Mastering film / tv soundtracks

[Dom]

Hi everyone. Do you use any mastering (i.e. mix compression, eq) on your music soundtracks before they go into the dub (re-recording)?

For years I didn't do this because dubbing mixers say that that is their job, and they want the music pure. However I started using gentle multiband compression (no limiting as it's not necessary), and smiley eq curves as I find the music sits bettr with dialogue, fx etc.

Dubbig mixers would probably say this is "illegal" but they don't need to know....

Dom

[mathis]

Having worked a lot both as sound rerecording mixer and sound/music editor I can tell you that most mixers won´t even touch your mix. They simply have no time for that. They will only touch it if it disturbs *their* dialog.
So don´t mind about them, make your music/mix as beautiful as possible. Mastering is part of that.
Of course don´t overcompress. But you´re certainly aware of that.

[Peter Roos]

I have absolutely no experience yet in this area but I would also focus on the sound you like most, including (moderate) compression and limiting if that suits you and only leave the dubbing mixers with the gain riding they need to join your music with dialogue, foley, etc.

Try to shift EQ and compression decisions to the mixing stage (that is, on individual tracks), this will give you more "subjective" headroom within your mix.

Cheers,

Peter

[Dom]

[quote=Peter Roos]
Try to shift EQ and compression decisions to the mixing stage (that is, on individual tracks), this will give you more "subjective" headroom within your mix.

Thanks Mathis and Peter. Peter, do you mean my mixing stage or the dub?

[DG]

@Dom said:

[quote=Peter Roos]
Try to shift EQ and compression decisions to the mixing stage (that is, on individual tracks), this will give you more "subjective" headroom within your mix.

Thanks Mathis and Peter. Peter, do you mean my mixing stage or the dub?

Don't expect anything at the dub; there is normally so much to do that the engineer just wants to raise and lower faders for the music. Make your music sound as good as you can in your own mix. However, do always listen back at roughly the level that you think it will be played at; this can often make a difference in how you mix it.

DG

[KMuzzey]

I agree with DG. I did two big projects recently (finally!!!!!!!!!!) with pro sound designers, and they expected a fully-mastered "finished" score -- they just raised and lowered levels. If something really sticks out or really needs to be pumped up, they'll do that, but it's the rare exception vs. the rule.

[Dietz]

As far as I can tell form my experience, Mathis is completely right. Music I mixed for the cinema wasn't touched sound-wise unless it caused trouble.

/Dietz

[Neil C]

I agree with all this - but if it's for TV try listening to your mix through 'cheap' speakers.... that's what most of the population have!

Even if they buy a feature film on DVD, same issue!
Neil

[Dom]

So does anybody use mix compression / mastering eq on 5.1 mixes for dolby digital? I have done it so far only on a rock track, to get it pumping a bit but with orchestral material I wouldn't know what to do with it.

For TV mixing I have now started to play with multiband compression, however I do find it a bit "dangerous" as it makes some unnderscoring cues more "intense" than they should be. I guess no simple mix compression with a low ratio is perhaps beneficial. But then you always loose some dynamics that you've worked so hard for...

I've also just hired some vintage pultec eqs to add some top-end sheen (however, bizarrely, I actually prefer the sound of the bomb-factory tdm-pultec, but that gives me some starnge quantisation artifacts, does anybody else have this problem with it?).

Oh yes, I agree, check monitoring with crap speakers always. Carful though, there art more and more people with home-cinema systems who have their subwoofers turned up to 11!

- Dom