves sitting in on a couple mastering sessions in established studios, talking with some friends who are MEs in Toronto, and learning little bits and pieces as I work on the punk and hardcore records. It's coming along, but I'm definately not in the same league as the big guys, or even most of you.

To be honest, I already have a pretty good idea what I'm looking for, I just figured I'd post here for some ideas that you guys had because most of you know a lot more about the necessary gear than I do. If anyone has any "good bang for the buck" ideas for a compressor/limiter, EQ, or monitors, I'd love to hear your opinion. Like I said, I'm not looking to take over the world of mastering... I'm just looking for a direction to go for my home-based punk and hardcore "fixer upper studio" or whatever we all wish to call it here.

Thanks so much for any help you can offer. I'll pick up that Bob Katz book online somewhere. I've been meaning to get to it for a while, but can't find it locally.
 
Massive Master said:
You're really not going to want to master through studio monitors...

Having a set handy for reference? Sure. I've got a pair here for that. But for the actual mastering session? No way. Bad idea (say "bad idea" like the Terminator for best results :D)

I couldn't even tell you where to start on gear and software... My choices leave some scratching their heads while others wonder what's holding up everyone else.

I know it sounds typical, but mastering really IS all about technique. You need the gear that will allow your technique to work. There is no substitute for practical experience and experimentation. Once you find a base of "quality" gear, your stacking nickles with diminishing returns - Every $100 more that you spend get's your sound $1 better.

You can put together a pretty nice "project studio mastering" setup with 8K if you're careful about what you're going for. That being said, my current setup is ALSO a "project studio mastering" type of situation... The only reason I think it's doing as well as it is right now is that I had a lot of time and experience in the "big time" mastering rooms. Once you fly with eagles, it's hard to work with turkeys. So, you do whatever you can to squeeze technology and push gear to its limits until the eagles are in sight again. I still hit up the big rooms occasionally just to make sure I'm still in the game.

The big thing to keep in mind (I don't know your experience level here) is that "Mastering" is a LOT more than just putting a compressor and an EQ across a stereo track - If anyone out there is planning on getting a PC with CD Architect or WaveLab on it and calling themself a "Mastering Engineer" you've got a LOT to learn first... Although, that's exactly where a BIG chunk of the industry is going right now. Inexperienced home & project recordings going to inexperienced and unqualified mastering engineers - When THEY are the ones who could REALLY benefit from quality mastering.

DISCLAIMER: No, I'm not trying to discourage anyone from learning to become a mastering engineer. Come on in - The water's fine.

John Scrip - www.massivemastering.com
Click to expand...


The water is not fine..... its cold with fish that have teeth :)

I think the reason were seeing an influx of inexperienced and "unqualified" folks doing mastering is that money is short on every front of the industry. I know alot of the bands I deal with want me to master because they don't have the cash to shell out for mastering. The problem is that alot of these people don't always have their peers critique their work. A Mastering Engineer who has never had another Mastering Engineer offer subjective advice is really not that much better than a mixer who has never heard a mix before. I think for me doing the WoMP2 at Brad Blackwoods PSW forum was really educational, and considering I used tools like Wavelab and CD Architect with Nearfields I thought I did pretty well. But I spent alot of time asking Brad to tell me how it was translating to his room.

For 8 grand, I spend money on the room and the speakers and a good audio card and with that youll have something to start with. The room and the speakers are most important because your flying blind without them. Then after you get your bearings you can start upgrading the chain to better outboard gear. After you get the gear installed, get Bob K's book and track down some of the CD's on the Honor list and do alot of listening. Find some victims and get moving. I don't know any mastering guys who haven't screwed up in the name of getting better.

SoMm
 
There's nothing wrong with calling it a "post sweetening lab" (there are such thing you know) you might get a few more down to earth responses.
 
I'm still trying to get my head around the HOW of it all!

I just don't understand HOW if I'm in room "A" and I got it geared out and treated properly and even if I have the best sound guy in the biz... HOW does he manage to translate what he hears in room "A" into something that sounds beautiful anywhere?

I've got a couple "off the shelf" CDs that sound awsome on my car CD Player and Shitty on my home system... yet most everything else on my home sys sounds great... Then there's other CDs I got that sound great no matter WHERE you plat them...

I just don't see HOW.... Is there some sort of magical equation to designing the perfect room that will capture the sound in such a "perfect" way as to make it sound good anywhere else?

The acoustics of every room are unique... so how can something recorded and mixed in room "A" sound good in rooms "B" through "Z"?????

- Tanlith -
 
It's all in knowing precisely what to listen for, trust for your monitors, and lots & lots of practical experience.
 
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