Mixing, Mastering, etc.

[LuketheXjesse]

I have recently obtained a nice Line6 POD UX2. Which means I can record guitar. I had my hopes all up on getting stuff done for OCR and whatnot and mooching off my free plugins for mastering and whatnot.

Unfortunately, I think I got a little overconfident.

I don't think I have what I need for good mastering and mixing just yet. I have the plugins CLAS, TLs Maximizer, and the entire Classic series, and they aren't helping much. Or I'm just not using them right.

Regardless, could you all possibly share with me any other free plugins I could use for my mastering/mixing? I certainly am no professional with these things, but I spend every hour of my day trying to learn how to get my music done right (and building up my instrumental skill of course) and am really serious about this. I want to make good, professional quality music as quickly as possible; I want to be productive for once and get shit done. I don't care how hard it would be to learn how to use any of the stuff you share with me; I'll spend as much time as possible trying. On a side note, try to keep these plugins free or cheap (because I have little to no spending money for the time being) and then show the recommended, pricey substitute after. If I DID have spending money, what would be the price range for everything (EQ, Compresser, Limiter, etc.)?

If I may also ask: How did you get as good at Mixing and Mastering as you did? Is there any real secret? Where could you have possibly learned the tricks of the trade and what makes which tick? And don't tell me to go to the Production thread; I want to hear what you, personally, did with your time to figure things out.

[Harmony]

I use a lot of SONAR’s default Sonitus plugins, but here are my favorite other free mixing/mastering plugins:

Dominion (saturator/harmonic exciter). I primarily use it for the high frequency exciter. It can add brightness and clarity to your mix without the harshness of just amplifying the high end with EQ alone. The saturation controls also add some subtle warmth. This one is great for individual tracks as well as the master bus. X-cita is pretty good too, but it didn’t play well with SONAR; I kept getting crashes so I kicked it to the curb.

W1 Limiter (limiter): Great simple brick-wall limiter to get mixes that should be punchy, punchy. Supposedly a clone of the popular yet expensive Waves L1 limiter.

Blue Cat FreqAnalyst (spectrum analyzer): nice spectrum analyzer that gives a lot more detail than the default plugin in SONAR. Very useful for trying to weed out troublesome frequencies, or even to attempting to match your frequency spectrum to your favorite zircon or DJP track

T-Sledge (multiband compressor): I don’t use this much because I have better non-free ones, but it does get the job done. Put it on your master bus, select one of the mastering presets and most likely your mix will sound better balanced than it did before, even before you start to tweak.

On vocal tracks or a vocal master bus I’ve recently become a fan of Spitfish which is a de-esser. Works much better than MDA de-ess imo and is easier to get right than simply using a multiband compressor to kill those annoying SSSSSS’s.

I want to hear what you, personally, did with your time to figure things out.

Just make as much music as you can and don't stagnate. Try out new techniques and new software all of the time. Try to emulate a sound you like...that has helped me a lot. Read a guide on mastering and try some of the stuff out. I don't think there's a secret. Practice makes perfect.

[Patrick Burns]

I'm not much of a gearhead when it comes to music software/hardward, and I was not able to find any of the plug ins you mentioned with a quick google search.

I've received very positive feedback on the mix of my songs here at OCR and by some faculty at my school, so I guess that means you can put some faith in what I'm saying. I just opened my latest project, and here's the breakdown on the inserts for each channel.

21 tracks total, mostly synths, some instruments

EQs (channel, parametric, pass/cut): 27

compressors,limiters: 16

modulation (chorus, phaser, etc.): 5

delay/reverb: 3

stereo imaging: 2

Good mixing is straight forward: EQ & dynamic processing. Of those 27 eq inserts I had, 21 were a simple channel EQ (Logic Studio). Otherwise, find a compressor and a limiter. If you can use all of those, you win. Modulation effects can be used to improve the mixing, but only as the icing on the cake.

What I did: made songs, mixed them, got feedback here, repeat. Along the way, I read many of the articles you can find linked at various places on this site.

First lessons: endeavor to make sure all parts/instruments have their own slice of the frequency pie; that is, don't have two or more instruments competing for the same range. Learn to roll off or cut a lot of the low frequencies on most instruments - let the bass and bass drums have their space.

Don't spend too much time mixing on tired ears. Mix your songs on different sets of speakers and in different rooms (more a final step). Always alternate frequently between headphones and speakers (always!).

Take time out to listen to other songs while you are working. Save recordings of the whole mix every so often so you can see where you've been and where you're going.

Whatever you're working with, take the changes TOO far first so you can see where your playing field is. So often, you'll make little changes that, in your mind seems important, but are actually way off from having any real impression on the song.

I'll add anything if I think of it...

[LuketheXjesse]

So...what pricey stuff should I invest in, In terms of plugins? There isn't any hardware I would need for a good sound either, is there?

Also thanks for feedback.

[LuketheXjesse]

EQs (channel, parametric, pass/cut): 27

compressors,limiters: 16

modulation (chorus, phaser, etc.): 5

delay/reverb: 3

stereo imaging: 2

Are these the same plugins being used multiple times or are they all different?

[The Vagrance]

I'm not much of a gearhead when it comes to music software/hardward, and I was not able to find any of the plug ins you mentioned with a quick google search.

I've received very positive feedback on the mix of my songs here at OCR and by some faculty at my school, so I guess that means you can put some faith in what I'm saying. I just opened my latest project, and here's the breakdown on the inserts for each channel.

21 tracks total, mostly synths, some instruments

EQs (channel, parametric, pass/cut): 27

compressors,limiters: 16

modulation (chorus, phaser, etc.): 5

delay/reverb: 3

stereo imaging: 2

Good mixing is straight forward: EQ & dynamic processing. Of those 27 eq inserts I had, 21 were a simple channel EQ (Logic Studio). Otherwise, find a compressor and a limiter. If you can use all of those, you win. Modulation effects can be used to improve the mixing, but only as the icing on the cake.

What I did: made songs, mixed them, got feedback here, repeat. Along the way, I read many of the articles you can find linked at various places on this site.

First lessons: endeavor to make sure all parts/instruments have their own slice of the frequency pie; that is, don't have two or more instruments competing for the same range. Learn to roll off or cut a lot of the low frequencies on most instruments - let the bass and bass drums have their space.

Don't spend too much time mixing on tired ears. Mix your songs on different sets of speakers and in different rooms (more a final step). Always alternate frequently between headphones and speakers (always!).

Take time out to listen to other songs while you are working. Save recordings of the whole mix every so often so you can see where you've been and where you're going.

Whatever you're working with, take the changes TOO far first so you can see where your playing field is. So often, you'll make little changes that, in your mind seems important, but are actually way off from having any real impression on the song.

I'll add anything if I think of it...

This guy speaks the truth.

In addition, LISTEN to your mix on every pair of headphones, speakers, etc. you can. Never be "satisfied" with a mix until after a day or two since you last edited your mix, you may catch something you didn't from before.

In terms of pricey hardware/software, don't worry TOO much about it. I use Ableton and most of the plugins on it are pretty nice and will always do the job, but if you're not completely satisfied, look at Voxengo plugins; they're relatively cheap but a good value. Also, some great special-use are made by Stillwell Audio, which when used correctly can give your mix an interesting edge. That said, if you consider throwing money down then ALWAYS play around with a cracked/demo copy, the moralities of piracy are tricky but if you feel morally fine with using a cracked copy to get a feel for whether or not you want to use something then do so; I convinced myself to not get Waves products by doing this.

[Patrick Burns]

Are these the same plugins being used multiple times or are they all different?

Mostly the same; one kind of compressor, one kind of limiter, 3 kinds of EQs (but mostly that channel EQ, and the other EQs were just simpler EQs which didn't require all of the options of the channel EQ)

[Harmony]

There isn't any hardware I would need for a good sound either, is there?

Nope, you don't need anything besides what you already have to make great sounding tracks.

I was not able to find any of the plug ins you mentioned with a quick google search.

Just FYI, Kjaerhus Classics are a popular group of all-purpose plugins that look and sound pretty good. TLS Maximizer is similar to the W1 limiter and CLAS works sort of like the WOW button in Windows Media Player: it superficially makes your song sound "better", but can mess with timing and kick out some of the frequencies that you actually want. I'd stay away from it.

[Patrick Burns]

LuketheXjesse said:

So...what pricey stuff should I invest in, In terms of plugins? There isn't any hardware I would need for a good sound either, is there?

Also thanks for feedback.

I'm doing my latest mix on laptop speakers and iPod headphones. Towards the end, I'll pull out my AKG K240 headphones: http://www.amazon.com/AKG-K240-Semi-Studio-Headphones/dp/B0001ARCFA/ref=sr_1_3?ie=UTF8&s=musical-instruments&qid=1239162459&sr=8-3 and listen on some bigger speakers and maybe my car stereo. The only microphone I own is a Studio Projects B1: http://www.amazon.com/Studio-Projects-SPSK-Shock-Mount/dp/B0002GYDCS

[LuketheXjesse]

....well, I guess maybe I wasn't overconfident after all.

Thank you all for your input. Much appreciated.

EDIT: I hate iPod speakers.

Zune's are so so so much better. Best headphones ever, Literally.

[Patrick Burns]

Well, they're actually the in-ear ones: http://www.apple.com/ipod/inearheadphones/

[/Apple_whore]

[LuketheXjesse]

Those look much much better.

Zune headphones not only sound great, all sound is blocked out for awesome listening enjoyment.

These look exactly the same as them, so hopefully these are good too.

[Zephyr]

It takes a lot of practice to get good at mastering. Read a few tutorials and start trying to make space for your tracks.

If you want a good set of quality programs, I can recommend Image Line's Juice pack, $99 for the plugin essentials.

The Juice Pack is a collection of our finest FL Studio plugins in VSTi format. It contains Delay, Delay Bank, EQUO, Flangus, LovePhilter, Multiband Compressor, Notebook, Parametric EQ, Parametric EQ 2, Spectroman, Stereo Enhancer, Vocoder, Wave Candy & Wave Shaper.

I can get you 10% off too if you decide to go for it, 10% off here

I haven't tried Blue Cat's FreqAnalysis (downloading now) but up till now I've been using Voxengo's SPAN, a free spectrum analyser, I love it's Band Pass filter option for seeing exactly what part is what that I'm seeing. Good Luck!

[The Vagrance]

If you want a good set of quality programs, I can recommend Image Line's Juice pack, $99 for the plugin essentials.

I actually can't stand the standard FL plugins, exceptions being the Parametric EQ 2, the blood overdrive (which I'm falling out of love with gradually), and the free filter. A lot of their effects are kind of cheap and not particularly useful in a master bus, and few to none of them I would say are better than any other generic plugins you get with any sequencer. I don't want this to turn into another FL vs. other sequencers thread but I'd advise against buying, specifically, FL plugins. They're not terrible but certainly not worth $100, especially when you can get a nice-ass EQ and compressor for that money.

[PrototypeRaptor]

Don't discount expensive plugins from your lists...oftentimes they are expensive for a reason, though there are exceptions. *COUGHWAVESCOUGH*

It really is like 80% you and how you mix things and 20% plugin quality - but they DO HELP.

For eq's I love tritone digital's hydratone - it's got a "fire" feature that adds in some subtle saturation that you'd have to hear to believe.

I also can't say enough good things about sonalksis - they are VERY pricey, but their compressors are some of the best money can buy. Their mastering plugs aren't as good IMHO, but the stereo widener is better than anything else I've ever heard. It's smooth as silk.

I'd get their compressor and that stereo widener any day of the week.

You should also check out izotope's ozone4 for mastering purposes - the digital eq is top notch.

for free stuff, you should check out tls' vsts. Harmony already mentioned his maximizer, but he has several really good plugins that are wicked and cost you NOTHING.

I'll think about some more recommendations and come back.

[Halt]

....well, I guess maybe I wasn't overconfident after all.

Thank you all for your input. Much appreciated.

EDIT: I hate iPod speakers.

Zune's are so so so much better. Best headphones ever, Literally.

I disagree. within the first 3 months of my zune headphones I blew them, they just crackled for 2 secs and bzzzzzzzzzz, Gone. Done. My Sennheiser 280Pros and my $10 pair of sony ear buds work great. I'd reconsider anything but zune headphones...

[Rozovian]

You'll need a decent pair of headphones, preferably closed or semi-closed. The in-ear stuff will hardly be good enough, especially since their bass response changes with how hard you press them into your ears. A quick look at an online store shows you should get a half-decent pair of headphones for under 50 dollars, and if you're gonna spend, putting a hundred or two on a good set of headphones is worth it. Piece of advice, tho, visit an audio store and try some headphones, find a pair that you're comfortable with. if you can't hear what you're doing, you'll probably gonna be doing it wrong.

As for effects, a decent EQ, decent compressor, decent limiter, basic reverb, a delay, an overdrive, a bitcrusher, and a multiband compressor should be enough to get stuff to sound good enough for ocr (works for me at least). There is no ultimate plugin that's gonna make your stuff sound infinitely better. Yes, convolution reverb is better than your typical gritty and free reverb, but a reverb can't do anything but make a terrible dry track sound terrible in a large fairly realistic space. It's easy to skip the step about getting each track to sound good on its own. Once you get each track to sound good, it shouldn't be hard to mix the tracks together.

[LuketheXjesse]

Thanks for the advice Rozo...

...but I already have professional quality headphones! I was merely talking about headphones for casually listening to music in, is all. No, I already have professional headphones for recording and mastering music with; you can't actually listen to anything from my new sound card without them.

[The Vagrance]

I also can't say enough good things about sonalksis - they are VERY pricey, but their compressors are some of the best money can buy. Their mastering plugs aren't as good IMHO, but the stereo widener is better than anything else I've ever heard. It's smooth as silk./QUOTE]

Good god their compressor is so lovely, and the EQ sounds oh-so-very fat. I didn't mention them earlier though just because they're in that awkward "high-priced" range that someone who may not be 100% serious (then again I don't know your motivations) should look at.

[LuketheXjesse]

While I'm at it, I've got a little 30 second WIP here I wouldn't mind you guys hearing, just to see if my production is good so far. You can critque the musicianship if you want, but all I really want right now is to know if this is a pretty good sound. I've listened to it through my computer speakers, a (nasty) pair of sony headphones, and my car (which has high end speakers FYI) and I'm feeling really good with my progress.

[Yoozer]

Do yourself one favor: don't get something like Izotope Ozone which comes with a load of presets. Its interface is horrible and it'll do more bad than good.

Learn what (software) EQs and compressors do - start with just mixing 2 channels. Keep the signal flow as simple as possible and see how much you can do (or how little you have to do) when you just put an EQ on each track and a compressor on the master.

Use something like Voxengo SPAN to check out what happens to the frequency spectrum.

An expensive plugin won't replace a good set of ears - and more important, it won't tell you what you have to hear or what you are supposed to be listnening to. It's not a black art, but it'll take lots of practice.

Also, focus on mixing first. Mastering is the spit-shine and won't fix turds.

[Harmony]

Do yourself one favor: don't get something like Izotope Ozone which comes with a load of presets. Its interface is horrible and it'll do more bad than good.

That's interesting. I haven't heard too many complaints about Ozone in particular. I am semi-seriously considering buying it in the semi-near future so I'm interested: Are you saying that it will do more harm than good because of some limits of the program, or are you just saying that a person who doesn't first have the fundamentals down will most likely do more harm than good?

[Hy Bound]

I personally use Waves mastering stuff for mastering and I absolutely LOVE it. Its super expensive, (i got my Gold bundle for about 1200 bucks, I think you can find it for about 1000 now though. My Mastering Bundle was another 700 bucks.) but its the absolute best stuff around.

My mastering rack usually is made up of (in order of appearance):

EQ (Live's onboard EQ)

Waves Renaissance Bass (adds a tiny bit to the low-end when i need it)

Reaktor - Flatblaster 2.0.2 (my favorite quad-band compressor; adds a teensy amount of warmth and also narrows/widens each band separately)

EQ (Same EQ, but only for the slightest tweeks to EQ)

Waves L3 (wonderful for adding that last little bit of Limiting and sheen, also can slightly tweek the compression with it's 5 band compressor)

Waves Analyzer (this helps makes sure I'm not too wide/narrow and helps with finding EQ problems)

My main tip would be to just practice a TON with different styles of music. Simply going from a rock song to a drum and bass song (not terribly different as far as dynamics) can mean a drastic change in how mixing and mastering is handled.

Also, The Vagrance is totally right about waiting a couple days before saying "done" with your song. I recently came out of a session thinking I had done the best possible mastering job to my song and came back the day after to find it sounded like complete ass... Its frustrating, but your ears become very accustomed to the same frequencies you've been listening to for a while, so give em a breather and you'll hear things completely differently.

Also, one of my own biggest tips is to make sure you understand what is being done with every aspect of production. Not sure what makes a synth sound the way it does? Study the basics of the synthesis behind it. Not sure how a phaser works? look it up.

For instance, I used to use a chorus on my snares to fatten them up, but then found that they weren't very snappy. Since the chorus delays the channels separately it effectively rounds the sound out; not what you want for a snare. There are a ton of those kind of relationships with every effect you use; learning them can save a lot of time of trial and error. A side note is that you don't want to use a phaser on a bassline; since the frequency shifts up into the muddy 200-300 Hz range. Like I said, you probably wouldn't have figured that out for a while if you didn't know how a phaser worked.

Anywho, I hope this helped.

[LuketheXjesse]

Based on my observations

People who do electronic music say "BUY STUFF ROFL" and people who are solely live instruments say "YOU HAVE WHAT YOU NEED ROFL"

I'm all about live instruments, so I think I know what route I'm going here

[Yoozer]

Are you saying that it will do more harm than good because of some limits of the program, or are you just saying that a person who doesn't first have the fundamentals down will most likely do more harm than good?

The latter.

The interface does suck, though. It doesn't use screen real estate properly at all, and it's got awkwardly hidden controls.