Professional Sound - June 2017 - Page 56

SOUND ADVICE The Curious Case of Mastering Your Boy Tony Braxton’s Adult Contempt PART 2 By Noah Mintz L ast issue, I explained the different meth- ods I tried out when mastering Your Boy Tony Braxton’s Adult Contempt, with the mandate of making it sound like it was released in 1990. the UAD Lexicon large hall reverb and a FabFilter Limiter. The FabFilter is my go to limiter. I sometimes use others, but to me, it’s the most flexible and can sound the most transparent. It also doesn’t have many settings, which is something I look for in a limiter. I want it to be as simple as possible so I don’t really have to think about it. I set the limiter to 3dB gain. This way I can have a lower level going to my plug-ins, and for vinyl mastering I can take it off and have a lower level (very important for vinyl mastering) and increased dynamic range. “Conviction” I used a FabFilter C2 Comp with a bus-style com- pressor and a pretty high ratio (5:1) for mastering. Also some side chain filtering. I used an Ozone dynamic EQ to dial out a bitey vocal at the times it was too much and to boost the kick a little. A dynamic EQ works similar to a multi-band but only applies to an EQ curve when it reaches a certain dynamic threshold. I sent the various test mixes to Shad (aka Your Boy), mixer Howie Beck, producer Matt Johnston, and Gurav, Shad’s manager. In the end, and to my surprise, they chose the digital master as their favourite. They were looking for something dif- ferent and this was it – but not different enough. They asked for one more version with something that’s not normally done in mastering: reverb. So I added a Lexicon hall reverb with a short decay, sent this off, and the test-master was approved. Approved “in theory,” that is, because I was told by the time the mixes were ready for mastering, the actual mixes would sound quite a bit different than the test mix. At least we had a methodology. After I got the final mixes and did my first round of mastering, the list of revisions and deliv- ery of new mixes was exhaustive, so I was glad it was all done in the box. It saved me from having to rerun it through the analog system every time. Here are some of the highlights and more interesting signal paths: Whole Album For the whole album, I kept the UAD Ampex ATR 102 at 7.5 ips with 456 tape and used a UAD Pultec with 100 Hz and 20 kHz attenuation. I also used 56 PROFESSIONAL SOUND “Fall (Girl)” I used a mid-side EQ, the FabFilter Q2. I cut the lows in the mid but put back in some of the kick fre- quency. I took out some 2 kHz in both mid and side. I also felt this song needed some dynamic lift. I could have used an upwards compressor but it didn’t create the effect I wan ѕͼ$͕Ʌ)ͥЁͥȰѡUM=ᙽɐٽѥ)ѼɥͽЁɅ̸ͥQа$)eЁՅ䁭܁܁ɅͥЁͥ́ݽɬ)$Ё܁܁ѡͽչȁѕɥ)ӊéՅ䁹ЁͥɅͽչ%Ё́Ѽѡ)ѕ䁽qЁѡЁͽչ́ɕ䁝չѥ)ԁхЁЁɕ锁܁Ս)ӊéՅ䁑t Ёѡ͔Ʌɔ͕̰Ё)ݡЁѡ͔ӊéᅍѱݡЁ)̸QUM=ᙽɐٽѥ)ѡЁɅͥЁͥȁѡЁ$ѡ́᥉)՝Ѽ͕ȁѕɥ+q$QЁ%́e׊t)ȁѡ́ͽ$ɕ䁵͕ѡͽչ9ٔ(܁5ѕɥDͼ$U9ٔ(ѡ܁́ͥ䁄ѕɕѕٕ)ٕͥѡĤőЀиܰő)ЀذőЀ!谁܁!聙ѕȰݡ)䁝Ѽɕ͕Ёѡ9ٔٔͅѡ!聍Ф+q-%/t)Q́ͽѱݥQ9՝)Mѕɕȁ́ѡ՜$ȁݥ)%Ё́Ʌͽչٕȁ́͡ѡ)Ё͔ݡ́ɽݥѠ)ѕɕݥ)Qɔ݅́Ёѥ́ѡ́մݡɔ)ѡɕ䁱ѡɽ՝́ɽɱ䁽)ѡɕɑͼݔͥչ)ѡ͔ȁѡ͔$ЁDȁɕ̴)ͥ$Ё͡ѡDѼͅєȁ)ѡͽչɕЁݥѠՑȁٕɽ)ѡѕȸ$Ёѡ͔́ݕɔɡ́ͽ)䁥ɥȁѼ!ݥé́Ёѡѥ)ɽՍȁݕɔݥѠѡѡ)ѡӊéѡЁѕ̸)]ѕѼѡ́մԁЁ͕͔)ӊéЁɕɑѡӊéᅍѱݡ)ѡ݅ѕQѕɥɕѕѡи)$ݽ䁉͔ѡ́մ́ͼ)MͻeЁ܁䁍ɕЁɕ́)Ցɕɑ́ѡЁЁݥЁٕȰݡ)ݽձ͡%ӊé饹մ䁄ٕ)ٕɽ́ѥЁݡ͕хѥѕ)ѼЁɕ丁'eɕɥ٥)ѼЁи$ԁٔЁѕ)9= 5%9Qh)95聥́Mȁ5ѕɥȁ)1Օȁ 5ѕɥQɽѼ]Ѡɱ(啅́ɥ䁅፱ٕͥ)ɽͥՑѕɥ䁵ɔ)ɕ٥ͱ䁥ՑɽՍѥ9éͽ)́݅́q́́ɔt]Ѡɽ)ͥ́q٥t9éͽͥɔ́)Ёͽ éЁՍ͙հ)ȵ̸ܹՕɍ