Just found this video, which I thought was pretty good.
12 Minute Tips - DIY mastering with Jupiter Ace: http://youtu.be/f2F0WofIBSY
very cool, very helpful ...
Any ideas for the Caustic Mastering App?!
Thought the spectrum in the Equaliser was really smart.
My latest track on show and tell
My Soundcloud page
OMG!! A spectrum analyzer that you can watch in real time!!?? filters that you "draw" on?! Jeez...I wish I had stuff like that. I can't even turn a knob in realtime in audacity.
And having an unmastered track loaded to use as an A/B comparison is absolutely necessary. He's right about his frequency content, and order of operations, but he clearly knows next to nothing about what can be done with various limiters, clippers, and compressors (I don't know about the one he's using, but the vst limiter I use is FREE, so he could use it). He knows some common mistakes and tells you to avoid them, but is hazy on why they occur and what can be done about it. (most people are) Still, by most people's standards, the track improved in a short time. The YouTube comments ragging on him for overlimiting it are just trolls and haters - you can't look at a sound wave on a screen within another screen and listen to a few seconds of it and say that. However, I'm an amateur in every sense of the word, and I bet I could give him a run for his money in both knowledge and execution.
Ten minutes, though? No way, not in Caustic/Audacity, lol...I generally spend at least an hour or two per track on a "rush" mix & master. With that program, though, I bet a person - any person - could get the basics done in ten minutes-ish, for the purposes of having a listenable track.
Your final master, obviously involves you listening to the track in it's entirety many times, and I like to make multiple, subtly different versions, that I then compare on multiple types of systems...I mean, you can get as nerdy as you feel like getting.
¿que onda, pachuco?
It can be done..... Caustic or Audacity, both have the tools to make it happen...... perhaps cumbersome at the moment, but possible.
"sometimes it snows in April..."
Don't expect all the bells and whistles that Ableton offers but at this stage I'm taking in all the knowledge I can so this is really good.
The spectrum as a view for the EQ is definitely on the list
Could you put separate processing for Mid and Side onto your list? Cheers
My Soundcloud profile is _dredge_
Hey Rej, This video showcases a couple of the best mastering plug ins I ve seen, obviously these are high end but it may give you some ideas. I would also suggest checking out the T racks stuff, which has less bells and whistles but rates well.
Rej, check out WaveLab
This is SOOOOOOO COOOOOOL ROB :) thanx :) :)
Any of you guys heard of mixpad or wavepad for android? It's made by the same group of people both apps and the price of both is the same. So i just wanted headz up of what anybody knows. Could it do android wavlab or the audacity type stuff??? Or i'm i gonna be the first guniea pig for the bunch of us????
Rej is making a seperate mastering app?
Since spectrum analyzers came up my favorite is Span, and its free-
Real-time audio spectrum analyzer plugin (AU, VST) - Voxengo SPAN - Voxengo
They are more simple sound editing apps with some basic sound editing. Still think that the best option is to master directly in Caustic or for more control in da computah.
This is the time the night and the year
Yes, a mastering app is on my list of things to investigate. I've only just started basic prototyping. I'll be sure to put up alpha builds for those interested once I actually get more than just a effect testing framework up and running.
How did it go, the ideas of having a section for mix/mastering here in the forum?
What if we made a section for both mix/mastering, and an other for the Mod and the Vocoder? Because these pages would be used a lot by people that needs input for all these things.
I know that there´s more machines to consider, but they are not that "strange" as the Mod/Vocoder - neither as essential when it comes to sound manipulation.
It´s so easy to renew the forum to make this happen, I could have done it myself.
Just change the style sheet!
And about the black background; Wouldn´t it be nicer to have a semi light grey bg-color with a light grey (not too white) text color just to ease the eyes? Because, frankly - this is very hard contrasts for the eyes when studying.
I see Jason EIP made his site more reader friendly, that´s much better than this, but even that one - with hard white and hard black - is quite hard on the eyes. Because, a book or a newspaper is not white, and the print is rarely black.
I learned, while studying E-commerce and web solutions that: "Don´t make your customers´ eyes get sore, even if your colors of choice is dead cool. Choose eye friendly colors, and they will come back." The clue is to balance the contrast and visibility.
You can use any color you want, except those who excludes the color-blind people. General rule is to *not* use complemetary colors - especially red/green, red/blue, yellow/pink .... But shades of colors with the same weight value is great, as is pantone - when using it right.
i am using Mixpad on Android to mix vocals into my caustic songs. It is very slow , but i think that is beause i have slow tablet LOL. I think that it is worth the little money i spend on it though. :) It has good range of fx and edit functions and output options . I think you just check it out first. There is free version to try out also.
Where can one GET Wavelab? It doesn't seem to be in the Google Play market; a search there only turns up a couple of ten-dollar instructional videos on how to use it - but not the app itself. WTF?
WaveLab is a desktop piece of software..... I used it many years back to polish off projects I put together in Cubase. Its a nifty and easy to use program.... On the Android platform there really isn't a true targeted mastering process, but perhaps a handful of so-called "mastering" gimmicks...
Interesting video. Can someone explain the compressor settings to me and what this achieves e.g. longest attack and shortest release.
My music: http://www.soundcloud.com/laweffect | Audio help: http://www.teachmeaudio.com
A long attack is the sound already. Lowering that would make the sound get stronger, sharper wave peaks and the sound could pluck.
A short release is clipping the wave amplitude.
A long attack is how long the amplitude is. Shortening the long attack into a short attack will cause line cutting of the "mountain peak-looking wave" which means it will be clipped and therefore reduces volume.
A short release is how small the width can be. A longer release will make the wave have more volume and increase time from shortening. This increases frequency dispersal if the release is long. You can reduce volume by shortening the release.
OOH! Yes ^ this. I have used this (SPAN) as well, although my copy of audacity doesn't like it very much, and it is a great FREE spectrum analyzer vst.
Rej, if you have time, look at the free limiter called Limiter No.6 (link http://vladgsound.wordpress.com/plugins/limiter6/ ) It blows away anything that friends of mine have, that they paid top dollar for. It doesn't seem very cpu intensive, at least not in audacity, where you wait for it to finish processing your audio before you get to hear anything. I realize everybody wants to make adjustments in real-time, but it might be more realistic, specifically in mastering, to apply effects and then undo it if you don't like it.
@ Duran: I am not sure what you mean, Duran...? I'm not saying you are incorrect, I just don't understand, and release time on a compressor has nothing to do with whether amplitude clips or not. Attack can, I suppose...
@law: Here's a general rule of thumb - if you are using compression before your final limiting (always a good idea, although I prefer M/S compression at this stage) you want a slower attack time and faster release time than what you would use on one individual channel. In caustic's compressor I have found this piece of knowledge EXTREMELY applicable when I have a compressor in my master effects slot (which is always). Here's why - when all your channels are mixed by your mixer, plus master delay and reverb added, that is your whole track, and it's obviously going to get louder than whatever your threshold is, unless your threshold is all the way to the top, in which case, you're not using the compressor so why bother. BUT, you want compression of your final track to be transparent - all the cool "pumping" that you get from sidechaining needs to be done in the individual channel slot (if you put it here the sound the compressor is chained to will compress itself!). So to be transparent with your final compression, the slower attack time will insure that people don't hear the compression "begin", and the faster release time insures that sudden changes in dynamics from loud to soft are matched by a sudden drop in compression, which is what you want. The tradeoff of the slow attack time on the compressor is that sudden loud sounds will get a chunk of their attack in before compression is triggered and up to ratio (in the mastering chain I also keep this low, like 2.5 to 1, or in caustic about 10 o'clock on the dial). But these are better handled by your limiter anyway. Hope that helps.
A compressor's attack tells the compressor how much of the transient attack of a waveform to let through before the signal is lowered by the designated threshold and ratio setting. The release is how long the signal is lowered before it is let go to revert to its original pre-compressed state. Artfully setting the attack and release for various instruments or drums, lets you shape how much punch you want for a particular sound or mix, to achieve one of many things, be it character of a sound, especially individually mic'd drums as I've done with PocketKit acoustic kits, or shaping an overall mix for optimized percieved loudness for your track.
@radiorev I got it opposite. Switch that. It's actually the other way read.
Except the short attack clips instead.
Well thanks, and I think you know what you're doing, Duran, as far as using the compressor yourself. But you don't use enough words for my nerdy, yet noticeably fried brain to comprehend your meaning. Jason knows far more than I do, but his explanations are often all factual (accurate and useful information) about the effects, with no hints as to what you might specifically do to start playing with this information. If I tell laweffect (not Britt, my mistake) to put a compressor in his second master fx slot and set the threshold to 11 o'clock, and the ratio to 10 o'clock, and the attack to 10 o'clock and the release to 7 o'clock, that gives him a starting point (do it if you like, that's my default, although I fiddle with it for each song). It might not be right at all, to which I say, "Keep using your ears, and make SMALL adjustments and listen and look for the changes" Then when he messes with it and wants to know WHY something changes, he can come back and read Jason's info and go "oooohh, now I see what that really means". Disclaimer: This is all happening in my head -- might not go down like that at all.
Britt: When you talk about colors, I feel like a kindergardner at a lecture on Heidegger. We all have our strengths.
Tip for confused compressor users in simple dumb people words:
The attack and release knobs control the attack and release of the compressor NOT the attack and release of the sound you are compressing... meaning, when you turn those knobs you are controling how fast you beat up on the loud sounds and how long you hold them down before you let them go. And threshold is how loud you let the sound get before you smack it down...... the ratio is stupid ... just kidding... it s how much damage you want to do do to the sound once you body slam it to the mat
... that s the professional wresting guide,anyway.
Thanks for the detailed explanation RR.
Time to sign a book deal Ian:
Sound engineering explained in wrestling terms.
I'd buy it.
I'll have my agent look into it as soon as he sobers up.
Could you dumb it down for me, Ian...I'm no athlete