Down and Dirty Bounces for the ClientĪs an engineer, you may be asked for a quick bounce of a mix in process so that the artist can hear some ideas and make choices as to structure and arrangement, instrumentation and orchestration, synthesizer patch, guitar effects, etc. In any case, all agreed that a reference mastered track in the same genre is useful and desired for comparison purposes. This way the intention of the engineer or artist can be conveyed, while still giving the mastering engineer a clean slate with which to work. Others preferred to have two versions delivered, a quasi-mastered bounced track and an unprocessed bounced track or even stems. are much better equipped for those processes and having to deal with improperly compressed or squashed bounced tracks will result in less than optimal results. The logic being that mastering suites that use outboard gear or high end mastering software for EQ, compression, sample rate conversion, etc. Some expressed a preference in bounced tracks from sessions without any inserts on the master track. The only clear agreement among the mastering engineers I spoke to seems to be that they will work with whatever they are given. This article will examine a few different approaches and some common practices. final mix or a draft for client feedback). Some factors that may influence your choice include the musical genre being mixed, whether the project will be mastered by you or an independent mastering engineer, your particular software arsenal, the intended file format for dissemination or the intended purpose of a bounce (e.g. It seems there are as many answers as there are engineers. There is no clear formula for what effects you should include on a master fader track.
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