Today I bought "Audio Cleaning Lab 2005" for PC for only $39.95 U.S.

It has dramatically improved some of my productions...everything I've done sounds so much better run through this. Except that had to re-install windows recently and I saved my work only in 160kbps mp3 (stupiid!!). Now I'm paying for it using a program which really maximises on quality sources...which unfortunately I don't have with my latest demo. What you hear on my webpage is literally all I have remaining of those tracks.

Oh well, at least my next batch of songs will sound a lot better.

So, what software do you use to master your recordings, if any? Have any of you heard of the software I got?

I have recently laid my hands on T-Racks 24. I'm still learning how to work that baby, but it really improves the way your music sounds!

T-racks is cool. So is Dynasone

Since im using Logic 7
its a mastering software itself
to remove all those crackles etc...

But i use to use Peak, Basically any editor will do

MAC:
Bias Peak LE is a steal for about $80.

PC:
WaveLab or Sound Forge
(kinda pricey)

tA

Tribal Disorder

http://www.soundclick.com...rmusic.htm

I thought we were talking about digital mastering (multiband compression, eq,limiting) I don't think Peak does this on its own... (normalizing is not mastering! Neither is repairing clicks!) You need plug-ins inside of Logic or Peak or Sound Forge or Protools...

I have Protools, Peak, Cubase, and Sound Forge. I use them to record, layer up, make transitions, and edit. None of these can remaster a file the way T-RACKs or Dynasone can.

There is a difference between editing and mastering...

You edit first, then you master the sound.

ufoclub said:

yeah i thought some people weren't sure....

thanks for clearing that up.

alesis hd24
baddest mastering deck on the block!

now we're getting into expensive stuff...

Waves plug-ins are the best for mastering if you want to use software. But they are expensive. T-Racks is great too - the quality is similiar to that of Waves, but it's a lot less versatile. And at least T-Racks is fairly affordable.

Someone here said they had trouble using T-Racks. The interface is so simple to use that I think the problem might be a lack of understanding of audio engineering (including mastering) itself. There are some decent books out there. You may want to do some reading up, then you'll be able to understand any software or hardware a whole lot better.

If anyone here is very serious about mastering well (and it's the most difficult and most frequently screwed up process of all) try the book 'mastering audio' by Bob Katz. It's like the bible of audio engineering.

Have fun!

First, About Bob Katz.
Yes, he's one of the most famous Mastering Engineers, but he's into the old ways. Meaning he doesn't believe in Compression and Limiting. Today, songs that are not as loud as others, will just not survive on the radio. It's a fact, not an opinion.

About mastering.
Mastering at home, or in a home studio, is not the answer. For best mastering you need a special mastering studio. Not for the expensive equipment, but for the right speakers and the right acoustics.
It doesn't mean your masters won't sound good. But it probably mean they would sound better if mastered in a mastering studio.

About software.
I use Wavelab with Waves plugins. Sometimes I use outboards, but I prefer staying withing the digital domain. Only when it doesn't cut it, I go through the tube outboard, Like Manley's Massive Passive and Tube Tech.
[Edited 10/26/04 15:53pm]

Heavenly said:[quote]First, About Bob Katz.
Yes, he's one of the most famous Mastering Engineers, but he's into the old ways. Meaning he doesn't believe in Compression and Limiting. Today, songs that are not as loud as others, will just not survive on the radio. It's a fact, not an opinion.

I agree with most of this. However, it's not that Bob Katz does not believe in compression and limiting. All recordings are compressed and limited - they have been since the vinyl records of the 1950s and 1960s. It's nothing new. What's new is this trend to limit and compress recordings to the extent that we have been doing for the last few years. Bob Katz does not have to do this because he rarely works on pop music. He does a lot of classical stuff etc. It has nothing to do with his age.

Just because he doesn't squash the living hell out of his recordings does not mean that his book is any less useful. I have not seen better books on the topic of audio mastering. Of course, there's a lot more to mastering than getting hot levels. Nevertheless, the book does include a useful section for people who want to get hot levels without making the recording sound like utter crap. And there is an art to it.

I agree with you that hot levels is a must these days. But there can be no doubt that this ruins the recordings and causes distortion. It's a horrible sound, and even the (good) mastering engineers that do it complain about it. It's the producers and musicians (who don't know as much about sound) that demands it. Hot levels kill the longevity of music. I hope there will be a backlash in future so retail music can start sounding natural again.

"
About mastering.
Mastering at home, or in a home studio, is not the answer. For best mastering you need a special mastering studio. Not for the expensive equipment, but for the right speakers and the right acoustics.
It doesn't mean your masters won't sound good. But it probably mean they would sound better if mastered in a mastering studio.
"

Yes, I know. But most home musicians are not willing to go through too much trouble with room acoustics etc. due to financial issues, so they have to make do with what they've got.

Most mastering today is still done on analogue equipment (contrary to popular belief) and some digital outboard equipment. Most engineers that work for major labels only do editing etc. on the DAW. But of course, good software is a lot more affordable than good outboard gear. Which is why the home recorded is a lot better off with software.

fudgeface said:[quote]

Heavenly said:

Ok, well. about Bob (shall we call him Bob? )

I've sent him a mix that he was supposed to master for a client of mine.
The result, very clear, very well sounding master. I agree, he knows his stuff.
But, yes, hot levels ruin the sound. I agree and I fight my clients about it.
Yes, there are websites that will point out sidtortions on some of the best selling albums. All because of hot levels. But unfortunatly, it's a must today.


About mastering - True, a lot of engineers still work on analogue. not sure if it's the majority though. Staying on the digital domain will basically allow you to reach higher levels (In my opinion and experience). Maybe some stages of the mastering is done on analogue, but eventually, the final limiter, I believe is usually the Waves L2. either as a software or a hardware (I believe the hardware did not sell very good).

I doubt that in the future levels will go down again. because it's a constant war of levels. If you song will sound louder than the song before you, the more it'll sound better to the listeners.
Nowadays, the average is about -8db RMS. which is 4db higher than the maximum recommended.
Even Prince's last albums have those high level mastering, and I can clearly hear distortion on his last album. I just don't see how he could've let that happen. I guess it's not just about music. he DOES care about rating or else he wouldn't have gone through such mastering.