Thanks everyone for your input. As an update. I've found a good solution in
Stillwell's Event Horizon. I've found it good to give that extra bump to my finished mixes to get things to a comparable level to commercial tracks. Surely not perfect but very good when I just want to render something and have it playable with mastered tracks.
Comments?
loud, quality tracks - am i doing it wrong
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victorgonzales
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damn forum acting wacky
Last edited by victorgonzales on Mon Dec 28, 2009 3:55 am, edited 1 time in total.
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victorgonzales
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I think it may be something in your mixing maybe if you have tooled around with limiters and compressors. If you have most of your instrements with their own space in the mix and not so many stacked up it allows you to turn your master volume up a LOT higher and just limit whatever couple instruments are clipping on their own channels. your rms will apear a lot higher when two full instruments are sharing the same frequencies too much. If you can give them some separation the rms goes down allowing you more space to trun the master up.
Eqing is essential in final volume level in my opinion. It's a lot better to be able to have enough room to turn it up rather than having to squash it with limiters and compressors in my opinion.
And as before mentioned make sure your bass tones are not too wide or mixing in too much with midbass and kick frequencies. That sh!t will drive your rms through the roof and your track wont sound any louder for it.
Eqing is essential in final volume level in my opinion. It's a lot better to be able to have enough room to turn it up rather than having to squash it with limiters and compressors in my opinion.
And as before mentioned make sure your bass tones are not too wide or mixing in too much with midbass and kick frequencies. That sh!t will drive your rms through the roof and your track wont sound any louder for it.
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lauschpegel
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very interesting text by monolake about loudness:
"Production Notes II
The music on this album has not been compressed, limited or maximized at any production stage. Why not?
Once upon a time, music had dynamics. There were loud parts, and there were more quiet parts. Then came radio. In radio there is a technical limit for the transmittable maximum volume. As a consequence the average level of music with a high dynamic range is lower than the average level of music with a low dynamic range. The loudest possible music in radio is music where every element is constantly hitting the limit, music with no dynamics at all. Radio, and more recently mp3 players and laptop speakers influenced the way popular music is composed, produced and mastered: Every single event has to be at maximum level all the time. This works best with music that is sonically simple, and music in which only a few elements are interacting. A symphony does not sound convincing thru a mobile phone speaker, and a maximized symphony does not sound convincing at all."
"Production Notes II
The music on this album has not been compressed, limited or maximized at any production stage. Why not?
Once upon a time, music had dynamics. There were loud parts, and there were more quiet parts. Then came radio. In radio there is a technical limit for the transmittable maximum volume. As a consequence the average level of music with a high dynamic range is lower than the average level of music with a low dynamic range. The loudest possible music in radio is music where every element is constantly hitting the limit, music with no dynamics at all. Radio, and more recently mp3 players and laptop speakers influenced the way popular music is composed, produced and mastered: Every single event has to be at maximum level all the time. This works best with music that is sonically simple, and music in which only a few elements are interacting. A symphony does not sound convincing thru a mobile phone speaker, and a maximized symphony does not sound convincing at all."
