Hi Earle, just was wondering how mastering engineers used to deal with peaky low end on mixes, without using multiband compression?
say like they have a mix which is fine except the kick and bass gtr are jumping out too much.
how would they have handled that without a multiband?
would they have used a compressor with a sidechain and equalised the sidechain to control the low end? then another compressor to handle the whole mix?
cheers.
			
			
									
						
							back in the day...
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				Ged Leitch
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back in the day...
http://bitheadmastering.co.uk/
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Re: back in the day...
GedGed Leitch wrote:Hi Earle, just was wondering how mastering engineers used to deal with peaky low end on mixes, without using multiband compression?
say like they have a mix which is fine except the kick and bass gtr are jumping out too much.
how would they have handled that without a multiband?
would they have used a compressor with a sidechain and equalised the sidechain to control the low end? then another compressor to handle the whole mix?
cheers.
Tape had a natural saturation which was comparable to todays term called compression. The wave tips would end up rounded instead of flat topped. The end result was a very pleasing sound to the ear. It would somehow just mesh all the sounds together. The overral sound was fantastic.
You can read more here http://ipsologic.com/briefs/tape_saturation.html
Earle
- 
				Ged Leitch
 - Posts: 46
 - Joined: Fri Nov 18, 2005 8:32 am
 - Location: Scotland
 - Contact:
 
Re: back in the day...
Earle, your a genius!har-bal wrote:GedGed Leitch wrote:Hi Earle, just was wondering how mastering engineers used to deal with peaky low end on mixes, without using multiband compression?
say like they have a mix which is fine except the kick and bass gtr are jumping out too much.
how would they have handled that without a multiband?
would they have used a compressor with a sidechain and equalised the sidechain to control the low end? then another compressor to handle the whole mix?
cheers.
Tape had a natural saturation which was comparable to todays term called compression. The wave tips would end up rounded instead of flat topped. The end result was a very pleasing sound to the ear. It would somehow just mesh all the sounds together. The overral sound was fantastic.
You can read more here http://ipsologic.com/briefs/tape_saturation.html
Earle
cheers for the link mate.
http://bitheadmastering.co.uk/
24 bit / 96 Khz Digital Audio Mastering
http://www.forumage.com/index.php?mforum=controlroom333
			
						24 bit / 96 Khz Digital Audio Mastering
http://www.forumage.com/index.php?mforum=controlroom333