HAR BAL MASTERING TUTORIAL PROFESSIONAL
HAR BAL MASTERING TUTORIAL DOWNLOAD

This post will reveal the identity of the comparison clips in the post comparing the M-Audio Profire and the Lynx and John Hardy recording chain. IвЂ™d like to demonstrate the steps I now take to try to make my mic comparisons, and preamp and a/d comparisons, meaningful. As IвЂ™ve mentioned before, very small differences in volume are registered by our ear/brain combination as differences in quality rather than loudness. At this point IвЂ™m beginning to think that the differences in microphones are a lot more subtle than I had been led to believe, which makes a careful test even more important. Since then IвЂ™ve tried to do some mic tests of my own, and IвЂ™ve tried to educate myself on audio testing. Sure the mics had been changed, but the player was hitting the strings differently and playing different riffs at a different volume вЂ“ so how could I tell what part of the difference was the mic, and what part the player? Sometimes when IвЂ™ve listened to mic samples I thought I heard these dramatic differences, but after a bit I realized that I was listening to different performances, not different mics. Even better, when I read about microphones on the internet or in recording magazines it seems that each mic has a dramatically distinct personality, and a big part of the job of a recordist is choosing the optimal mic for any given source and style. They are a great gear fetish item, because theyвЂ™re collectible, a bit esoteric but still familiar, come in a wide range of types and sizes, and most of them have a bit of a phallic quality (grin). Try this method first, you might be suprised at the results.Mics are fun. With the plugin you should eventually get to know what your songs should sound like without the added bass, and dont forget to bypass the plugin before you render. You can also use an external amplifier with tone controls. Its so simple that most seem to forget about it. A very simpple and mostly overlooked solution to this problem is to mix with an eq plugin plugin on the stereo buss that has a few Dbs of wide bass added from around 60hz to 120hz. You simply sound like your mixing with to much bass. Mixing through headphones is hit or miss and dependent on the person, the music and the headphones. Theres also a good mastering tutorial on the site worth reading.

HAR BAL MASTERING TUTORIAL DOWNLOAD

Its not free so you can only download the demo but thats still ok to see where your going wrong. One great thing about Har Bal it will show you where you are going wrong immediately. Its similiar to Span but this works differently because you can EQ with this plugin. If your bass is hitting +3db you have to much. In time you will instinctively know whats right and whats not. Get in to the habit of playing commercial tracks through your system and checking with the FFT analyser. Check some tracks you like playing through the FFT and look carefully at the frequency response.

HAR BAL MASTERING TUTORIAL PROFESSIONAL

Is there a book 'MASTERING FOR DUMMIES' or should I bite the bullet and bring my tracks to all real mastering professional ?

Help ! Do I need more compression on the bass. But if i lower the bass or bass drum so everything is kinda equal they get lost. I tried a spectrum analasis and all my songs are low frequencey prone. The most expensive headphones i ever bought. I use Beyer Dynamic headphones, they were $200. There it sounds so bass heavy and real bass messy. Jondasutra wrote:Maybe my speakers are so colored that any mix that I make sounds good until I bring it to another system.

Har bal mastering tutorial