PLEASE Share your workflow in HB

There are many features of Har-Bal we still haven't discussed in this forum. Below we will start sharing a few items. Please feel free to add yours.
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badrobot
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Joined: Thu May 16, 2013 9:25 pm

PLEASE Share your workflow in HB

Post by badrobot »

Please share your average workflow in Har-Bal in an easy step-by-step kinda way
(Please also keep in mind that some of us newjacks are not as savvy as you guys, so)
(short explanations of complex processes are extremely useful to us)
har-bal
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Re: PLEASE Share your workflow in HB

Post by har-bal »

Hello

My workflow is somewhat different from the tutorial because I am using Har-Bal in combination with a hardware mastering chain.

I do not use computers for mastering, however I do use Har-Bal to view and correct the spectrum prior to insertion in my hardware mastering chain, because it shows me immediately where the problems areas reside and allows me to address them immediately.

I mainly use the yellow only because it shows me where the most energy resides In a track.

1. Turn off the green line by toggling the green switch at the bottom right

2. Turn of the purple line by toggling the switch on the bottom right.

3. Change the octave view to 1 on the bottom right

4. The yellow line should look like this (You can download the reference I use from the link below below)
https://www.yousendit.com/download/WFJY ... SHhqQTlVag

5. Only use it as a guide. You can click on the grey button on the bottom right to show the original view of your track. You want to somewhat preserve the original shape but just make sure nothing is jumping out at you.



When the music is super dynamic I leverage harmonic spectrum compensation by first initializing a multiband compressor and adjusting the crossover band after doing a bit of isolation Next up is the Avalon 747SP with the tubes engaged to remove any digititis. Compressor is not engaged and the EQ remains at center detent. At this point I am working towards balancing the audio without compromising the dynamic content and tey preserving the producers original intent.

The audio then passes through my Zener Limiter TG12413 with ever so slight compression to catch any slight peaks that may have made it through...slow release and almost slow attack.

Next up the my Massive Passive Mastering EQ. Again, I am shooting for the tubey feel. EQ is engaged but no adjustment was made.

Last is the L2 box for catching the last peaks. Outceiling set at -0.1, Threshold set at 0.0

Final stop is the CD recorder.

Cheers

Earle
badrobot
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Joined: Thu May 16, 2013 9:25 pm

Re: PLEASE Share your workflow in HB

Post by badrobot »

Awesome Earle,

Ur post starts with something I've been suspicioning - Everybody's workflow is a little different in the usage of this thing
and that's why I've been requesting that folks share how they use it and those steps.

I've hit several folks up who recommended it to me and some folks that have contact info in the forum - and almost every
single person uses this slightly differently....this, to me, seems to be a function of what they do =

1. Mastering (only or mostly) folks use it as a meter and double-check or minor corrector
a. Already have a pretty standard Mastering process (including troubleshooting and problem correcting)
b. because they've already received a pretty high level product
c. about 8 times out of 10 aren't gonna have work too hard to get it there

2. Mix and Master's more as first in the Master chain to enhance what else is gonna happen
a. understand both sides, so Mixing for the Master is easier the more they do it
b. Already have standard processes for both
c. More often have to work harder but mostly because they're in between these 2 areas (Mixing and Mastering) and have to strike a balance.

3. Artists that Record, Mix and Master need it to try and get it to a higher level with more demasking and balancing
(or dynamics) being accomplished....I am in this category for sure.
a. Working on my process, some of which seems mysterious....like running audio through a piece of gear just to gain artifacts or ambience?
Some qualities which are so subtle and distinct to a Mastering Engineer that they are perceivable but not discernible...
b. Very much connected to the music, so it affects objective decisions ie. a great 'take' with too much Mid or hiss or whatever but we keep it and try to make it work.
c. Constantly just searching for ways to get closer to better Mixes, the CORRECT RMS for a song (NOT pick your favorite song that's close and use that one), Harmonic
Balancing, and a Mastering Chain that I both can understand and afford hahahahahahaha


It's also awesome that you share you're "koolaid" (Mastering chain) formula with everyone, but of course, few of us could even afford to
price check some of that gear, much less learn how to use it at a Jedi level. I truly dig your term "digititis" and totally understand why
you're using the gear in that way to lessen that.

Appreciate you sharing,

/R

Phil
har-bal
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Re: PLEASE Share your workflow in HB

Post by har-bal »

Here is a suggestion.

The CD below is listed among the top mastered albums.

Purchase the CD and study the spectrum. Especially the peak (yellow) line and you will see consistency throughout the entire project. Use is as your guide.

George Duke - Duke - 5-Star Reference CD**

Mastered by John Vestman, this is an excellently balanced tonal presentation by one of the great contemporary jazz legends, the Duke himself! Grammy-nominated without being totally slammed, the level is hot enough to compete but musical enough to be pleasing and listenable for a long time to come. Solid mixing by Erik Zobler and clean arrangements made this an easy project to master. It's clear, fat and wide - an excellent reference for keyboards, vocals, solid kic, horns and more!

Cheers

Earle
badrobot
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Re: PLEASE Share your workflow in HB

Post by badrobot »

I will do it...but if you were picking a comparably engineered Rock Album which would it be

AND

any advice on ripping....I usually buy mp3's...but they wouldn't be optimal for this, right?

/R

Phil
har-bal
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Re: PLEASE Share your workflow in HB

Post by har-bal »

Here is a link for all the best mastered CD's. These include all genres.

http://johnvestman.com/commercial_cds.htm

If you only have audio files on a cd and don’t have a wave file extractor I recommend CD-EX as a free fully featured CD extraction program which can extract to the WAV format you need for Mastering.

In any case you can always purchase the songs online and download them as MP3 files and load them into Har-Bal.

Cheers

Earle
badrobot
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Joined: Thu May 16, 2013 9:25 pm

Re: PLEASE Share your workflow in HB

Post by badrobot »

Anybody else care to share your workflow, Please?

....Bueller...

Bueller...

Bueller...

:D
HarBal
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Re: PLEASE Share your workflow in HB

Post by HarBal »

My workflow is purely Har-Bal using the techniques outline in the manual.

I don't believe mastering should be "adding" anything to a track but just bring out what is already there. Hence using analog gear (tubes etc) that add through non-linearity is simply a no-no to me. It isn't the job of the mastering engineer to add anything. That is up to the producer.

That said, I don't do mastering for a living and don't care to either. I just re-master the bad records I like. Also, if you're mastering your own work then you are the producer so you're free to add anything at any stage of processing.

cheers,


Paavo.
badrobot
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Joined: Thu May 16, 2013 9:25 pm

Re: PLEASE Share your workflow in HB

Post by badrobot »

Thanks Paavo,

I've only asked because in my [offline] chats and emails with different users, it became apparent that
everybody uses it a little differently based on what they're using it for...I felt like understanding the
differences could help me gain a better understanding of it's full scope.

Appreciate all the great support.

/R

Phil
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