Mastering for release/broadcast - Is there an absolute answer?

[cut_N_paste]

In this 21st century music world where we can now, with relative ease and without a major label backing us, get our tunes/songs out to a listening (or indeed 'purchasing') audience, just how do we stand about mastering final mixes? It seems if our output is to go to a 'label' for release, they may, or may not get it professionally mastered. If 'we' go to release on our own independent label for example, what is the criteria to meet..using the numerous soft/hardware options available?

1. Loud, Loud and Loud.. with more Loudness?
2. A Dynamic Brickwall?
3. Bright 'n Low?
4. Bigger and badder than the other blokes..?

It seems a catch all scenario is to print 2 absolute versions of your work. The first would not use any form of loudness maximizer or mastering plug-in, contain a reasonably wide dynamic range and be enhanced with a touch of eq and perhaps soft compression? This leaves a mastering engineer (should one be used) with dynamic range and EQ headroom to work with- but it won't sound as good as other tracks out there should you go to press without this guy in the chain. The second would simply have a full on mastering plug-in inserted in the final chain on the master out, and let this EQ (colour) the mix, compress, and db maximize the hell out of it? Great to make your stuff stand proud against all other tracks broadcast, listened to or danced to.. but no good to a mastering engineer who may struggle to grab hold of what little dynamic range is left to do his job properly.- - Correct.. or just plain wrong?

Also, what medium are we ultimately working towards.. Radio, (that seemingly squash the hell out of everything they broadcast), the home Hi-Fi, a pair of iPod headphones, a TV, an in car stereo, a 5.1 cinema set-up or an indoor/outdoor P.A. system..?

[JAYDMF]

Yeah the whole loudness war thing really annoys me. We have all these companies working solidly to increase clarity and dynamic range of all the media formats and then what do we do? go and use as little of this as possible just so that one CD is louder than the next ? if you want it loud turn it up or buy a louder amp/speakers.

[waverunner]

Taking into account what has been said on the matter of mastering so far, the decision as to whether mastering is required with any musical track depends very much on whether the track needs or requires it.
The decision as to whether to master a musical work, will hinge on certain musical principles, principles that have to be taken into consideration and decided upon before embarking on any mastering process.
Using a mastering process on any music track, firstly revolves around the answering of several important questions:

1. Does the track really require mastering at all.
2. Would the sound benefit in any way by being partially or fully mastered.
3. Is mastering a requirement before being permitted to be played on air.
4. Would mastering benefit the end listener experience in any way.
5. Would mastering the track damage the tracks overall texture and appeal.

As all learned musicians and technicians are aware, there is no limit to how a finished music track can end up sounding and mastering is just another link in an evolutionary chain of events that are brought together to produce the finished musical work.

Some musical works definitely benefit from being mastered, whilst others can be totally spoiled by the process.
So really, it is all down to what your audience and music requires of you.

All the best to you all
Waverunner

[JAYDMF]

Originally Posted by waverunner

Taking into account what has been said on the matter of mastering so far, the decision as to whether mastering is required with any musical track depends very much on whether the track needs or requires it.
The decision as to whether to master a musical work, will hinge on certain musical principles, principles that have to be taken into consideration and decided upon before embarking on any mastering process.
Using a mastering process on any music track, firstly revolves around the answering of several important questions:

1. Does the track really require mastering at all.
2. Would the sound benefit in any way by being partially or fully mastered.
3. Is mastering a requirement before being permitted to be played on air.
4. Would mastering benefit the end listener experience in any way.
5. Would mastering the track damage the tracks overall texture and appeal.

As all learned musicians and technicians are aware, there is no limit to how a finished music track can end up sounding and mastering is just another link in an evolutionary chain of events that are brought together to produce the finished musical work.

Some musical works definitely benefit from being mastered, whilst others can be totally spoiled by the process.
So really, it is all down to what your audience and music requires of you.

All the best to you all
Waverunner

Couldnt be more spot on with this comment although i think that most things do need mastering to some degree just because fresh ears are always good. Mastering engineers have probably got the best position to really judge the character of a song or album as they have a monitoring position that they know like the back of their hand and that has been carefully tweaked over a very long period of time. also they have the equipment to really pull a mix apart and see its strengths and flaws which i think is an invaluable tool. I just wish more dynamic range was used for some material.

[modz1]

Originally Posted by JAYDMF

Couldnt be more spot on with this comment although i think that most things do need mastering to some degree just because fresh ears are always good. Mastering engineers have probably got the best position to really judge the character of a song or album as they have a monitoring position that they know like the back of their hand and that has been carefully tweaked over a very long period of time. also they have the equipment to really pull a mix apart and see its strengths and flaws which i think is an invaluable tool. I just wish more dynamic range was used for some material.

I remember watching one of the 'Greats' in action (Arun Chakraverty, Master Room, London) and learning a lot from that experience. It's a shame and a blessing mixed that (due to record label cutbacks where they expect the artist/producer themselves to 'master') fewer tracks end up in the hands of these artists (and by that I mean the mastering engineers), a shame cos they are the professionals, it's their job, life and soul that they inject into the track, and the blessing..? in this day and age though that basic mastering achievability is affordable, accessible and usable to most music makers.

The ubiquitous phrase still stands.."If it sounds right, it is right.." And remember, no one piece of music will ever sound exactly the same, heard in different locations, environments and multiple combinations of audio source material and hardware..

[JAYDMF]

Originally Posted by modz1

I
The ubiquitous phrase still stands.."If it sounds right, it is right.." And remember, no one piece of music will ever sound exactly the same, heard in different locations, environments and multiple combinations of audio source material and hardware..

Definatly! I think the thing is with mastering engineers is that they are generally the ones with a huge passion for music in the sense of listening to it more so than the creational process and for that reason they are the best judge of what needs a little more oomph or air or what just needs to be bought up to level etc

[0hz]

Although I agree that poeple seem to be going overboard with the loudness and maximising, I do think there needs to be a fair amount of overdrive to make your music sound warm especially at low volume. Curiously some of the best producers in the scene are choosing to limit there music so much the they're creating hard distortion and other nasty artefacts; clearly following the fashion for loudness is more important than producing the best quality.

Personally, I find anything I've produced without a noticeable amount of compression, overdrive and limiting doesn't have the warmth at normal listening volumes.

It all depends on what kind of music you're making. Brickwalled Jazz would sound wrong. Hard house with massive peaks on the clap and the bassline somewhere in the distance would sound equally wrong.