Hi Kerry! I'm fine, grazie!
...oh... ok... thanks to "someone else" too, then...! [:D]
Ciao!
...oh... ok... thanks to "someone else" too, then...! [:D]
Ciao!
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I'd be *very* careful with Logic's mastering limiter. Without wanting to dis Logic's plug-ins in general, which are very impressive, the Waves L2-alike sounded like ass the one time I tried it.
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4) If you need a quick fix to pump everything up, run your master output through Logic's multipressor and then through the ad-limiter.
What about dynamic? I think that the multipressor will kill all the dynamics of the mix.
That's true, but what I learned recently is that if you're mastering for a film, your score -- your dynamically-rich, meticulously mastered, perfectly-balanced-volume score -- is going to get placed next to other songs in the movie that are so compressed & whose mixes are so hot, that your score will get buried. And that's only if they don't already get buried by SFX and voices and such in the movie. When you're doing TV or film, I think it's important to make the mixes loud, otherwise they'll disappear TOO much into the background. And while score is supposed to be in the background, you're still supposed to be able to hear it! And there's nothing more discouraging than sitting in a theatre watching your movie, and your favorite cue is about to come up, and when it does, you can't hear it because it got buried under dialog or comes right after a tightly-compressed pop song. Oh wait, there IS something more discouraging -- when your favorite cue gets sliced up by a music editor and they never told you, and you find out when you're watching the movie.
OK, deep breath... i'm not bitter... i'm NOT bitter....
[:D]
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While I agree with every line Kerry wrote, one should add that this is _exactly_ the point where virtual orchestration really shines: you can do dynamics with colours and harmonics, without actually lowering the volume. One can play with psychoacoustics and perceived loudness opposed to the old limits of possible headroom and/or high noise-floor.
Compression without a compressor, to coin a phrase. ;-]
/Dietz - Vienna Symphonic Library
/Dietz - Vienna Symphonic Library -
No, you don't _have_ to. Most of the time it's a matter of taste to add some artificial "strength" to very silent passages. But our ears got very used to this kind of recorded aesthetics.
The only scenario where you _should_ use dynamic processing is a case where you would run into distortion due to some untamed signal peaks. Here, a limiter is your friend! ;-]
/Dietz
/Dietz - Vienna Symphonic Library
