Lol! Gosh Earle what did you do?

If you are looking for advice on how to use Har-Bal best, or you have some tips of your own, post them here!
Craig Reeves
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Lol! Gosh Earle what did you do?

Post by Craig Reeves »

I sent you a track a little while back (Leave Me Alone) and you mastered a 45 second clip. I listened to it and was like, WOW, what did he do?

I can't make that track sound that good for the life of me, lol. How did you do that? I wonder if you ever used har-bal. lol.
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Re: Lol! Gosh Earle what did you do?

Post by har-bal »

Craig Reeves wrote:I sent you a track a little while back (Leave Me Alone) and you mastered a 45 second clip. I listened to it and was like, WOW, what did he do?

I can't make that track sound that good for the life of me, lol. How did you do that? I wonder if you ever used har-bal. lol.


Craig

First of all let me say that you have quite a talent. That was a very nice track.

I always use Har-Bal as the first step. A person is nuts if they don't, because you can immediately see what needs to be corrected.

I loaded the song into Har-Bal and decided to low shelf at approximately 30Hz to give the lower region more punch. I also increased the 3.4kHz range to add some presence.

Now, lets pass the track through my hardware.

Since the track was pretty much balanced I decided to use a wide band compressor instead of a multiband. I used my Avalon 747sp

Started off by moving both the attack and release knobs to the starting positions. Turned the ratio to 2. I rarely use more than two.

Okay, I then started increasing the attack clockwise until the track sounded nice and full (glued would be a better term). When I was satisfied I started increasing the release knob until the meter on the compressor was moving in time to the tempo of the song. Ahh, perfect...stop.

Okay, time for the Aphex 204 to add a pinch of harmonics so we can have fullness even on small computer speakers.
It is always safe to set the Aphex anywhere between 60 and 80Hz (Bass region) and increase ever so slightly so there is a fullness.. I add just a pinch of the highs (If you can hear the effect back of just a pinch)

Okay now we will go through the L2 Maximizer (Hardware)
Set the threshold for -0.1
I can increase the output as long as the meter on the L2 is showing activity. This way the dynamics are preserved.

Last in the chain is my trusty CD recorder. I have this connected from the L2 using digital outs so I do not have to set the Tascam recorder. Whatever I set the L2 for the recorder will read.

Now I have the track on CD. Since I had to send it back to you I extracted back into my computer and renamed the file and sent it back to you.

I have quite a number of tools (software/hardware) at my disposal. The important thing is to first listen to the track and then decide which tools would be the most effective for the project. The understanding of the tools is whats most important. Each has its own uniqueness.

Hope this helps.

Cheers

Earle Holder
www.har-bal.com
www.hdqtrz.com
Craig Reeves
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Joined: Mon Jun 11, 2007 11:23 am

Post by Craig Reeves »

Sure did. It really does sound great.

So I have a question...when's the best time to use multiband compression (like LinMB or such)? Because that's what I've been using and I think that was my problem as to why I couldn't get any prescence.
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Post by har-bal »

Craig Reeves wrote:Sure did. It really does sound great.

So I have a question...when's the best time to use multiband compression (like LinMB or such)? Because that's what I've been using and I think that was my problem as to why I couldn't get any prescence.


Craig

I only use a Multiband compressor when the track sounds a little bit out of sync and the customer is unable to do a remix.

For instance..an abnormal amount of bass energy (not loudness) or ear splitting highs etc. Most times I am able to correct this issue using Har-Bal but there are those times where I just have to dive in and perform surgery.

One more thing...always make sure the stereo spread in your track is accurate. If it is too wide you will start to lose the low end in the middle. You can check this with any phasescope.

Cheers

Earle
Craig Reeves
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Post by Craig Reeves »

Ah cool!

Just 2 more questions and I promise I'll leave ya alone, lol.

So what's the difference between a multiband compresser and a wide band compresser? I've never heard of a wideband compressor before and what benefits does one get from using it when mastering? Also, are there are good software wideband compressors out there?

Also, how come you set the out ceiling to -0.1?

Thanks! This is extremely helpful info!
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Post by har-bal »

Craig Reeves wrote:Ah cool!

Just 2 more questions and I promise I'll leave ya alone, lol.

So what's the difference between a multiband compresser and a wide band compresser? I've never heard of a wideband compressor before and what benefits does one get from using it when mastering? Also, are there are good software wideband compressors out there?

Also, how come you set the out ceiling to -0.1?

Thanks! This is extremely helpful info!


Okay, no problem

A wideband compressor is just a regular compressor. It compresses the entire track at once. A multiband compressor has the ability to compress inviduals elements in a track based on the separation of the frequencies you choose. A multiband compressor can be 2, 3 4 or 5 band. This means you can compress up to 5 areas. Problem is unless you are careful, you can absolutely mess up a track very easily. On the other hand there has been times when I wouldn't have been able to complete a mastering job without it.

Setting the outceiling on a limiter to -01 is pretty much the norm. It insures that there will be no digital overs. Believe it or not I usually have the threshold set at 0.0 and just increase the volume of the compressor. It seems to give the track a fatter sound. additionally it prevents the sound of the limiter from being too prominent in the track.

Cheers

Earle
Last edited by har-bal on Thu Jan 31, 2008 6:53 pm, edited 1 time in total.
Craig Reeves
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Post by Craig Reeves »

Thanks so much, Earle! You know, I've found that using a compressor right before limiting makes my tracks sound better for some reason. I'm using this Waves SSL Compressor that I've had for awhile and it's really helping one of my tracks to have more punch. Nice!
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Post by har-bal »

Craig Reeves wrote:Thanks so much, Earle! You know, I've found that using a compressor right before limiting makes my tracks sound better for some reason. I'm using this Waves SSL Compressor that I've had for awhile and it's really helping one of my tracks to have more punch. Nice!


Perfect, make sure you set the ratio in the G Compressor to "2" when mastering. I believe their mastering preset is set at 4.

You are correct...always use a compressor prior to limiting.

Cheers

Earle
Craig Reeves
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Post by Craig Reeves »

Yeah I set it to 2 because when I set it higher it was sounding weird but 2 did the trick a whole lot better.

What's the best way you recommend setting the Attack and Release settings? Or do you just kind mess around with them until you get the sound you're looking for?

There seems to be an Auto-Release thing on here, though.
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Post by har-bal »

Craig Reeves wrote:Yeah I set it to 2 because when I set it higher it was sounding weird but 2 did the trick a whole lot better.

What's the best way you recommend setting the Attack and Release settings? Or do you just kind mess around with them until you get the sound you're looking for?

There seems to be an Auto-Release thing on here, though.


Okay, leave the release set on Auto and adjust the attack starting to the right of zero until the needle is literally moving to the tempo. It may be necessay to adjust the threshold (only slightly) until it appears to be moving to the instrument carrying the beat.

Now increase the make up gain. Watch your meters. As long as you have movement your track will not look like a 2 X 4 square wave. Your mission is to end up with a nice sine wave. Trust me, your track will be much easier to listen to over long periods of team time.

I always ask myself the following question when I am mastering a track.

Am I mastering this track so loud that the music is literally beling pushed into my head or am I simply able to just actually listen to it.

If the second part of the question is "true" you will end up with a wonderful sounding master.

Cheers

Earle
Last edited by har-bal on Sat Jan 12, 2008 1:47 am, edited 2 times in total.
Craig Reeves
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Post by Craig Reeves »

Thanks a mil Earle you're the best!!
Craig Reeves
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Post by Craig Reeves »

Wow wow wow wow man I love this new method! Gosh, I swear this project I'm working sounds so much more pro now!
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Post by har-bal »

Craig Reeves wrote:Wow wow wow wow man I love this new method! Gosh, I swear this project I'm working sounds so much more pro now!


Ahh Craig

It's a labour of love. When we gain an understanding of our tools, we can always pick the right tool for the project.

There is nothing wrong with having a number of different compressors and EQ's at your disposal. Each one has its own sonic character. I am always amazed when folks ask in the forums "which is the best sounding compressor, equalizer, limiter...blah, blah, blah".
This is similar to asking a painter what is the best color out there.

One of the tools I have here is a TC Finalizer Plus. Would I use it on a classical music project or a nice slow ballard? Heck no. It sounds too harsh. However, I do know when it can be most effective.
I would certainly use it on techno or something hardcore because the sonic character is perfect for that genre and it can be very aggressive.

Would you use a flathead screwdriver to remove a nail?
Knowing what sound to use is everything.....
Would I use a limiter on classical music? Heck no!!. Because I want the music to breathe fully. I simply reduce the RMS level so the highest peak never hits zero.

These are just a few examples.

When a customer sends me their album, I listen to it in its entirety a number of times before I decide which tools I am going to use to bring out the fullness. Funny enough I would be willing to bet that more than 80% of the folks out there use the exact same tools for mastering every project. This would be like using the same settings for every track.
Imagine if you will that every painter on the planet used the same colours. Can we get more boring than that?

The main areas to concentrate on when Mastering are both the eq'ing and the compression. When Eq'ing always go for the wide Q....about 2.5. It is much more musical. Narrow Q's cause the track to sound separated. If you find yourself needing to adjust the EQ using too many narrow Q's just go back to the mix and make the correction.

What makes a Mastering Engineer unique is the sonic signature he/she brings to the project while still being able to preserve the producer's original musical intent.

Ask yourself this question when you complete a mastering job. Did I sign my sonic signature to this track or am I just simply making this track louder>

If you just want to make it louder

EQ the track with Har-Bal and use T-Racks. Use the preset in the standalone version of T-Racks under the Suite named "Opto plus half inch" and you are done. Make sure the original RMs value of the track is abour -16dBs. You can use the normalize feature in Sound Forge (Use the preset -16dB Music)

Cheers

Earle
Craig Reeves
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Post by Craig Reeves »

har-bal wrote:
Craig Reeves wrote:Wow wow wow wow man I love this new method! Gosh, I swear this project I'm working sounds so much more pro now!


Ahh Craig

It's a labour of love. When we gain an understanding of our tools, we can always pick the right tool for the project.

There is nothing wrong with having a number of different compressors and EQ's at your disposal. Each one has its own sonic character. I am always amazed when folks ask in the forums "which is the best sounding compressor, equalizer, limiter...blah, blah, blah".
This is similar to asking a painter what is the best color out there.

One of the tools I have here is a TC Finalizer Plus. Would I use it on a classical music project or a nice slow ballard? Heck no. It sounds too harsh. However, I do know when it can be most effective.
I would certainly use it on techno or something hardcore because the sonic character is perfect for that genre and it can be very aggressive.

Would you use a flathead screwdriver to remove a nail?
Knowing what sound to use is everything.....
Would I use a limiter on classical music? Heck no!!. Because I want the music to breathe fully. I simply reduce the RMS level so the highest peak never hits zero.

These are just a few examples.

When a customer sends me their album, I listen to it in its entirety a number of times before I decide which tools I am going to use to bring out the fullness. Funny enough I would be willing to bet that more than 80% of the folks out there use the exact same tools for mastering every project. This would be like using the same settings for every track.
Imagine if you will that every painter on the planet used the same colours. Can we get more boring than that?

The main areas to concentrate on when Mastering are both the eq'ing and the compression. When Eq'ing always go for the wide Q....about 2.5. It is much more musical. Narrow Q's cause the track to sound separated. If you find yourself needing to adjust the EQ using too many narrow Q's just go back to the mix and make the correction.

What makes a Mastering Engineer unique is the sonic signature he/she brings to the project while still being able to preserve the producer's original musical intent.

Ask yourself this question when you complete a mastering job. Did I sign my sonic signature to this track or am I just simply making this track louder>

If you just want to make it louder

EQ the track with Har-Bal and use T-Racks. Use the preset in the standalone version of T-Racks under the Suite named "Opto plus half inch" and you are done. Make sure the original RMs value of the track is abour -16dBs. You can use the normalize feature in Sound Forge (Use the preset -16dB Music)

Cheers

Earle


Yeah, usually I master my own projects mainly because I can't afford a mastering engineer. Usually, when I mix the track I get the EQ to sound pretty close to what I want the final product to sound like (by carefully EQing the final mix against a "reference"). When I get to mastering, I usually decide what kind of sound I'm going for and I'll use the appropriate tools. With one of my tracks, I wanted kind of a deep, punchy bass so the G-Compressor worked perfect. I have like several other compressors but I like the SSL G-Compressor best for urban music it seems.

I usually don't do a great deal of EQ in harbal unless the track needs to be balanced further. I can usually get away with just low-shelving but sometimes I end up having to do a lot more than that. It really helps to be able to see things wrong with spectrum and fix it right there. Interestingly enough, with the track I gave you I didn't even really mix that one. That's why the EQ was kind of underwhelming on it when you got it.

I'll usually listen to several songs similiar to the genre I'm working in and that helps me to figure out what kind of sound I'm looking for and I usually know what kind of tools I'll need for the job.
Mister
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Hardware vs. Softward

Post by Mister »

Earle

In your opinion, are there any software (plug-in) compressors that come close to hardware units - for example, your Avalon 747?

In my work at present I'm only able to work in the digital domain.

I would really value your insight on this as you're one of the few ME's I've come across that doesn't automatically bash software plug-ins!

I ask this with the realization, of course, that different tools will work better on certain tracks than others. I'm looking at this from an overall quality & functioning standpoint.

And thanks to you & Paavo for putting out such a great program. Everything, service & support, are first rate!!

Continued Success

Karl
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