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Possibly a bit more expensive than you want, but you can't really go wrong with a TC Electronic D2.

Wow, there's a mastering podcast with 32 episodes already recorded? Amazing, can't wait to delve into it.

Another thing you could try is a sort of manual gating - turn down the overheads and duplicate them a couple of times, then make one track the "snare" OH track and the other the "toms" OH track or whatever, and cut out just the sections where those parts of the kit are hit. You can then process sper...

Most decent modern crossovers will include limiter protection - I would recommend getting a digital crossover as lots of settings, such as limiter threshold and often stuff like EQ can be saved into different patches for different applications/rooms. I would definitely recommend having some kind of ...

I have used both 166s and 160s. To me the 160s sound significantly better despite having fewer controls.

Recycled_Brains wrote:
I generally like to let the compression on the drum submix to do the heavy lifting more than compressing each element to hell and back. Not always, but more often than not.

This is the way I am as well. Just seems to usually sound better that way.

Do the "truly great mastering engineers" and "successful mastering facilities" even post any samples on their websites? But, I've never had a client ask for this kind of comparison, and I've just never felt inclined to share it with them. I've certainly asked to hear it when I've attended a session...

You see, Gregg, that's kind of what I wanted to do, but sad as it may be I'm not sure that a lot of people will either read or understand the explanation. It's a horrible thing to say but I feel like I would be giving my "competitors" (which is what they are despite us getting along famously and hop...

Thanks for all the replies. I find it amazing that there are MEs out there not level matching while working!

Perhaps an A/B/C comparison could be the way to go. I would have to consider the best way to do it, though.

Keep the replies coming if anyone has any more thoughts.

Hi all, Over the past year or so my primary focus has become mastering. I have been, thankfully, relatively busy, but still need to get around to including some A/B samples on my website. Having listened to simlar sections of other mastering studio/engineer's websites, they seem to never be level ma...

I think I have heard Tchad Blake say that he mixes into a limiter that is backed off prior to being sent for mastering. That would probably explain the loud transients.

This plugin seems to excel at taming the transients of individual drum tracks. I have been using it on most of my drum tracks during the mix and it's been a real help.

It's just a shame that spotify is part owned by the major labels and so therefore what measly royalty is paid is massively in the favour of said major labels (and not even the artist signed to them, particularly).

Gregg Juke wrote:The client that prefered you in your example should have come up with the extra $25. That's when this money stuff gets outlandishly ridiculous.

GJ

I read that as an extra $25 per day, right?

I flip the polarity/phase button on my preamps when tracking vocals all the time, usually not on anything else. My experience has been that the polarity switch seems to brighten the vocals and lessen the "boom" and the vocals tend to stick out in the mix better,maybe my preamp is broken cause it do...