First mastering job: help!

[Fieryjack]

Hi, Gang:

So I just got my first mastering job . I have no idea what i'm doing, but you've got to start somewhere, right?

So far, I've only mastered my own stuff. This is an acapella group who approached me to master their album. Can someone here give me a step by step to help me succeed? To do this, here are the limited tools (try not to laugh) I have at my disposal. I don't have the $ to rent or buy anything else at the moment.

- Logic Audio 6.4 (I've heard the multi-compressor and Ad Limiter are good for mastering)

- Alesis Masterdisk 9600

- Drawmer 1960 Stereo Compressor

- Universal Audio 2108 preamp


Thanks in advance.....

[Professor]

What's available to you as far as monitors, including both speakers and headphones?
How are you receiving the tracks?
Are you receiving multiple mixes of any tunes? choosing track order? adding fades & spacing?
Are they sending the disc out for replication?

-J

[JohnDavisNYC]

have you read 'mastering audio'? that's a good way to get some good ideas about stuff.

i wouldn't master with the logic plugins... they don't sound up to snuff to me for mastering.

now, i'm not a mastering guy, but if you can, i'd play the mixes off the masterlink, through the 1960, captured into the computer, then edited and any additional EQ or limiting done in logic before you export the tracks to assemble in jam or whatever.

john

[Fieryjack]

My monitors are Event PS-8 and Apple Computer M6082 (Clearmountain faves!).
Headphones are AKG K66....

Computer: Apple G5 dual processor.

My normal process is this: I set all fades in Logic, bring into iTunes for basic sequencing, then bring into Masterlink and apply light DSP (limiting).

However, I need to know how to best incorporate my Drawmer and at what stage and what settings?

Track order is already defined by client and they are duplicating. I handle fades/spacing

Any/all help appreciated. Thanks again.

[Ryan Silva]

The best advice I have ever heard, is to be rude and hijack every system you come across. Every boom box, every car stereo, every set of headphones good and bad.

"Pardon me while I cut your 'Coldplay' i need to test a mix." Mean but effective.

[Professor]

I'd be concerned about not hearing the top and bottom frequencies very clearly. I know it's a vocal group, but pops, foot falls, traffic noise outside, there is a lot of stuff that can end up in the very low range where the small monitors will peter out. On the top end, there are harmonics, RF & other equipment noise, and just other stuff that might escape. I'm not sure if you're in NY, NY or somewhere else around the state, but you should find your local high-end stereo shoppe and make friends with the guys there so you can have access to a system that will show you what's going on at the top and bottom of the mix.
And I wouldn't get really hung up on the idea of having to run the mix through the Drawmer compressor. If it's coming to you on digital, and especially if it's coming to you in low-res digital, like on a 16/44.1 CD from the mixer, I just wouldn't go through the conversions just to hit that particular unit and end up right back in the computer. Or at the very least, I'd explore a few digital only paths first.

And remember that there's more to mastering than EQ and compression. You might find that a couple tracks or all could benefit from a little reverb or other sweetening. You should comb through the tracks very carefully (typically on headphones) to catch any little blips or crackles whether they be acoustic issues like spit & lipsmacks or recording issues like static or dropouts and edit those out of the tracks. Get the tracks balanced so there is a smooth transition from track to track, not necessarily all at the same level, but not abruptly jumping up and down. And if you hear an idea for a different song order, offer it up.

That would be a pretty good start, and yeah a multi-band compressor could be a bit smoother in a mastering stage.

-Jeremy

[MASSIVE Mastering]

The process is simple -

(1) Listen to the mix as objectively as possible.

(2) Mentally visualize (realistically) the mix's potential.

(3) Set up a chain using whatever you have at your disposal that will get the mix to its potential.

(4) Tweak.

Don't experiment, don't fiddle with a dozen different plugins - Have a plan - don't guess - Listen, visualize, attack. Experiment on things that don't matter. It's the fastest way to lose focus.

Other than the obviosities (clicks, pops, hum, rumble, sibilance - generally corrective measures), if you don't know what the mix is asking for during the first listen, go on to another one.

I'll save my thoughts on maul-the-band compression... I'd hope that the mixes aren't screwed up enough to require it.

[Professor]

Well there you go. That's more than just mastering advice there but advice on how you should approach every step in the chain. Listen, visualize, setup, and tweak. Works for instrument setup, mic selection, tracking, mixing, and mastering, now doesn't it. Thanks John.

-Jeremy

[Mark Alan Miller]

Yeah - I like that simple 4-step plan there. Cool. It *does* apply well to many things.
I also like the word "obviosities"

[Studio2roll]

I agree with toaster 3000, go get the book "Mastering Audio" by Bob Katz, you'll find it extremely handy for mastering as well as some good info on other recording aspects.

[Fieryjack]

John/Jeremy et. al...

Thanks. I think I do understand the philosophical step by step approach. That said, I know my Drawmer could impart something sweet to the final tape. Can anyone suggest settings as a basis from which to start?

Thanks

[MASSIVE Mastering]

No way to tell without hearing the mixes.

[TooLoFi]

automate, and write down your outboard settings. The client will probably want a second pass at mastering. keep things very simple so you don't get too far off track from the mixes. Also, don't get drawn into a "master-as-loud-as-possible" mentallity. Make it sound good, and don't crank up the limiter just because you can. I've screwed up many mixes doing this.

Other than that, make sure you reference it in your car before the client does. If you were listening to a vocal group while driving down the road, what would you expect to hear? What would you expect to hear in your living room? in your kitchen? on your answering machine? etc.

Greg