Mastering: D-I-Y or hired engineer?
Monday September 8, 2008
As the cost of mastering bundles continues to plummet, more and more DIY artists are turning to mastering their albums themselves -- whether you're using outboard gear or the latest plugins.
I'd like to hear from artists who've recently put out an album. Did you master yourself, and if so, how'd you do it? Did you hire out mastering? What factors influenced your decision?
I'd like to hear from artists who've recently put out an album. Did you master yourself, and if so, how'd you do it? Did you hire out mastering? What factors influenced your decision?
Comments
THe question is how low profile you want this album to be.
Mastering in a proper studio (mixing/mastering room) is important to built it is very time consuming which will eat your craetive (writing practising preforming music)
Moreover, having an objective or different ear on you’re matterial can lead you to new points of view.
Coopration with other people can contribute you always can reverse.
that said I will try to get someone who I trust and like to mix/master…but if it is too expensive I would try to mix/master on my own and check it in cars and differnt stereo (ill do it anyway probably before I send to mastering)…
Hope it helps someone…
Sorry for the misspellings I just rewrote fastly my first post cause it didn’t recieve it(and boomed it unfortunatly) . Good Luck
I agree with you, Roker, and thanks for your comment. The biggest advantage, in my opinion, is, as you said, a fresh pair of ears. I’ve been hearing from a lot of readers looking for information on how to self-master, and I’ve been curious — how many are actually doing that?
I’d guess that it’s way more than we’d think, and I’d be interested in knowing more about how that quality compares to those value-based mastering companies that are all too plentiful these days…
For our recent album, we employed the services of a dedicated mastering engineer, someone with whom we’ve worked before.
I would agree with the above comments, and would like to reiterate that the insight and fresh perspective that a mastering engineer (ME) can bring to the project is invaluable. The best is when the ME provides creative and constructive criticism regarding the mix, the performances, and the overall project. Remember, if you are hiring this professional, you have the option of taking the suggestions or not. It is also important to take time to evaluate these comments and then make an informed decision. Try not to make a decision under duress, for example a compressed time schedule. My experience has been a very positive one with the ME and he is a very important part of the production team.
Regarding mastering myself; well I’d rather not do it. That’s not to say that I haven’t dabbled with it for fun; but I’d rather spend my time focusing on practicing my instrument and writing better songs. Plus managing the recording process is more than enough for me to handle. I’d rather play my guitar than my computer. But, to each his own. Best wishes.
I agree with the points made by you guys; given my druthers, I’d have the album mastered at a professional house for most of the same reasons – dedicated mastering room, someone who does it for a living, different set of ears, etc…
HOWEVER, in our recent album release (last November) we took it to a mastering house – one I’ve worked with on other projects before – and the results were so underwhelming that I’d have rather released the pre-master than the “mastered” copy. We were rather disappointed, especially since we still had to pay for the service.
So I took it upon myself to master the album myself, using the tools I have, and learning the process as I went. I emulated some of the things I’ve seen in mastering studios – for instance, had a set of boom box speakers hooked up so I could hear a “real world” version of what it sounded like – and purchased a second set of monitors for some “reality checks.” I also did several tries, particularly on the first couple songs I did.
Looking back, I’m a LOT more happy with what I did, but I can certainly hear things now that I might have changed had I heard them then. But the album sounds great, sounds professional (I did the mixing and tracking myself, too) and we’ve received tons of compliments on the quality of the recording.
Do I recommend the DIY approach? Only if you have a LOT of time and patience, and are willing to do it right. Having a suite of high-end effects (I have the Waves Platinum Bundle) makes a huge difference too.
–Mark of Din Within – “Awaken the Man”, the debut album, available at Amazon, CDBaby, Target.com, iTunes, Napster, etc.
This is just in time for me. We’re wrapping up the mix on our church’s 2nd recording. I mastered the last one, and folks loved it, but then again, I don’t think it ‘pops’ like those CDs I buy in the store.
I’d like to accomplish that myself this time (because I am trying to save $$ for the church), but I’m not sure of the best way to do it.
On the last one, I used the Roland VS-2480’s Mastering Room ‘Remastered’ effect insert along with some normalization, but that’s it.
This time around, I’m using Cubase 4 for everything, but I don’t if there are good inexpensive VSTs to use for mastering.
Of course, I always use the ‘car test’, ‘walkman test’ and try a few different systems to compare the mix.
I heard a friend of mine mention that he was using a great mastering guy for rock music that is inexpensive – but I’m not sure how to decide which way to go.
SO – there’s my feedback on my DIY experience. Any tips would be greatly appreciated!
-Jeff
… regarding tips – can folks include info on what plugins they’ve used with success as part of your D.I.Y. project? If there are especially good free or inexpensive ones, that would be great.
Like I said, I use mostly the Waves stuff – inexpensive it ain’t. But I used the L2 Limiter, lots of Renaissance plugins, the multi-band compressor, parametric EQs… It’s been over a year since I did it, so I don’t remember how I chained them. I do recommend doing a web search for mastering tips; you can then figure out some more affordable plugins to use. Just be exacting – many of the cheaper plugins add lots of noise. Of course, even some of the expensive ones do – I’ve found that Antares Tube is crackly and adds all sorts of crap when I use it in a mastering effects buss…
Thanks so much. I’ll search for tips. If anyone else has anything to add, I’m still all ears… (I’ll have to hold off on the Waves stuff for awhile)…
I waisted tons of hours mastering it myself,tweaking and so forth,but at the end i wasnt satisfied ,so i sent it to someone with the better gear to bring up the levels and tweak it slightly! but im still not satisfied,because i think it just needed level boosting,and it was alittle overtweaked,just a little on high end of equing!So it wouldve been better for a fesh pair of ears to master right after you get a great mix, its not that expensive and itll sound great if you go to the right people!chk around!
I’m a audio engineering student and I can confidently say if you don’t have any experience, and you don’t know how your equipment works inside and out, don’t bother! Mixing or (especially) mastering engineering requires much more than a few tools and a good ear. (Good) Audio engineers have a wealth of tools at their disposal and use multiple compressors, gates, filters, EQs, etc. on each track in the mix. As novice engineers we learn all these tools by reading each and every manual that comes with these plugins (or hardware). The settings of these tools are NOT guess and check, and you most certainly can’t use the same setting for every mix you make. The use of different effects isn’t just willy nilly, you have to have to mix everything in such a way that it complements the mood of the song.
If you are seeking to get a record off the ground, get a record deal, etc. you can’t afford to DIY. A&R will know the difference between a professionally mixed track and a home cooked one, unless you already have been trained. If you have a good track you can’t afford not to have it mixed! It is the equivalent of having a Lamborghini that only goes up to third gear.
A&R WILL know the difference? Will they travis? I don’t think so. A&R obviously stands for artist and repetoire. It ain’t the production they are interested. It’s the music and the musicians not the “the sound guy” coz I’m sure they can source their own. DIY is fine if you work with your mixes and compare. Get it mastered elsewhere to bring the levels up. That’s if you are wanting to join the loudness wars. My band got signed and we were DIY all the way. If your compositions and performance are shit, it doesn’t matter who you get to mix and master you material. Can’t polish shite.
well, if you are the guy who knows what you want in your sound and “work it”, good to DiY, but if you are “not sure” or if you just want to hear your guitar good and loud and said “to hell the drums” the best option is another pair of ears to do it.
We are a soup-to-nuts indie record label. We provide the artist with a great studio, engineering, and depending on the project, mastering. Mastering is not something that can be achieved using a plugin on the master fader. It’s not just point-n-shoot. It takes years of dedication, frequency analysis, practice/implementation, etc. There is a reason why our in-house mastering engineer makes the money he does: He is a fresh set of ears, not part of the recording and mixing processes. Also, he is trained in what he does, has years of experience, and our records sound fantastic. Having someone else master your music is a quick and dirty way of getting it done; however, if you decide to take it upon yourself, be prepared for a long road, lots of tests, and keep your dedication. You won’t be ‘learning’ how to master within a few clicks of your mouse. Don’t kick your album out the door with a preset haphazzardly slapped onto the top of your mix. Why would you spend all of your energy, writing, recording, etc. and then just turn it out because of time? Don’t. Give it the attention it deserves.
- Paul Bethel
Media Relations, Anti Rust Records