How to get more transparency in a master?

Discussion in 'Recording Studio' started by gunslingerjh, Apr 10, 2017.

  1. gunslingerjh

    gunslingerjh Headless Mofo

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    Just finished remixing/remastering an old song of mine.

    It would be great if I could get some feedback from some of you guys on both the mix and the master!

    I personally like the mix very much, but I'm having trouble getting the master on the right volume without sounding too smashed..

    Using iZotope Ozone for this

    PS: (I know there are some clicks on the intro, will replace that part later)

    MIX:
    [SC]https://soundcloud.com/julienhauspie/origin-mix[/SC]
    MASTER:
    [SC]https://soundcloud.com/julienhauspie/origin-master[/SC]
     
  2. JohnIce

    JohnIce Singlecoils = tr00

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    Listening on laptop speakers so I can't say much specifically, but I do hear the problem in the master. I think part of it is in the way the song is arranged, this style of music is always gonna be hard to get as loud as let's say an EDM track. So whatever the "right volume" is is pretty necessary to be realistic about.

    Whenever the master sounds too smashed it's either the bass or the snare in my experience, so cleaning up the low end and riding the snare a bit is usually enough for me to get a clean master at around -5 to -7dB RMS which I think is plenty loud. Turning down the overheads but lifting some treble at the mastering stage can usually make the song more pleasant too, giving you some more decibels to push without it sounding harsh and pumping.

    Ozone is amazing but I find its strength to lie just as much in the multiband stuff as in just the limiter. The exciter and imager are surprisingly potent for cleaning up a song.
     
  3. Fretless

    Fretless Knob Fiddler Contributor

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    How you're doing your compression is a huge part in maintaining that transparent nature when doing mastering. Never just compress it all at once followed by your master limiter. This will kill absolutely everything you're working to achieve. What I do (I have a very different setup, but if you want, I could run your stuff through it just to give you an example of how what I do works) involves multiple stages of compression followed by an EQ after each stage in order to restore and frequencies that were negatively effected. This is a more gradual approach, which comes off sounding more transparent and dynamic in my opinion, and to do the amount of stuff that I do with my rig in ozone, you'd need a few separate instances of the software up.
     

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