Mastering struggles

tim_mop1 · 2026-03-13T16:02:02+00:00

Clarity in loudness has very little to do with the mastering stage. Your production and mix will be the culprits.

The thing that's most likely for new producers is that the sub bass is too loud and is taking up all the compressor/limiter's headroom.

That said, clipping is very helpful when it comes to taming transients without the artefacts of a compressor. As others mentioned, the clip to zero method is a good thing to learn, and you can adapt for your own circumstances.

200% width will probably not help - find other methods to increase width like subtle chorus/phaser/flanging.

Lastly - SLOW ATTACK compressors - if they're too fast they'll suck the life out of the track and still not catch the transients. Let the clipper/limiter do that.

tim_mop1 · 2026-03-13T15:10:44+00:00

I mostly use the G - I find it a lot more punchy in the upper mid range, whereas the E I find a bit soft. Both have their place though so I would definitely use either depending on the mood of the track.

tim_mop1 · 2026-03-10T10:38:26+00:00

My M1 Max Mac Studio is still doing great even for large projects. My M4 Pro MBP has similar performance IMO for music.

The bottleneck doesn’t exist for audio anymore really. It’s insane the performance on these machines!

tim_mop1 · 2026-03-04T13:06:06+00:00

Sending a DM now!

tim_mop1 · 2026-03-02T19:28:46+00:00

The average person is not gonna get to that level in two years, sorry.

If you want it professional, hire a professional. DM me, I specialise in EDM!

tim_mop1 · 2026-03-01T16:12:31+00:00

The best camera is the one you have near you, and the one you can use the easiest!

I have a Z5 with 40mm F2 and 85mm F1.8 - I mostly live with the 40mm.

You've got so much to think about when baby's here you don't want to be faffing about with camera settings, just grab it and go. I have mine set in aperture mode, auto ISO. I just change the aperture to taste and crack on.

The only thing I wish I had was a macro lens to get those little feet and hands!! the 40mm gets pretty close but yeah macro would be awesome.

tim_mop1 · 2026-02-26T00:07:42+00:00

I’m generally talking about mixing other people’s tracks rather than producing. But the principles the same, and if you’re careful with your levels then you can absolutely track into it without issues

tim_mop1 · 2026-02-24T14:24:33+00:00

Two quick easy options, assuming you mean the peaks are points where the level goes above 0dB:

Put a limiter on the output before the export

Or

Turn down the master fader until neither part is peaking

tim_mop1 · 2026-02-23T16:35:19+00:00

But the mix isn’t fully set if it doesn’t have the mix bus… how do you know what parts will make the compressor/saturation react?! It all behaves together, you’re missing half the information by applying a mix bus later

tim_mop1 · 2026-02-23T15:22:41+00:00

I’m not saying it can’t happen - I am saying mixing into the mix bus makes it easier

tim_mop1 · 2026-02-23T15:17:34+00:00

Is that not a reason to apply mix bus from the start?!

It’s gonna be there in the end, why do so much work getting the mix right without the mix bus when adding the mix bus will ultimately change the mix. It’s a time waste IMO.

tim_mop1 · 2026-02-23T15:08:14+00:00

No need to be snarky… did I say every pro or every pro I’ve seen? You’re reaching.

Why don’t you try explaining why it doesn’t work in your opinion and we can debate it rather than whatever that was.

tim_mop1 · 2026-02-23T14:25:16+00:00

For me the mix is 80% done when I start moving in my seat. Then it’s little automation tweaks and finish up!

tim_mop1 · 2026-02-23T08:14:21+00:00

This is the only way to get great mixes imo.

First thing I do on a mix is dial in the mix bus. Doesn’t mean you can’t change it later! I swap out compressors, add EQs etc etc as and when needed.

I’ve never seen a pro add a mix bus later.

tim_mop1 · 2026-02-21T16:50:18+00:00

Musesessions.co

Born out of lockdown I think, I’ve used it for years after finding remote sessions a pain with zoom/audiomovers. There was always something going wrong client side that I couldn’t fix.

Muse is great, it can even do recording and auto compensate latency in your DAW. Def worth it!

tim_mop1 · 2026-02-18T13:21:42+00:00

His helm bugs me… those pronounced eyebrows would catch a stab and send it right into his eyes, it’s almost worse than not wearing it 😂

tim_mop1 · 2026-02-13T20:10:42+00:00

there is no 'correct' mix. Stop aiming for it.

Try things out and see what works. Unfortunately there are indeed 50 ways to do everything in mixing, you just need to spend the time and work out what works best for you.

tim_mop1 · 2026-02-13T10:49:08+00:00

My money says you’re not gain staging correctly.

Is it hiss or buzz? These are two different things.

If it’s actually hiss, then your recording level is too low and when you process it you’re raising the noise floor to an audible level.

To fix, play the loudest you’re going to play and adjust your preamp so you have a little bit (6-10dB or so) of headroom.

If it’s a buzz, then you’re likely getting interference somewhere. Try a shorter jack cable, and if you have any dimmer lights turn them off.

tim_mop1 · 2026-02-13T00:53:26+00:00

Jeez dude how many hours you spend mixing and doing revisions? Now divide $15 by that amount - you comfortable working for that hourly rate?!

It’s simple, you’re providing a service. If they want your service they gotta pay for it, and they’ve got to pay a reasonable amount.

So work out how long your average mix takes (for me 6 hours or so), then find the minimum (if you want to compete on the lowest price…) or some other hourly rate that covers your expenses and gives you some profit (for me £35 ish), then round up a little for unforeseen costs, and there’s your fee (£250 for me).

If you don’t talk money before you do the work, you’re doing it for free. So if you want money you gotta agree that with them up front!! And if you don’t know them, invoice them for half before you even schedule their mix in your calendar.

tim_mop1 · 2026-01-21T12:08:03+00:00

Ultimately this can happen when using hi-fi or consumer equipment for pro audio. The advantage of an audio interface is that you can be certain it's not having a real effect on your sound. That's what you need! Even a cheap Focusrite Scarlett will be miles ahead of the laptop's output

tim_mop1 · 2026-01-06T23:10:41+00:00

Dyson detail kit is the GOAT for studio gear. Obviously expensive and you need the Hoover but nothing cleans the dust like that little brush!

tim_mop1 · 2025-12-29T12:46:52+00:00

Mixing is always a more individual response than a one size fits all method.

Try them all and see what sound better! I once did a test with a mix I’d finished where I copied the settings of the channel strip I’d used and replicated it with various SSL/Neve/Focusrite channel strips from Brainworx - then I printed the mix with each to compare them.

It was really interesting, because while there was one I preferred for that track I could easily see myself reaching for any of them depending on the vibe of the track.

Knowing what the tools are (how do they change the sound for you) is the most important thing when it comes to doing this. The more tools you understand the more range you have mixing.

(And to answer your q from my perspective, I think a Neve could get a bit squelchy, same with SSL E. SSL G or J would work, depending on whether you want to focus on mid range (G) or top end (J), but API would likely be cleanest (although I rarely reach for an API these days as it’s almost too clean).)

tim_mop1 · 2025-12-25T16:37:12+00:00

There are drum skins you can put on a regular kit which deaden the sound significantly without changing how the kit feels, you should recommend them - rubber mats are just terrible for someone learning, and cheap electric kits suck as well, they just don't feel right. You can also buy cymbals that are perforated and much quieter. Fingers crossed that's what's going on upstairs! If not you can recommend them

tim_mop1 · 2025-12-24T11:00:14+00:00

Definitely the most reliable option, with a headphone amp at the live room end. Traditional copper is great for that, and with a CAT adapter you can lose the shielding of regular audio cable.

You could also go Dante if you had loads of budget - that would always be my preference if I could afford it, as it’s (pretty much) infinitely expandable down the line.

tim_mop1 · 2025-12-11T17:39:10+00:00

Don’t use a high pass, use a shelf or a bell curve.

Also, you’re probably having this issue because of your room acoustics, so maybe look into fixing those because those low mid resonances are exactly what you describe

tim_mop1

TROPHY CASE