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stick ozone on it, choose a preset, bobs your uncle 
Random's Spontaneous devotion is probably the best mastered gameboy track i've heard, would love to find out how he got the bass in that sounding so fresh (scotch egg's albums are also expertly done)
Last edited by Sabrepulse (Jan 15, 2010 12:06 am)
Random's Spontaneous devotion is probably the best mastered gameboy track i've heard
He doesn't study sound engineering for nothing
I always output the whole lsdj song to my mac and pass it through t-racks plugins, choosing a preset that please me (most of the time, those with LOTS of bass). that's my "mastering" process.
but with these new songs I have I'm thinking of mixing its tracks separately on ableton live. not much because I think it's completelly necessary, it's more because I really dig mixing with ableton.
Sabrepulse wrote:Random's Spontaneous devotion is probably the best mastered gameboy track i've heard
He doesn't study sound engineering for nothing
Actually I was kinda bothered that the sound seemed to come from above 
Perhaps it's more enjoyable without headphones 
Oh, btw.. I read this somewhere:
"As a last thought, that "warm sound" that sounds so good is often some 120hz eq, or bass harmonic boost, rather than a warmifier."
Could someone explain this a bit? 120Hz eq = boosting at 120hz?
Also, does 'warming' chipmusic even make sense?
I've only mixed one GB track so far, but I chose to record each track separately so I could process each individually. Seemed to work well. The only catch is that you quadruple the signal noise (which on my DMG is alot!).
Same with my C64 track, I used some Waves noise reduction and grounded the SID input, much better after that 
iLKke : yeah, sounds like they're just saying to boost @ 120hz...Actually I think I did do that on my recent track as the bass on my DMG is poor. As for warming, could be done with valve drive with eq. Or one of those horrid max-bass things.
Last edited by BitPop (Jan 15, 2010 11:14 am)
Also, does 'warming' chipmusic even make sense?
I suppose you could record hot on a reel-to-reel.
I wonder if anyone is doing that..?
There used to be "Tape Saturation" option in VST/32. Can't say I've ever noticed it in newer versions, would achieve the same thing. I used DaTube plugin from SX which seems to add warmth for my Cairo track
iLKke wrote:Also, does 'warming' chipmusic even make sense?
I suppose you could record hot on a reel-to-reel.
I wonder if anyone is doing that..?
Just for you, TCM, my new songs will be mastered on a 1/2" MCI tape machine. Not really just for you but also for me.
Bob Katz FTW. Here is a really instructive section from the intro to Mastering Audio.
Mastering requires an entirely different "head" than mixing. I once had an assistant who was a great mix engineer and who wanted to get into mastering. So I left her alone to equalize a rock album. After three hours, she was still working on the snare drum, which didn't have enough "crack." But as soon as I walked in the room I could hear something was wrong with the vocal. Which brings us to the first principle of mastering: Every action affects everything. Even touching the low bass affects the perception of the extreme highs.
Mastering is the art of comprimise: knowing what's possible and impossible and making decisions about what's most important in the music. When you work on the bass drum, you'll affect the bass for sure, sometimes for the better, sometimes worse. If the bass drum is light, you may be able to fix it by "getting under the bass" at somewhere under 60Hz, witch careful, selective equalization. You may be able to counteract a problem in the bass instrument by dipping around 80. 90, 100, but this can affect the low end of the vocal or the piano or guitar - be on the lookout for such interactions. Sometimes you can't tell if a problem can be fixed until you try; don't promise your client miracles. Experience is the best teacher.
tRasH cAn maN wrote:I suppose you could record hot on a reel-to-reel.
I wonder if anyone is doing that..?
Just for you, TCM, my new songs will be mastered on a 1/2" MCI tape machine. Not really just for you but also for me.
In my only experience with the 'big boys', mixing and mastering at The Hit Factory, the engineer mixed all our pro-tools tracks to 1/4" reel to reel to warm it up. It ended up sounding pretty nice I think. The mastering session was really instructive. I asked the poor guy tons of questions about compression and EQ.
Rainbowdragoneyes' mixes are quite nice. Must be the hair.
Just for you, TCM, my new songs will be mastered on a 1/2" MCI tape machine. Not really just for you but also for me.
Cool. Will you be doing that yourself?
I look forward to hearing it.
Bob Katz FTW.
Absolutely. Anyone into recording/mixing/producing audio should read him. Infact, it should be mandatory.
Bob Katz is all over gearslutz.com, and if you want info on mastering or music production in general, there is so much good information there. Someone tell me when they figure out how to make an album sound like little-scale's Error Repeat.
Last edited by RushCoil (Feb 26, 2010 10:06 pm)
Bob Katz is all over gearslutz.com, and if you want info on mastering or music production in general, there is so much good information there. Someone tell me when they figure out how to make an album sound like little-scale's Error Repeat.
step one: move to Australia, sound works differently in the southern hemisphere.
Bob Katz FTW. Here is a really instructive section from the intro to Mastering Audio.
Mastering requires an entirely different "head" than mixing. I once had an assistant who was a great mix engineer and who wanted to get into mastering. So I left her alone to equalize a rock album. After three hours, she was still working on the snare drum, which didn't have enough "crack." But as soon as I walked in the room I could hear something was wrong with the vocal. Which brings us to the first principle of mastering: Every action affects everything. Even touching the low bass affects the perception of the extreme highs.
Mastering is the art of comprimise: knowing what's possible and impossible and making decisions about what's most important in the music. When you work on the bass drum, you'll affect the bass for sure, sometimes for the better, sometimes worse. If the bass drum is light, you may be able to fix it by "getting under the bass" at somewhere under 60Hz, witch careful, selective equalization. You may be able to counteract a problem in the bass instrument by dipping around 80. 90, 100, but this can affect the low end of the vocal or the piano or guitar - be on the lookout for such interactions. Sometimes you can't tell if a problem can be fixed until you try; don't promise your client miracles. Experience is the best teacher.
Speaks the truth, and does a damn good job if I say so.
I always do my mix in gameboy and record the whole mess out all together. I've been mastering/remastering tracks to get a little more umph out of them, mostly with compression and selective EQ. I make most of my kicks using a sine wave, so they sound meaty on the woofer, but learned they don't come through at all on shitty desktop speakers. It really helps to give those kicks some high end so they stand out from the bassline.
I studied audio for film, not music, so I'm kinda having to re-tool my understanding of how compression and EQ are used for this. I'm so used to compressing natural audio like dialogue and having to be all carefull with it... But MAN... you can compress the HELL out of electronic music without really losing tonal quality. Especially when its as lo-fi as gameboy tracks. I've had to be careful not to get carried away cus there's really nothing stopping you from going completely overboard.