How is Mastering done in the Protools domain??

[CB Boeger]

I am PC/sound forge guy but I just got a MAC and I want to get into Protools-but how is mastering done? What programs etc. are used? How does it compare to Sound Forge? [img]images/icons/grin.gif[/img] (which I really like)

[where02190]

Originally posted by CB Boeger:
I am PC/sound forge guy but I just got a MAC and I want to get into Protools-but how is mastering done? What programs etc. are used? How does it compare to Sound Forge? [img]images/icons/grin.gif[/img] (which I really like)

<font size="2" face="Verdana, Arial">We use PTle/001 and a Mackie HDR 24/96, but I still do mastering in SoundForge as well. I like the ease of operation of SF, and I think it does a great job, as good or better (if for no other reason that I am more proficcient with SF at mastering than PT) than PT.

[CB Boeger]

thanks for the input!

[letrev]

CB, it depends what kind of Pro Tools system you will be using. I started with the digi001, upgraded to MixPlus TDM and now HD. Each upgrade was a huge improvement in sound quality (based on hardware - the software is pretty much the same regardless of the system you're running).

I do a lot of mastering in PT using Waves plug-ins. Their new Masters series are really good and give you great control over the sound. It is nice because you can mix and master in the same session if you like.

[robertallen1977]

I used to use Sound Forge but decided to stick with all Mac.

I run my stuff down to R-DAT and then master it through a Finalizer Express to 2 tracks on ProTools, then I use Jam to burn it.

TC Electronics Finalizer Express just basically adds icing to the cake. I like it. But it can run around $1000 unless you buy one used.

[digz]

I will take the bounce downs (Stereo) that result from my Pro Tools mixes, and import them into a new Pro Tools session. I can then create X amount of Stereo Audio Tracks and give One to each song. What this ends up looking like is a big staircase. I then create a Stereo Master fader that all tracks are ultimately running through. This way I can design all my crossfades, add segues, and design my audio gap lengths in the edit window. This stuff is much easier to design in ProTools than in Jam/toast/Masterlist. I will tweak the sonics, and then when I am done, I will bounce this all down to Sound DesignerII Split Stereo [email protected]. I choose the Import after Bounce option before the bounce begins. When the bounce is done, I create a new Stereo Audio track and drag my stereo bounce to it. I solo this track up to hear only it, and not the pre-bounced individual song tracks. Now I go through and use the Seperate Region function to create seperate regions for each song of this long Stereo bounce file. Wherever I use the seperate region command, that is where my track markers will be on the final CD. Now I highlight the whole bounced file including all those little regions. I then go to the audio regions bin and select Export Region Definitions. This exports the information defining these regions in my stereo bounce that can be read by other programs such as Jam which I use for Burning. I now quit Pro Tools and open Jam. I the go to the Add track dialog, and tell Jam to look for Regions, not whole files. You now find when you click on your Stereo bounce, all these regions are treated like the seperate songs that they are. This method works very well for me, and I find it hard to go back to my other methods.

[bluemt]

digz

Sounds like a good method, i.e. the export definitions part. The only thing I wonder about is that this method only allows one chain of plugins and setting for the entire record. This doesn't seem kosher since songs often need individual treatment (EQ, compression, etc.). At least that's how it read to me. Is this what you meant?

[emilano]

Well, you could just automate any changes for different songs.

[mdvirtual]

I use the same method as digz, and it works real well for me. As far as tweaking each song individually I insert my EQ/Comp on the individual stereo tracks, and L1 on the master. Find myself using C4 a lot, or Ren Comp/EQ.

I use the gain of the final plugin on the individual tracks to balance levels between songs, leaving all faders at unity unless I have to automate to correct something. I find it easy to get a good balance and spacing between songs this way, and exporting regions to Jam makes the rest simple.

[digz]

Bluemt, I do whatever is called for on any of the songs, as individuals, by using the inserts of the Stereo tracks they reside on. I know this makes them "Pre Fader" but so what. Each song gets its own unique treatement along with any neccessary automation to ensure good balances and cross fades (I dont really like creating file based fades). Then all of these Stereo tracks are routed through the Master Fader, where overall level maximization/Limiting, and EQ can be applied, as well as Apogee's Mastertools. The chain i usually use on the master Faders is-
EQ First -(preferred plugin will change, but usually Renaisance or Filterbank)

Next is L1+ with noise shaping and Dithering turned off. This wont be set to squash too much, as ive already done that individually on each songs Stereo Tracks.

Next is Mastertools Plugin set to do its stuff.

Later, Dan