Mastering

Direkt · Post by **Direkt** » Wed Aug 09, 2006 12:18 pm

How much we talking?

And who did your tunes get signed to? Congratulations by the way mate!!!!

strategem · Post by **strategem** » Wed Aug 09, 2006 12:19 pm

nice work on getting your tune signed. congrats

flippo · Post by **flippo** » Wed Aug 09, 2006 12:27 pm

he quoted me $165 as the standard price for one tune, will get more expensive if it needs special work. Aditional tunes after that are a bit cheaper because the $165 include the cost of setting up the session.

strategem · Post by **strategem** » Wed Aug 09, 2006 11:21 pm

worth every cent

a1studmuffin · Post by **a1studmuffin** » Thu Aug 10, 2006 3:53 am

Little Evil wrote:Word.
He did some work for me last week.
Now I have tune being signed.
He made it sound like gold.
He is definately the man.
Well recomended - and an incredibly nice bloke too.

Any chance you could put up an A/B snippit of your track before and after the mastering? I'd love to hear how much the process actually adds and how close the original was.

Little Evil · Post by **Little Evil** » Wed Aug 16, 2006 11:43 am

a1studmuffin wrote:
Little Evil wrote:Word.
He did some work for me last week.
Now I have tune being signed.
He made it sound like gold.
He is definately the man.
Well recomended - and an incredibly nice bloke too.
Any chance you could put up an A/B snippit of your track before and after the mastering? I'd love to hear how much the process actually adds and how close the original was.

No worries.
I will try reall hard today - but will get it up in the next couple of days at least.

As for tune getting signed - I've realised that lots of record companies will blow heaps of sunshine up your arse, and then try to rip you off. (I've had no less than 3 now)
I mean it would be great to have a record signed - but you don't want to be ripped either. I get all the info on how much I should be paid etc, from well known producer friends in the UK and Canada.
And most of them (Record labels) don't follow through on a deal anyway - and it is a slow process when they do.
I'm thinking of just going out on my own. Bit disapointed with this weeks events. But, I'll just keep on pluggin.

Ahh, the music industry.

Direkt · Post by **Direkt** » Wed Aug 16, 2006 12:17 pm

Keep at it Evil....

From what I've heard record labels love to "lock-away" tunes for a small sum, and then take their time working out wether it's going to be financially viable for them to release - and business wise, I guess that makes sense.

Artist wise, it sucks. They end up owning your song, you (not you personally) get next to fuck-all in the grand scheme of things for the rights and usually the budding artist is just happy to have the tune signed - and they know this.

Maybe bump out a few CDR's to your good local/internatty DJ mates and see if anything comes of it. You've got it copyrighted yeah?

Little Evil · Post by **Little Evil** » Wed Aug 16, 2006 12:26 pm

Thanx Direktor.

Aus copyright protects the artis from the start - as long as you can prove you made the tune.
But I have copyrighted it anyway.
Have the before and after snips up in about 20 mins.

Little Evil · Post by **Little Evil** » Wed Aug 16, 2006 1:07 pm

http://www.bigupload.com/d=3BB40102

Very quick snip of tune after mastering.

-----------------------------------------------------------

http://www.bigupload.com/d=9CEB1BB7

Very quick snip of tune before mastering.

(You may need to open this (the pre mastered track) in something like Soundforge or Protools, as it is a 24 bit file - and was the format I gave it to the engineer.

I put them in reverse order so you can hear the good one first.
You'll need some half decent monitors to really pick out anything but the added clarity and extra volume I guess.

He does a great job though - and will be using him lots in the future.

Definately well recomended.

PS - Let me know if these connections/downloads work for you? I'm having a bit of difficulty with them.

Little Evil · Post by **Little Evil** » Wed Aug 16, 2006 6:01 pm

Read up above - I'm not signed to a label - but they got my hopes up

Little Evil · Post by **Little Evil** » Wed Aug 16, 2006 6:08 pm

Nah.
That's cool.
I have heaps more to come, and am not easily swayed.

I'll keep pluggin.

flippo · Post by **flippo** » Wed Aug 16, 2006 6:13 pm

Little Evil wrote:As for tune getting signed - I've realised that lots of record companies will blow heaps of sunshine up your arse, and then try to rip you off. (I've had no less than 3 now)
I mean it would be great to have a record signed - but you don't want to be ripped either. I get all the info on how much I should be paid etc, from well known producer friends in the UK and Canada.
And most of them (Record labels) don't follow through on a deal anyway - and it is a slow process when they do.
I'm thinking of just going out on my own. Bit disapointed with this weeks events. But, I'll just keep on pluggin.
Ahh, the music industry.

bummer man. So they were offering shoddy deals?

How many tracks in total did Tony for you and how much did that cost? I know the base cost is 165 but I'm wondering how much additional tracks in the same session are?

Little Evil · Post by **Little Evil** » Wed Aug 16, 2006 6:20 pm

He charged me $165 for that track - plus had to do a few other little things to it, so it cost me $220 all up.

I'm sure he'd do a better deal if you were giving him lots of regular work - but don't quote me on that.

Yeah, the label were all gung-ho, and then sort of 'Nah' - plus they offered me next to nothing for the tune.
Anyway, like the Crystal Method say - 'there is Hope'

And there's lots of labels out there too.
Maybe I should stop making hard breaks?

Snowie · Post by **Snowie** » Thu Aug 17, 2006 1:31 pm

Nah mate, don't stop making the music you want to hear, otherwise we'll all be making Brittney Spear dub tracks. Fuck that !!

Drew, would be very keen to hear how you went about getting copyright for your track, if you keen to share.....

Direkt · Post by **Direkt** » Thu Aug 17, 2006 3:36 pm

Contact APRA mate - it's as easy as that.

www.apra.gov.au

If you can't get through the whole application process, or more the point - can't be stuffed. Then a good idea is to mail yourself a copy of your own CD, by registered post and DO NOT OPEN IT.

The date on the stamp and signature should ensure ownership of your tune/s.

Snowie · Post by **Snowie** » Thu Aug 17, 2006 3:40 pm

That sound very easy and simple. Nice one bruv.

a1studmuffin · Post by **a1studmuffin** » Fri Aug 18, 2006 8:23 am

Thanks heaps for those Little Evil, much appreciated. Will have a listen to them tomorrow at the sound studio at work!

strategem · Post by **strategem** » Wed Aug 23, 2006 4:49 pm

For those interested the new edition of Audio Technology Magazine features an interview with Tony 'Jack the Bear' Mantz, a little thing on his new studio 'Deluxe Mastering' and an interview with George Auspurger, one of the most...if not THE most...respected acousticians in the industry. He is also the guy that designed Tony's new studio.

DruidTek · Post by **DruidTek** » Wed Sep 06, 2006 2:23 pm

Franc Tetaz at Moose is very good, as he specialises in mastering electronic music. I've been there a few times and was very happy with the results, but he's usually very busy, so there might be a bit of a wait...

http://www.moosemastering.com/flash.html

dopamine · Post by **dopamine** » Tue Sep 19, 2006 3:44 pm

Keep in mind you should never rely on mastering. Your mix should sound pretty much where you want it before it gets sent off. I use Shane at Heathmans who does the Plump DJ's amongst other big names and the masters do not sound that different from what I give him. Obviously it's louder, the bottom end is nicely controlled and he adds a certain amount of punch and aggressiveness but very little EQ or compression is needed.

If your masters come back sounding shitloads better then that means the engineer had to do a lot of work as it was poorly mixed.

If you're doing your own masters, get into the habit of simply running it through a limiter and nothing else. If it doesn't sound right when you play it out then it's the fault of your mixdown.

matty

unsoundbwoy · Post by **unsoundbwoy** » Wed Sep 20, 2006 12:34 pm

dopamine wrote:Keep in mind you should never rely on mastering. Your mix should sound pretty much where you want it before it gets sent off. I use Shane at Heathmans who does the Plump DJ's amongst other big names and the masters do not sound that different from what I give him. Obviously it's louder, the bottom end is nicely controlled and he adds a certain amount of punch and aggressiveness but very little EQ or compression is needed.

If your masters come back sounding shitloads better then that means the engineer had to do a lot of work as it was poorly mixed.

If you're doing your own masters, get into the habit of simply running it through a limiter and nothing else. If it doesn't sound right when you play it out then it's the fault of your mixdown.

matty

amen to that