Link to my complete mastering program – The Ultimate Mastering Formula:
Q: Where can I get this song, A Beautiful View?
A: We produced this track for a tourism project, unfortunately at the moment the song isn’t for sale publicly but you can check it out here on this vid: http://bit.ly/6X2Y8X
Q: Is there an alternative ‘clipper’ plugin to the T-Rack Soft Clipper?
A: Not that I know of – if you find one let me know!
Otherwise, I recommend giving the T-Racks one a try, you can get a free demo on their website.
Q: What alternatives are there to the DUY plugins?
A: I don’t know of any plugins that do EXACTLY what the DUY plugins do, like any piece of gear or software, they all have their unique characteristics.
That said, here’s some suggestions:
DUY Wide: Any ‘stereo widener’ plugin will do (also called “stereo enhancers”) e.g. Waves Stereo Widener
DUY Tape: Look for a tape emulation plugin. e.g. McDSP Analog Suite or Waves Reel Tape Suite.
DUY Valve: I haven’t found anything quite like this, but you could give PSP Vintage Warmer a try. You could also try a ‘bass enhancer’ plugin – some SUBTLE MaxxBass or Waves Rbass will give a similar warmth – just go easy on it 🙂
Q: Why do you show people how to make their songs louder – isn’t this encouraging ‘the loudness war’?
A: Without getting into the whole loudness war debate – which would take several PAGES, here’s a brief answer…
This short video is just ONE example of ONE way to master ONE style / song, it’s by no means a comprehensive mastering guide, and it certainly doesn’t reflect the way I master ALL songs.
In fact, if I were mastering classical music or light indie for example, I wouldn’t be caught dead with a clipper on it!
The thing about this “formula” is that it’s NOT a recipe that you blindly copy setting for setting, it’s a FRAMEWORK that gives mastering some structure and allows you to be creative within that.
So you can CHOOSE what works for you and what doesn’t – none of the steps are mandatory. If you want a less compressed, more dynamic and natural sound, simply skip steps 4 and 5 (compress it and clip it) and go VERY easy on the limiter.
In this mastering example, this is how the ARTIST and the CLIENT wanted it – like it or not, this is the way it is in the industry at the moment. The mastering engineers aren’t all conspiring to destroy music, they’re simply doing the BEST they can within the constaints of the people who PAY THEM to master their music.
In general, the record label / artists etc. don’t care that much about the long term affects (listening fatigue etc.) of highly compressed music, they’re concerned about ONE thing — GETTING THEIR MUSIC NOTICED.
It’s a fact that we generally perceive a louder track to sound better in the SHORT TERM. And in a world where everyone’s trying to get noticed, and people’s attention spans are about that of a goldfish, loudness DOES matter. Having the highest quality record doesn’t mean much if no one gives it chance in the first place!
I’m generalizing here, and it’s a VERY short answer to a BIG question, but I just want you to know that I do understand BOTH sides. I hope this comes across! 🙂 Video Rating: / 5