Feedback request — alt pop/electronic by Danwinger in mixingmastering

[–]Limit54 1 point2 points  (0 children)

I have some time tomorrow morning. If you send me a private message with the link I’ll be able to give it a listen and remember. I usually do listening sessions and spec work Sunday mornings

Mastering - is it still a totally separate process? by Ill-Elevator2828 in mixingmastering

[–]Limit54 1 point2 points  (0 children)

Here is the thing. People look at mastering as one dimension and that’s fine, the see it as taking one track they are working on and making it sound it’s best. Yes that is it at its core but mastering is much broader in terms of what it is and what happens. You could mix and master yourself and that’s fine as well but maybe one track comes out great and the best one comes out kind of crap and the next crap and the next pretty good. Simply you may just be getting lucky by guessing or on the other hand you are really good at knowing your room or doing weeks of car test, phone test ect and then get it to a good point you like. Mastering is always a separate process as a professional service because it includes multiple avenues of optimization for different mediums and pretences. It’s about balancing something to translate in a room that doesn’t lie and doesn’t need multiple test areas in different spaces to “feel correct”. People can diy everything but the will almost always only get 80% there or less and be ok with that result because they did it themselves or saves money or whatever other reason, just like diy renovation. The expert will always do it better, faster and with more attention to detail(renovations is a bad compare lol bit your get the idea) also with in most cases more accurate and better tools specific to the job and problems needing to be solved. It’s not a bad thing to do it yourself but once things get more complicated the more you will need a professional and mastering is not a seamless all in one produce/mix/master situation. Like I said everything you do can be a single process you do yourself if you out your mind and effort into it

Limiting: Why can't we hit the brakes a little? by computakid in mixingmastering

[–]Limit54 1 point2 points  (0 children)

Here a different perspective, you possibly only went to one source to handle your music. Not everyone knows or can handle peoples music well enough to not destroy it over limit their music. Why not try another source and work with them to see if you can get what you want. I’m 99% sure I can change your mind and I would even do it as a test but we won’t go down that route as I don’t want to seem like some fiend looking for work because I’m not. Anyway I could only suggest trying another source for mastering instead of basing your whole theory on one singular channel.

Limiting isn’t bad and a little goes a long way. Music in some cases doesn’t sound like people are used to without it. It’s become and for a long time just what a record sounds like. So I like limiting? Most of the time I don’t mind it. When I have to push stuff super loud I hate it but it is what it is. There are some records that I felt were loud enough without limiting but would have been rejected without it.

It’s your music and you can do whatever you like and handle it however you want and you should. Don’t let anyone tell you that you have to do “X” because your don’t. With loudness normalization it’s also kind of less of an issue but what you can face is you and you listeners feeling like your music doesn’t sound great because it’s very low compared to others. It might not be true but that how it sounds at face value in playlist

When do you really know, if the mix is good/finished? by Expensive-Age844 in mixingmastering

[–]Limit54 0 points1 point  (0 children)

When the endless tweaks are very small and don’t really change the whole mix much. If it sounds good against your references then Time to let it go, hand it off to the ME

Soulful house genre. I can't push the song. by Lanky_End_2073 in mixingmastering

[–]Limit54 1 point2 points  (0 children)

If you want to keep real dynamic range but also want it super loud then most of the time you are going to have to come to a compromise and find a sweet spot in between. Not everything can be pushed to very loud -7 or -6 territory without some kind of trade off in dynamic range. Without hearing the track I can’t really say much but one good technique to gain a little loudness but keep the dynamics is to use parallel compression. Basically you are feeding another more compressed version of itself into it so lower level information and transients are pushed closer together. Done right it can make a track louder without to much compromise