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ear_to_floor
New member
Getting distortion ONLY when full mix high volume
Last edited:
Massive Master
www.massivemastering.com
Oh Jeebus... Who's turn is it this time?
kip4
Well-known member
ocnor
Lord Of The Thighs
Bobbsy
Boring Old Git
I hate to spoil all the fun but....
...turn down that high volume. You're pretty clearly pushing things too hard and getting into clipping which is causing that distortion.
...turn down that high volume. You're pretty clearly pushing things too hard and getting into clipping which is causing that distortion.
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ear_to_floor
New member
Got it thanks. I will also make sure to record in 24 bit next time too instead of 16. Cubase sets it at 16bit. Thank you sounds much better.
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mixsit
Well-known member
Last edited by ear_to_floor; 1 Hour Ago at 08:31.
Hmm. Welcome to the site, but gee, might want to edit that again with some form of question, actual details and ..stuff.
One possibillity--? (from Firesign Theater/Fudd's Law;
If you push something hard enough-- It will fall over
Oops came back to post.. too late
kip4
Well-known member
Getting drawn into the loudness wars is in my opinion a mistake.
Not that i'm an expert by any stretch of the imagination and i'm sure someone will shoot me if i step out of line and say.
I master (in the best way i know how given my knowledge ability and available tools) to a finished peak volume of between -10 and -6 db.
I figure if i leave some headroom when and if i want to compress to mp3 standard (which from past experiance can boost the peak upto clipping and distortion even at the previously mentioned levels) i can always turn the amp up if i want to listen to the track louder.
Thats what the volume button on my stereo's for.
Shoot me now experts but thats kinda the way i see it.
I hope this makes sense because its a bit of a rant sorry.
Not that i'm an expert by any stretch of the imagination and i'm sure someone will shoot me if i step out of line and say.
I master (in the best way i know how given my knowledge ability and available tools) to a finished peak volume of between -10 and -6 db.
I figure if i leave some headroom when and if i want to compress to mp3 standard (which from past experiance can boost the peak upto clipping and distortion even at the previously mentioned levels) i can always turn the amp up if i want to listen to the track louder.
Thats what the volume button on my stereo's for.
Shoot me now experts but thats kinda the way i see it.
I hope this makes sense because its a bit of a rant sorry.
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mixsit
Well-known member
I was aware of leaving some headroom for the conversion to mp3, but didn't expect it would need but a few db. (this is a good safety number?
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Ninth Life Lost
New member
From what I've been reading recently, it appears that you can get good results tracking at -12dbFS on a 24-bit recorder. That would leave quite a bit of headroom for mixing and mastering.
kip4
Well-known member
Steenamaroo
...
"Getting distortion ONLY when full mix high volume"
In fairness, I think that's open to interpretation.
This thread is about mastering not tracking
In fairness, I think that's open to interpretation.
kip4
Well-known member
To be fair Steeno the op edited his post to read just the title, but i'm confident it was all about mastering.
Steenamaroo
...
I'm just poking fun, pal. 
I thought it was funny that he edited out the coherent part of the OP.
I thought it was funny that he edited out the coherent part of the OP.
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mixsit
Well-known member
..headroom for the conversion to mp3", this part of the comment was for conversion on a fnal mix.
Bobbsy
Boring Old Git
I just noticed that the OP mentioned he's planning to change from 16 bit to 24 bit.
Assuming he's talking about 24 bit integer (I don't know of any DAWS using 24 bit floating point but I'm prepared to be corrected) this gives extra dynamic range but it won't do anything to help if levels are going above 0dBFS. And, once mastered, he'd still have to convert the bit depth to 16 bit if he wants to burn a CD.
Even at 24 bit, you still have to keep your levels below 0dBFS.
Assuming he's talking about 24 bit integer (I don't know of any DAWS using 24 bit floating point but I'm prepared to be corrected) this gives extra dynamic range but it won't do anything to help if levels are going above 0dBFS. And, once mastered, he'd still have to convert the bit depth to 16 bit if he wants to burn a CD.
Even at 24 bit, you still have to keep your levels below 0dBFS.
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ear_to_floor
New member
My firewire mixer is 24/96k so maybe I should set the Cubase project to 24 bit because of that. But I hate the file sizes.
My original question was how to make my Master sound as loud as current trends so I thought Engineers were going past the clip to do this. I was getting distortion.
It would seem like they are using (high end) compression before the clip. Something I can't afford. I am experimenting with that now but would rather the listener adjust their volume settings instead of me forcing it.
Still, recording at 24 bit (96k) gives more headroom before distortion, I am reading, so I will just give in and use 96k on recording. Hate the file sizes.
My original question was how to make my Master sound as loud as current trends so I thought Engineers were going past the clip to do this. I was getting distortion.
It would seem like they are using (high end) compression before the clip. Something I can't afford. I am experimenting with that now but would rather the listener adjust their volume settings instead of me forcing it.
Still, recording at 24 bit (96k) gives more headroom before distortion, I am reading, so I will just give in and use 96k on recording. Hate the file sizes.
Bobbsy
Boring Old Git
The extra bits are at low levels, not high. To use the headroom you have to record and mix at lower levels--0dBFS is still the same thing whether you're using 16 or 24 bit. An exception to this would be if your software could handle 32 bit floating point. Over simplifying, this lets the software move the decimal point so, even if you exceed 0dB on the metres/scale all you have to do is normalise downwards and all will be okay--I've never used the software you have so don't know if it does floating point operations.
To answer your question about making your stuff sound as loud as commercial recordings, the answer is to overuse compression and hard limiting. In addition, an increasing trend is to actually allow some clipping--despite the way it sounds. Rip a few "loud" commercial CDs and I bet you'll find the meters go into the red on most tracks.
Up to you, of course, but I'd strongly suggest that, in the choice between "sound good" and "sound loud" you dig your heels in and go for good.
To answer your question about making your stuff sound as loud as commercial recordings, the answer is to overuse compression and hard limiting. In addition, an increasing trend is to actually allow some clipping--despite the way it sounds. Rip a few "loud" commercial CDs and I bet you'll find the meters go into the red on most tracks.
Up to you, of course, but I'd strongly suggest that, in the choice between "sound good" and "sound loud" you dig your heels in and go for good.
kip4
Well-known member
I'd agree with this
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Shadowamd
New member
More too it than just that, if a mix has been done correctly you should not loose extreme amounts of transients at lower levels of volume. It seems like it has been overcompensated for lower listening and when it's been brought up in volume it's brought tons of transient's forward and then causes distortion.