Hola Cuchi,
Es como todo, depende del presupuesto que tengás y de lo que quieras hacer con la producción.
Si lo quieres para vender el CD en conciertos, a colegas, etc, pues no sé yo si compensa irse a Londres a masterizar, si vas a hacer una tirada gorda, va a sonar en la radio y lo vas a poner en tiendas entonces quizá sí...
En cualquier caso te recomendaría que en vez de batería y bajo, intentes grabar batería y voces en un estudio.
Bueno, para empezar el mastering no hace milagros...
Si quieres que tu disco suene como el de otro grupo que te gusta, no vale con masterizarlo en el mismo sitio.
Para hacer un buen mastering hace falta una buena mezcla
Para una buena mezcla hace falta una buena calidad de grabacion
Para una buena calidad de grabacion hacen falta buenos instrumentos, previos, amplis, micros...
Con una buena masterizacion puedes tener un resultado excelente si te llega de una mezcla muy buena.
Lo de comprimir y limitar no es masterizar, eso es subir nivel y en muchos casos cargarte la dinamica de la grabacion.
El mastering es algo mucho mas complejo donde la herramienta imprescindible es un tecnico con "golden ears", No hay un patron determinado de efectos a utilizar, ni hay que usar algo si no hace falta, por ejemplo, a veces el tecnico de mastering no hace NADA a la mezcla, simplemente porque no hace falta, aun asi te pasara sus honorarios porque lo que estas pagando es el criterio de ese tecnico, no el proceso que lleve a cabo.
Creo que es importante diferenciar esto de poner un L1 o un ozone al master, eso NO ES MASTERIZAR.
Saludos!
Synthi.
Synthi tiene toda la razón, sin una buena mezcla no es posible un mastering adecuado.
Hay equipos que hacen milagros como el TC Electronic Finalizer, pero son caros y te puede llevar un tiempo aprender a sacarle partido. Aún así, lo mejor es una buena mezcla para luego sacar de esa mezcla lo mejor en el proceso de mastering.
salu2,
Deberias tener unos buenos monitores......si no, olvidate de el master, no quedara bien, y lo mejor....... que lo haga otra persona.
De acuerdo con todos.
¿Alguien conoce un buen estudio para masterizar?
Hola a todos!
Yo en tu lugar, si tienes un poquito de idea, el finalizer de tc electronics no es tan dificil de manejar. Es más, en un estudio donde yo lo utilicé utilizaban los presets que venían de fábrica, y sonaba genial.
Intenta alquilarlo a ver si no es muy caro.
Estudios?? Si lo vas a hacer en barato mejor alquilate el tc electronics.
Si tienes un poco mas de pasta, se me ocurren Peer studios, o Torres de sonido (Madrid)
Suerte y vete contandonos como va tu grabación eh?
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David Moulton's Golden Ears CD series, lecture series (on CD), and new textbook add up to an excellent education in professional audio. We also offer Cool Breeze's CD's, and a how-to paperbook book about Pro Tools that is endorsed by Digidesign. Find them all at Parsons Audio.
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Golden Ears CDs
Golden Ears is David Moulton's widely used audio ear-training course for recording engineers, producers and musicians. We keep them in stock. The series consists of eight CDs, in four volumes:
Vol. 1: Frequencies
Trains you to recognize boosts and cuts in all ten octaves of the frequency spectrum. Progressive drills build from simple boosts in music to more demanding single octave cuts in pink noise.
Vol. 2: Effects & Processing
31 possible signal processing changes, grouped into simple families: amplitude change, gross and subtle distortion, slow and fast release compression, equalization changes, stereophony anomalies and time-delay /reverberation settings.
Vol. 3: Delays and Decays
Delay settings from tenths of a millisecond to whole seconds; panning / slap / spaciousness effects -- in mono and stereo, on sustained and transient sounds. Reverb parameters -- predelays, decay times, etc. Invaluable when creating programs
Vol. 4: Master frequencies
Advanced EQ. Identify cuts and boosts to within a third of an octave; and two octave bands simultaneously boosted and/or cut.
They will teach you:
to recognize the effect of compression on a variety of different signals, and to identify fast and slow compressor release times
to hear musically relevant equalization problems
to recognize when loudness is the only difference between two signals
to distinguish ranges of 1 -- 10% and 10 -- 30% Total Harmonic Distortion in musical examples
to recognize anomalies in the stereo image (reverse image, mono summation, polarity reversal, pseudo-stereo etc.)
to identify channel-to-channel time differences over the 1 - 50ms range
to recognize gated and ungated reverb
and more, including 1/3 octave changes and double octave cuts and boosts.
ENDORSEMENTS
"...the music business is about sound, and anything that can help you capture and manipulate better sounds merits a look. After repeated listenings, I was actually able to discern which octaves were being cut or boosted in the frequency drills... after getting over my terrible score, I realized that the ability to identify small nuances in signal processing can help fine-tune a good mix, or even save a tough one... The more you listen, the better you become."
-- Electronic Musician Magazine
"The AES Student Section at Full Sail Center for the Recording Arts is excited to provide the Golden Ears eartraining Program to its members as a great complement to their real world education."
-- Jacques Boulanger,
Full Sail 1995
"...Golden Ears has given me the confidence to tackle some of the most exciting and demanding projects... [Golden Ears] provided me with an understanding of the audio post and sweetening needs... to work on the sound design for the world's largest Omnimax theater... after working at the eartraining course, mixing, synth programming and sound design just became second nature. I will request that it be a required text for all students."
-- David Musial,
Music Technology Department,
New York University
You can buy these CDs from us. The 8 CD set plus manual costs $220 plus freight. We usually have them in stock.
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These CD's cost about $40 each. As Dave describes them:
"These are short little audio presentations on CD. I made them with my studio partners Scott Loiselle and Mike Breault, under the trade name "The Audio Funny Farm." They are intended to give you an intense but quick audio introduction to a range of audio topics, including loudness, compression, distortion, stereo, reverb, eq, and digital audio. There are also a bunch of listening tests that I'm sure you can use as the basis for any number of cool parlor games.
"Four CDs, with three lectures on each CD. Focused on how things SOUND. Quick. Painless, except for my seventh-grade guy humor. Reasonably fun, or so they told me at my competency hearing!
Volume 1: Loudness, Compression, Distortion
In volume 1, Dave Moulton explains how loudness, compression and distortion can vastly affect your recordings. Through these lectures you'll learn how to keep safe levels, tighten up a mix, and more.
Volume 2: Stereo Miking, Stereo Mixing, Reverb
In volume 2, learn the way stereo works and how to make it work for your miking and mixing -- what's between Left and Right, how phantom images occur, how room situations work, and more.
Volume 3: Equalization, Parts 1, 2 & 3
In volume 3, get to know the many types of equalization, learn what techniques contribute to successful mixes, and more.
Volume 4: Digital Audio: Sensory Listening Tests .
luego es pedir presupuesto y que se ajuste a tu bolsillo.
