Help
Hey guys....been doing a lot of mastering lately and I'm going to take a friends advice and give it a go around to see if others like it enough to pay a small price for it. I'm willing to do a free master for all cronie members. (Track only, no stems) - Price after that is $25 - Samples will be provided before payment. If you do not like the sample, you do not pay. But for now, it's free so you can get an idea of what I can do.
I use the following to the master.
UAD + Plugs (Neve 88RS, Neve 33609, 1176, SSL Buss Comp, Roland CE1, FATSO *Empirical Labs Distressor emulation*, etc) Click here for more info on UAD FX processing
Waves (IR1, Rverb, Doubler, Manley Passive EQ emulator,)
Sonnox EQ
PSP 84
PSP Vintage Warmer 2
Just as a heads up, 75% of my work is done with UAD plug ins, so if that's the sound you're after I can probably help.
The process....
For the free mix, I prefer a 32bit WAV with no dithering and -6 dB's of headroom with absolutely no FX on the master. This will help me get you the best results.
Pricing:
Single mixed down WAV file - $25 (Paypal) Sample provided before payment made
Stem Mixing - $3 per stem with a minimum charge of $50
If you're interested, please send email to wiley@olympikrecords.com Go ahead and send a link over for a free master as well if you like.
Cheers!
First master is free
#2
Posted 09 March 2010 - 02:48 PM
I forgot to mention....please add as precise as possible the details you're looking for. (Huge bass club sound, screaming leads, ear piercing percussion, de-essed and heavily compressed vocals, etc)
#3
Posted 13 March 2010 - 10:32 PM
you and every other yahoo with a laptop and DVD of cracked plug-ins - most of which sound terrible.
you can start "mastering" when you get a 24 channel audio interface with 24-bit/96Khz DACs, a good analog desk, and some tube pre's. this will get you some real business and your masters will stand out from the same sounding crap everyone else is churning out.
all that shit is available dirt-cheap, btw
you can start "mastering" when you get a 24 channel audio interface with 24-bit/96Khz DACs, a good analog desk, and some tube pre's. this will get you some real business and your masters will stand out from the same sounding crap everyone else is churning out.
all that shit is available dirt-cheap, btw
#4
Posted 15 March 2010 - 01:28 PM
Derek, on 13 March 2010 - 10:32 PM, said:
you and every other yahoo with a laptop and DVD of cracked plug-ins - most of which sound terrible.
you can start "mastering" when you get a 24 channel audio interface with 24-bit/96Khz DACs, a good analog desk, and some tube pre's. this will get you some real business and your masters will stand out from the same sounding crap everyone else is churning out.
all that shit is available dirt-cheap, btw
you can start "mastering" when you get a 24 channel audio interface with 24-bit/96Khz DACs, a good analog desk, and some tube pre's. this will get you some real business and your masters will stand out from the same sounding crap everyone else is churning out.
all that shit is available dirt-cheap, btw
First off, why would you need a 24 channel interface for a 2 channel master?
Secondly, the whole analog desk and tube pre thing. You really need that for digital music mastering? This isnt a tracking session. Thats way too much gear and too much un-needed conversion.
Third, none of it is dirt cheap if its worth its weight.
Good luck with your mastering, maybe a client will let you post a before and after for us to check out.
#5
Posted 15 March 2010 - 04:23 PM
ooops i meant mixing. if he had all that awesome analog hardware he could distinguish his business from the 389809123892 other mixing/mastering houses that mix in protools and run the shit through a couple of plug-ins, compress out every last bit of dynamics and suck out the air, and call it a job.
what is your monitoring rig, wiley?
what is your monitoring rig, wiley?
#6
Posted 16 March 2010 - 12:02 PM
Derek, on 15 March 2010 - 04:23 PM, said:
ooops i meant mixing. if he had all that awesome analog hardware he could distinguish his business from the 389809123892 other mixing/mastering houses that mix in protools and run the shit through a couple of plug-ins, compress out every last bit of dynamics and suck out the air, and call it a job.
what is your monitoring rig, wiley?
what is your monitoring rig, wiley?
No one uses analog mastering anymore, shit is too expensive to keep up... not even the big boys use it anymore. Sonic Solutions, ftw.
#7
Posted 16 March 2010 - 12:48 PM
Blond!e, on 16 March 2010 - 12:02 PM, said:
Derek, on 15 March 2010 - 04:23 PM, said:
ooops i meant mixing. if he had all that awesome analog hardware he could distinguish his business from the 389809123892 other mixing/mastering houses that mix in protools and run the shit through a couple of plug-ins, compress out every last bit of dynamics and suck out the air, and call it a job.
what is your monitoring rig, wiley?
what is your monitoring rig, wiley?
No one uses analog mastering anymore, shit is too expensive to keep up... not even the big boys use it anymore. Sonic Solutions, ftw.
I wouldn't go so far as to say no one uses analogue, I bet its def a mix of both though. Doing about a 30 sec search on Google I came across a mastering house that is analogue/digital. I'm pretty sure they would fall into the "big boys" category. Here's their client list:
Oleta Adams, Christmas with Oleta Adams
Alabama, Last Stand
Asleep at the Wheel, Ride With Bob
Blue Highway, Blue Highway
Blue Highway, Marbletown
Garth Brooks, The Lost Sessions
Garth Brooks, entire catalog (remastering from original source tapes)
JJ Cale, Rewind: The Unreleased Recordings
Crooked Still, Still Crooked
Crooked X, Crooked X
Crooked X, Til We Bleed EP
Crowbar, Equilibrium
Chalie Daniels, A Gospel Bluegrass Collection
Charlie Daniels, Songs from the Longleaf Pines
Deadly Gentleman, The Bastard Masterpiece
Kenny Chesney, Everywhere We Go
Kenny Chesney, Greatest Hits
Dixie Chicks, Fly
Dixie Chicks, Wide Open Spaces
Dokken, Long Way Home
The Duhks, The Duhks
Kinky Freedman, Why The Hell Not?
Generation J, Sweet Place
Vince Gill, Let’s Make Sure We Kiss Goodbye
Steve Goodman, Live At The Earl of Old Town
Happy Texas, Music From The Motion Picture
Will Hoge, Draw The Curtains
Janis Ian, Billies Bones
Janis Ian, Folk Is The New Black
Janis Ian, Best of Janis Ian The Autobiography Collection
The Infamous Stringdusters, The Infamous Stringdusters
George Jones, The Rock
The Judds, Reunion
Wynonna Judd, New Day Dawning
Toby Keith, How Do You Like Me Now
Mark Knopfler, Sailing to Philadelphia
Leftover Salmon, The Nashville Sessions
Lennon, Career Suicide
Lennon, Damaged Goods
Little Texas, Live and Loud: The Very Best of Little Texas
Lynyrd Skynyrd, Lyve The Vicious Cycle Tour
The Mavericks, Live In Austin Texas
Jessica Lea Mayfield, With Blasphemy So Heartfelt
Reba McEntire, If You See Him
Martina McBride, White Christmas
Martina McBride, Emotion
Monte Montgomery, Monte Montgomery
Allison Moorer, Miss Fortune
Shawn Mullins, 9th ward pickin’ parlor
Willie Nelson and Asleep At the Wheel, Willie and the Wheel
Joe Nichols, Man With A Memory
Nickle Creek, Reasons Why
Nickle Creek, Best of Nickle Creek
Ted Nugent, Nugent
Ted Nugent, Penetrator
Ted Nugent, Little Miss Dangerous
Ted Nugent, If You Can’t Lick ’Em…Lick ’Em
Tim O’Brien, Fiddlers Green (Grammy winner for Best Traditional Folk)
Tim O’Brien, Cornbread Nation
Tim O’Brien, Chemeleon
Anders Osborne, Coming Down
Joan Osborne, Pretty Little Stranger
Dolly Parton, Little Sparrow
Warren Pash, Warren Pash & The Plastic Rulers
Tom Paxton, Looking for the Moon
John Prine, In Spite of Ourselves
John Prine, Fair and Square (Grammy winner for Best Folk)
Dan Reeder, Sweetheart
Riders in the Sky, A Pair of Kings
Riders in the Sky, Christmas the Cowboy Way
Kenny Rogers, Through the Years
Earl Scruggs with family & friends, The Ultimate Collection Live at the Ryman
Ricky Skaggs, History of the Future
Ricky Skaggs, The Songs of Bill Monroe
Ricky Skaggs, Soldier of the Cross
Skid Row, Revolutions Per Minute
Mindy Smith, Long Island Shores
George Strait, 50 Number Ones
George Strait, Classic Christmas
George Strait, For The Last Time
George Strait, Latest Greatest Straitest
38 Special, Drivetrain
Joe Tex, Oh Boy Classics presents
The Tractors, Farmers In A Changing World
The Tractors, Fast Girl
Uncle Earl, Waterloo Tennessee
Townes Van Sandt, Far Cry From Dead
John Waite, Figure In A Landscape (remastering from original source tapes)
John Waite, Temple Bar (added bonus tracks)
John Waite, When You Were Mine (added bonus tracks)
Tony Joe White, The Heroines
Tony Joe White, Uncovered
Tony Joe White, Deep Cuts
The Wilders, Throwdown
Hank Williams Jr., Stormy
Trisha Yearwood, Jasper County
Trisha Yearwood, Real Live Woman
Neil Young, Silver & Gold
Young Buck, Da Underground
Young Buck, TIP
Independent Mastering
also, here's a recent article on gearslutz that discusses this very topic: Click Here
This post has been edited by Benji Estevez: 16 March 2010 - 12:48 PM
#9
Posted 17 March 2010 - 02:47 AM
Benji Estevez, on 16 March 2010 - 12:48 PM, said:
Blond!e, on 16 March 2010 - 12:02 PM, said:
Derek, on 15 March 2010 - 04:23 PM, said:
ooops i meant mixing. if he had all that awesome analog hardware he could distinguish his business from the 389809123892 other mixing/mastering houses that mix in protools and run the shit through a couple of plug-ins, compress out every last bit of dynamics and suck out the air, and call it a job.
what is your monitoring rig, wiley?
what is your monitoring rig, wiley?
No one uses analog mastering anymore, shit is too expensive to keep up... not even the big boys use it anymore. Sonic Solutions, ftw.
I wouldn't go so far as to say no one uses analogue, I bet its def a mix of both though. Doing about a 30 sec search on Google I came across a mastering house that is analogue/digital. I'm pretty sure they would fall into the "big boys" category. Here's their client list:
Oleta Adams, Christmas with Oleta Adams
Alabama, Last Stand
Asleep at the Wheel, Ride With Bob
Blue Highway, Blue Highway
Blue Highway, Marbletown
Garth Brooks, The Lost Sessions
Garth Brooks, entire catalog (remastering from original source tapes)
JJ Cale, Rewind: The Unreleased Recordings
Crooked Still, Still Crooked
Crooked X, Crooked X
Crooked X, Til We Bleed EP
Crowbar, Equilibrium
Chalie Daniels, A Gospel Bluegrass Collection
Charlie Daniels, Songs from the Longleaf Pines
Deadly Gentleman, The Bastard Masterpiece
Kenny Chesney, Everywhere We Go
Kenny Chesney, Greatest Hits
Dixie Chicks, Fly
Dixie Chicks, Wide Open Spaces
Dokken, Long Way Home
The Duhks, The Duhks
Kinky Freedman, Why The Hell Not?
Generation J, Sweet Place
Vince Gill, Let’s Make Sure We Kiss Goodbye
Steve Goodman, Live At The Earl of Old Town
Happy Texas, Music From The Motion Picture
Will Hoge, Draw The Curtains
Janis Ian, Billies Bones
Janis Ian, Folk Is The New Black
Janis Ian, Best of Janis Ian The Autobiography Collection
The Infamous Stringdusters, The Infamous Stringdusters
George Jones, The Rock
The Judds, Reunion
Wynonna Judd, New Day Dawning
Toby Keith, How Do You Like Me Now
Mark Knopfler, Sailing to Philadelphia
Leftover Salmon, The Nashville Sessions
Lennon, Career Suicide
Lennon, Damaged Goods
Little Texas, Live and Loud: The Very Best of Little Texas
Lynyrd Skynyrd, Lyve The Vicious Cycle Tour
The Mavericks, Live In Austin Texas
Jessica Lea Mayfield, With Blasphemy So Heartfelt
Reba McEntire, If You See Him
Martina McBride, White Christmas
Martina McBride, Emotion
Monte Montgomery, Monte Montgomery
Allison Moorer, Miss Fortune
Shawn Mullins, 9th ward pickin’ parlor
Willie Nelson and Asleep At the Wheel, Willie and the Wheel
Joe Nichols, Man With A Memory
Nickle Creek, Reasons Why
Nickle Creek, Best of Nickle Creek
Ted Nugent, Nugent
Ted Nugent, Penetrator
Ted Nugent, Little Miss Dangerous
Ted Nugent, If You Can’t Lick ’Em…Lick ’Em
Tim O’Brien, Fiddlers Green (Grammy winner for Best Traditional Folk)
Tim O’Brien, Cornbread Nation
Tim O’Brien, Chemeleon
Anders Osborne, Coming Down
Joan Osborne, Pretty Little Stranger
Dolly Parton, Little Sparrow
Warren Pash, Warren Pash & The Plastic Rulers
Tom Paxton, Looking for the Moon
John Prine, In Spite of Ourselves
John Prine, Fair and Square (Grammy winner for Best Folk)
Dan Reeder, Sweetheart
Riders in the Sky, A Pair of Kings
Riders in the Sky, Christmas the Cowboy Way
Kenny Rogers, Through the Years
Earl Scruggs with family & friends, The Ultimate Collection Live at the Ryman
Ricky Skaggs, History of the Future
Ricky Skaggs, The Songs of Bill Monroe
Ricky Skaggs, Soldier of the Cross
Skid Row, Revolutions Per Minute
Mindy Smith, Long Island Shores
George Strait, 50 Number Ones
George Strait, Classic Christmas
George Strait, For The Last Time
George Strait, Latest Greatest Straitest
38 Special, Drivetrain
Joe Tex, Oh Boy Classics presents
The Tractors, Farmers In A Changing World
The Tractors, Fast Girl
Uncle Earl, Waterloo Tennessee
Townes Van Sandt, Far Cry From Dead
John Waite, Figure In A Landscape (remastering from original source tapes)
John Waite, Temple Bar (added bonus tracks)
John Waite, When You Were Mine (added bonus tracks)
Tony Joe White, The Heroines
Tony Joe White, Uncovered
Tony Joe White, Deep Cuts
The Wilders, Throwdown
Hank Williams Jr., Stormy
Trisha Yearwood, Jasper County
Trisha Yearwood, Real Live Woman
Neil Young, Silver & Gold
Young Buck, Da Underground
Young Buck, TIP
Independent Mastering
also, here's a recent article on gearslutz that discusses this very topic: Click Here
Analog/Digital mix is a LARGE difference from all analog.
You just listed a ton of country records, you just reffed Gearslutz.
No.
#10
Posted 17 March 2010 - 09:56 AM
Yes
Who cares if their client base is mostly country music artists, its a multi billion dollar industry, and many of those people are stars in the genre.
In your original post you specifically said "no one uses analogue". Using an analogue/digital mix is still using analogue.
Who cares if their client base is mostly country music artists, its a multi billion dollar industry, and many of those people are stars in the genre.
In your original post you specifically said "no one uses analogue". Using an analogue/digital mix is still using analogue.
#11
Posted 18 March 2010 - 03:38 AM
while i was trolling a little bit to antagonize wiley for fun, i can speak to my personal experience. for my ears, a mixdown on an analog desk is essential. while i use very few soft-synths, the ones i do use are bussed out to my desk along with my outboard hardware gear. the stereo mix is brought back into the computer at 48Khz. I can go up to 96Khz but I've never been able to see much improvement at that rate with my current setup - this could be because of my ears or monitors (Mackie 824's). From there it is mastering plug-in time (for better or worse - a lot of those plug-in's just make digital mush).
in the future, i'd like to get more outboard analog pre's, EQ's, compressors, etc so that i can reduce the "plug-in footprint" of my tracks.
in the future, i'd like to get more outboard analog pre's, EQ's, compressors, etc so that i can reduce the "plug-in footprint" of my tracks.
#12
Posted 18 March 2010 - 03:42 PM
derek - Auralex treatment, HS80M's and AKG 701K's. Rarely will use my Sony 7506's as they are not for monitoring. I listed what I have and what I use. Sorry I'm not interested in buying an old analog mackie mixer off ebay and running my shit through it. I use UAD plugs, who must be paid for and not every "yahoo" has, which offer the best emulation of any analog gear you might come across.
Show me another mastering house that will do a master free, offer free samples before payment, and mix everything down on true classic units. (1176, Fairchild 670, Manley Passive EQs, LA2A, LA3A...ANYTHING from Neve and Solid State.......) I'd love to see it.
It's a fair deal considering everything and apparently a lot of others think so as well. I try to come on here and offer a better deal to people here than anywhere else and people just want to give me shit....get a life
Show me another mastering house that will do a master free, offer free samples before payment, and mix everything down on true classic units. (1176, Fairchild 670, Manley Passive EQs, LA2A, LA3A...ANYTHING from Neve and Solid State.......) I'd love to see it.
It's a fair deal considering everything and apparently a lot of others think so as well. I try to come on here and offer a better deal to people here than anywhere else and people just want to give me shit....get a life
#14
Posted 18 March 2010 - 08:16 PM
djstephenwiley, on 18 March 2010 - 03:42 PM, said:
derek - Auralex treatment, HS80M's and AKG 701K's. Rarely will use my Sony 7506's as they are not for monitoring. I listed what I have and what I use. Sorry I'm not interested in buying an old analog mackie mixer off ebay and running my shit through it. I use UAD plugs, who must be paid for and not every "yahoo" has, which offer the best emulation of any analog gear you might come across.
Show me another mastering house that will do a master free, offer free samples before payment, and mix everything down on true classic units. (1176, Fairchild 670, Manley Passive EQs, LA2A, LA3A...ANYTHING from Neve and Solid State.......) I'd love to see it.
Show me another mastering house that will do a master free, offer free samples before payment, and mix everything down on true classic units. (1176, Fairchild 670, Manley Passive EQs, LA2A, LA3A...ANYTHING from Neve and Solid State.......) I'd love to see it.
How can you claim to have "true units" when all you have are UAD plug ins :lol:?
While we all admire your drive, your posts don't give off an air of legitimacy.
#15
Posted 18 March 2010 - 10:21 PM
OhForFuckSake, on 18 March 2010 - 06:51 PM, said:
GET A LIFE FAGGOTS
THIS
#17
Posted 19 March 2010 - 08:45 AM
the free samples part is a pretty good deal.
i'm only busting your chops about the analog gear part. 99% of people don't care or can't tell the difference. buying a rack of neve channel strips is waste of money unless you have picky clients who really care about the subtleties. i'm assuming most of your clients are EDM producers/labels and the current trend in EDM is a harsh, brittle, digital-wall over-compressed sound anyway.
just turn all those UAD plug-in knobs to 11 and you'll be fine :lol:
if u do get some revenue coming in, i would recommend better monitors.
i'm only busting your chops about the analog gear part. 99% of people don't care or can't tell the difference. buying a rack of neve channel strips is waste of money unless you have picky clients who really care about the subtleties. i'm assuming most of your clients are EDM producers/labels and the current trend in EDM is a harsh, brittle, digital-wall over-compressed sound anyway.
just turn all those UAD plug-in knobs to 11 and you'll be fine :lol:
if u do get some revenue coming in, i would recommend better monitors.
#18
Posted 20 March 2010 - 05:30 AM
Derek, on 19 March 2010 - 08:45 AM, said:
the free samples part is a pretty good deal.
i'm only busting your chops about the analog gear part. 99% of people don't care or can't tell the difference. buying a rack of neve channel strips is waste of money unless you have picky clients who really care about the subtleties. i'm assuming most of your clients are EDM producers/labels and the current trend in EDM is a harsh, brittle, digital-wall over-compressed sound anyway.
just turn all those UAD plug-in knobs to 11 and you'll be fine :lol:
if u do get some revenue coming in, i would recommend better monitors.
i'm only busting your chops about the analog gear part. 99% of people don't care or can't tell the difference. buying a rack of neve channel strips is waste of money unless you have picky clients who really care about the subtleties. i'm assuming most of your clients are EDM producers/labels and the current trend in EDM is a harsh, brittle, digital-wall over-compressed sound anyway.
just turn all those UAD plug-in knobs to 11 and you'll be fine :lol:
if u do get some revenue coming in, i would recommend better monitors.
I wish it was that easy. I just added the brainworx EQ to the arsenal and good lord is it amazing. Best surgical EQ I've ever used. Throw the pultec (the only EQ I would ever use to boost levels) behind it it for a nice boost around 100hz (or wherever the bass fundamental is) and then smooth everything out with brainworx. Up next the SSL 4k Buss Compressor to help get the levels closer together and then feed the FATSO which is seriously the most analog sounding plug I have ever heard by far. I don't think anybody could tell the difference between the actual hardware unit and the plug. (And at $299 and 50% of my DSP power, they damn sure better not) - Finally, Throw on my Neve 33609 (2248 emulator) as a limiter and you've got such a creamy, warm, precise master.
Oh and my monitors.....I absolutely love them. Don't know why everyone thinks they have to have focal twins. I know of many producers who use far less inferior monitors and do a great job. Ian Carey and his Behringer Truth monitors is always a laugher. Some believe you shouldn't look for monitors that sound amazing because they hide problems. If you can make it sound good on shitty monitors then it should translate well. In my opinion there is a middle ground here and my HS80M's and AKG 701K's do a perfect job. Anyway, I must be doing something right? I've had some of the biggest names in dance play music I have mastered and have an established (small but growing) loyal base who come to me for their mastering.
Seriously, put something out here and let me show you what I can do.
#19
Posted 20 March 2010 - 06:27 AM
the trick is not to have a set of "good" monitors but multiple monitors you can switch between to get the best mix across the set. everyone has their own ideas, but generally you want:
1) A high-end pair of monitors as your "mains" (Adam Audio, Genelec, etc)
2) A mid-fi set of monitors (you've got that covered with the HS80M's)
3) A cheap set of home stereo speakers ($100 set of sony bookshelf, etc)
Use a mackie big-knob to switch between the three sets. if you can get the mix sounding good on all three then take it out to your car. once you get it sounding good there you are set.
1) A high-end pair of monitors as your "mains" (Adam Audio, Genelec, etc)
2) A mid-fi set of monitors (you've got that covered with the HS80M's)
3) A cheap set of home stereo speakers ($100 set of sony bookshelf, etc)
Use a mackie big-knob to switch between the three sets. if you can get the mix sounding good on all three then take it out to your car. once you get it sounding good there you are set.
#20
Posted 21 March 2010 - 08:00 PM
i'd love a pair of high end monitors but i don't think my room is treated well enough to warrant the purchase. probably can't be treated well enough in my opinion. i'd need a bigger, more acoustically friendly room. I'm not trying to do mix downs for Radiohead or anything tho.
