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Layer layer layer, did I say layer?, parallel channels of comp and eq, some for details some for perceived loudness.

Maybe in the Side there’s something interesting to be enhanced, something that can make company to that lonely kick….

If you need the maximizer for loudness, go back to the start and do it better!

Don’t use maximizers to give loudness, but just to control 1-2dB of peaks, if there are any that compressors didn’t manage to control.

Take care of loud hihats, when you maximize they’re going to stick out and bite your ears, those nasty bstrds!.

Get the unnecessary peaks under control with compression (snares, synth stabs, nasty hihats), they’ll sound like broken if you leave them for the final maximizer and will take dBs you can devolve to the lovely kick.

I’m working on my mind reading skills but still need some time to get there ahah. AS a producer, you should always send some information together with the premasters, explaining what you would like to achieve during the mastering process, if there is anything in the mixdown that you would like the mastering guy to target, and possibly send some reference tracks. As much as i can try to second guess the intention of a producer listening to the mixdown and reading between the lines, there is no doubt that having some clear direction during the mastering process makes the whole experience more streamlined and allows me to focus on the details and the general character of the track with more confidence. Giovanni Conti: Having a clear and honest communication between the producer and the mastering engineer helps a lot to avoid misunderstandings or wrong assumptions related to the desired target loudness and tonal balance. It seems you prefer this way of working, don’t you? Mistakes are to avoid or correct much more easy than sending an EP and just waiting for the master waves without any communication about the sound and the idea of the record. Joachim Spieth: When i was preparing my recent 12”s I realised how important it is to work with a mastering engineer during the the production process.

Man I may sound like a DMG Audio fanboy but I swear the quality of my work has improved a lot since I started using those plugs, and I haven’t found any other plugin or hardware unit which can replicate the efficacy of those tools. I love to approach the limiting task with DMG Limitless, it allows to precisely tweak the action of the limiter and make it very transparent, avoid distortion and pumping, keep the bottom end wide and deep. I often use it without doing any gain reduction, purely for the box tone of the saturation.Īfter recording the outboard pass back in the computer, I apply the last pass of processing composed by EQ, dynamic EQ and limiting, pushing the track dynamic range to a value which is appropriate for the genre and for the loudness potential of the material. The Vari-Mu HCL Varis tube compressor is a great tool to increase the perceive loudness by using its gain stage, which imparts a sweet harmonic saturation in the mid-highs, gives a kind of 3D holographic presence to the sound and makes the harmonic content bloom and shine in a way that it’s difficult to recreate using digital plugins. I use each EQ unit in the frequency range where it’s giving the best result: for example, the API 5500 and the Pultec section of the Bettermaker 232P are great to give punch and focus to the percussive elements in the lows and mids, but not appropriate to enhance the harmonic content of pads, layers and softer elements, a task more suited to the Avalon 2055, TFPRO P9 or the parametric bands of the Bettermaker 232P. During the outboard pass I try to push the track to its maximum potential in terms of detail and perceived loudness, increasing density by a careful use of EQ points. First piece in the chain is a bit unusual, a Drawmer 1962 tube preamp, which I use for the variable tube stage and sometimes for the enhancer when the material requires a heavier hand to compact the bass and get the percussive transients more upfront. I’m not a big fan of gain reduction to achieve loudness but still I have two compressors in the chain, HCL Varis and Drawmer 1973 multiband. My outboard chain is composed mostly of equalisers: API 5500, Bettermaker 232P, Avalon 2055, TFPRO P9. Then I use the outboard chain to add some harmonic saturation and achieve the desired tonal balance and dynamic range. Giovanni Conti: I usually take care of the corrective part of the job using a plugin equaliser, DMG Equilibrium, and dynamic equaliser, DMG Essence, so that the signal fed to the outboard chain doesn’t have any major issues, like resonant peaks or excessive sharpness.