Landr mastering review 201612/12/2022 By reducing that freq I was able to hear the main part of the vocals and guitars better. I did notice that Ian’s toms, snare and kick seemed more weighty (that’s good!), and he was able to locate a high-mid zone that seemed to be a little irritating. No offence intended Graham, but your choice of swooshy ‘verbs and delays isn’t my ‘bag’, and in some ways makes it difficult to distinguish the drums and bass the way I prefer. And ps I am listening on my AT-50m phones because some are sleeping in late. But there were a couple things from each mix that did jump out in variance to the others. All three are tons better than the pitiful stuff I am producing (boo-hoo), and it really seemed that all three were very LOUD and lacked noticeable dynamics (in other words, are radio-ready!). For the perfectionist, that’s a damn tough call…. The hardest part is when to know when to quit and say it’s done. And as with any master project, it might sound great in a pair of Bose QCs but awful on a cell phone which is what most people use nowadays, so yeah it’s a moving target in many ways. When self-mastering you kind of have to pretend you’ve never heard the track before and give it a whole new listen. I think by the time we’re ready to master, we’ve studied each millisecond of every single tracks countless times. Preference plays a huge role at that point and time. But it’s like my wife says, “You can’t make chicken soup out of chicken sh*t” meaning a recording can only be as good as the artistry, techniques and technology used to prep it for mastering. My ears are 58 years old too with a lifetime of loud music so don’t trust me. The bottom line really is all the mixing work that went into the project BEFORE mastering.
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