# What do you put on your master for Trailer Music?



## Hunter123 (Dec 2, 2021)

Currently what I have in order:

Bus Compressor - PA Townhouse
Tape/saturation - Was using Slate VTM but just got UAD ampex
Pro Q - I will usually cut below 20 hz, especially when trying to get rid of extra rumble in order for loudness
Multiband - This is optional for me but I might use Ozone Dynamics or FF Pro MB and just compress each band a tiny bit
Imaging - Sometimes use ozone imager sometimes nothing
EQ - Sometimes I try the UAD Pultec but I find it adds some unnecessary gain jumps just from turning it on
Thinking of getting the UAD passive manley, anybody try this thing?
Also: I might put on gullfoss but keep the settings pretty low otherwise it can ruin dynamics

Next for Loudness:
Usually for trailer you master louder than regular orchestral music but I will also try to get some extra db when competing doing Royalty Free stuff.

Sonnox Inflator - Still getting used to this thing, but I find it's good to get a couple extra db without ruining dynamics

Limiters: I'll usually use one limiter first to just barely shave off some peaks and bring up some level. For this I'll use Ozone Vintage Limiter or FF Pro L2.

Next I'll bring up a bit more with Goodhertz Faraday Limiter and then finish with AOM Invisible Limiter.

I only use 2 -3 limiters when going for maximum loudness 8-6 lufs or so.
If I'm only going to 14 lufs I'll just use a single limiter.


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## Marsen (Dec 2, 2021)

3 Limiters in a row, seiously?
And a pultec is more likely to be used in a channel/bus.
If you have to use a pultec in the masterchain, you must have done something seriously wrong before front.


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## Hunter123 (Dec 2, 2021)

Marsen said:


> 3 Limiters in a row, seiously?
> And a pultec is more likely to be used in a channel/bus.
> If you have to use a pultec in the masterchain, you must have done something seriously wrong before front.


Yeah but I only use each one a bit, depending on how loud I need to get. I find it works better than cranking up only one limiter.

Yeah I don't really use the pultec on my master very much just tried a few times to test it out (usually boosting 16k at 1-1.5 db for some air) I also have PA Elysia Museq Master that i've used.

Also what's wrong with using a Pultec on the Master anyway? It's just an EQ is it not?


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## ryst (Dec 2, 2021)

There is absolutely nothing wrong or seriously wrong with a pultec on the master fader. That's just silly.

I've been using Softube's Classic Channel MKII as my "broadstrokes" eq for years. Works GREAT.

Regarding limiters, I don't use 3, but I do understand the concept of multiple ones in series to have them each doing less work. I use kClip 3 into Ozone 9 or Weiss. I never have issues with loudness. I guess my only suggestion would be try a clipper before your limiter to see what it does for you.


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## kenose (Dec 2, 2021)

I’ve gotten into the habit of keeping things pretty clean on the master bus. Generally the libraries I deliver to send everything to their own mastering engineer, so I have to deliver stems that sum exactly to the full mix—which is much easier to do when you keep the master bus clean.

I might do some stem group processing, maybe some compression/peak control, clipping or very slight EQ on each stem if I need to glue things a bit. Then I check slamming it through Pro L-2 to make sure there’s nothing prevent the mastering guy from getting it nice and loud. 

Stuff I master myself usually involves some sort of bus compressor (VSC-2 is my go-to) > bit of dynamic EQ > StandardClip usually in Hard Clip mode > Pro L-2. If I can’t get enough level from that usually it’s not the master chain that’s the issue.


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## Hunter123 (Dec 2, 2021)

ryst said:


> There is absolutely nothing wrong or seriously wrong with a pultec on the master fader. That's just silly.
> 
> I've been using Softube's Classic Channel MKII as my "broadstrokes" eq for years. Works GREAT.
> 
> Regarding limiters, I don't use 3, but I do understand the concept of multiple ones in series to have them each doing less work. I use kClip 3 into Ozone 9 or Weiss. I never have issues with loudness. I guess my only suggestion would be try a clipper before your limiter to see what it does for you.


I'm always experimenting with different approaches to seeing how to get a good balance of loud masters that also sound good. It is subjective and dependant on the style of trailer track, like for more Synth and Sound Design heavy aggressive action trailer tracks you can get away with "squashing" them more than tracks with more orchestral elements. 

I haven't really tried out using a clipper as much (unless the inflator acts as one?) so I might try experimenting with that. If your going for a fairly loud track how do you set your clipper?


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## MPortmann (Dec 2, 2021)

Sonnox eq very subtle
Townsend bus compressor
Cranesong Phoenix2 or Satin (if needed)
Newfangled Elevate


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## Hunter123 (Dec 2, 2021)

kenose said:


> I’ve gotten into the habit of keeping things pretty clean on the master bus. Generally the libraries I deliver to send everything to their own mastering engineer, so I have to deliver stems that sum exactly to the full mix—which is much easier to do when you keep the master bus clean.
> 
> I might do some stem group processing, maybe some compression/peak control, clipping or very slight EQ on each stem if I need to glue things a bit. Then I check slamming it through Pro L-2 to make sure there’s nothing prevent the mastering guy from getting it nice and loud.
> 
> Stuff I master myself usually involves some sort of bus compressor (VSC-2 is my go-to) > bit of dynamic EQ > StandardClip usually in Hard Clip mode > Pro L-2. If I can’t get enough level from that usually it’s not the master chain that’s the issue.


I haven't delivered tracks to libraries that require stems yet but I would actually prefer that. It would be nice to not worry about clippers/limiter as much in that regard. 

I will try to get my tracks loud along the way by mixing in some saturation on certain instrument tracks so I don't rely solely on master bus processing when going for loudness.


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## Joël Dollié (Dec 2, 2021)

1 db gain reduction on townhouse compressor.

Pro L2.

Nowdays I'd rather have the stems sound the same. The stems combined also sound as loud as the master.


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## Petrucci (Dec 2, 2021)

I use UAD Vari Mu with 1-2db reduction highest into UAD Massive Passive Mastering into UAD Ampex into Fabfilter Pro L2, I feel this chain gives some nice weight to my music. But I don't do loud stuff and don't consider myself an expert)


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## antames (Dec 2, 2021)

I might also suggest whacking on an EQ analyser like Voxengo SPAN so you can analyse the overall trends of the mix and see if there's any frequencies which are too strong or jumping out that you need to tame or turn down to get maximum loudness.


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## Hunter123 (Dec 2, 2021)

antames said:


> I might also suggest whacking on an EQ analyser like Voxengo SPAN so you can analyse the overall trends of the mix and see if there's any frequencies which are too strong or jumping out that you need to tame or turn down to get maximum loudness.


Yep I always use it as well as Insight and Tonal Balance. I actually don't have a problem getting a nice loud mix overall, but I was listening to some Audiomachine tracks recently which where hitting 5.0 lufs (even over) and was curious as to what chains other were using in similar genres.


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## kenose (Dec 2, 2021)

Definitely experiment with clipping, both on the master and also super transient heavy stuff like the drums/hits. It doesn’t take a lot, but it can pull a few extra notches of loudness out of a mix.

I usually use very small amounts of hard clipping on the master, and use StandardClip’s soft clipping modes on other material sometimes too. On really gnarly tracks with lots of distortion and nasty sound design you can get away with a little more without it sounding harsh.

I always use a bit on my drum/perc stems, so there’s no unwanted transients that will overwork the limiter.


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## X-Bassist (Dec 2, 2021)

Fabfilter Q3 dyn eq (to touch things up), MB for some multiband compression, L2 on the very end- it invisibly keeps anything from going over.

But if I want to get creative or hate my mix I’ll try some presets in Izotope Ozone or add a character compressor- Novatron from Kush has worked great at times, or some Clariphonic to add air.


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## onnomusic (Dec 3, 2021)

for me its often gain - multiband comp - comp - eq - gulfoss - clipper - limiting 

Especially for Multiband compression and gulfoss I'll sidechain the dry mix into them so that the stems will sound similar to the master


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## ChazC (Dec 3, 2021)

I'll quite often use 2 compressors - the theory of each one doing only a little does work IMO. I only ever use one limiter though. My busses always have limiters on them so I dont see the need for more than 1 on the master.

Pultec EQ on the master, even set flat, depending on the emulation can add a little something - nothing wrong in that at all - same can be said of ANY plugin. I don't give two hoots what anyone says, if it (whatever it may be) adds something I like to the final sound it gets added, end of discussion. As per the old adage, there are no rules.

{edit to add} I also always add some sort of stereo widening to the master regardless.


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## Marsen (Dec 3, 2021)

Hunter123 said:


> Also what's wrong with using a Pultec on the Master anyway? It's just an EQ is it not


It's not a surgical EQ. It's a musical EQ which can add to the noisefloor and change the stereo image. 
But If it is that, what you want, ( like a more rough sound) of course, everything is allowed.


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## Marsen (Dec 3, 2021)

ryst said:


> That's just silly.


No need to be offensive.
There is always a reason in making your own decisions.


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## Zanshin (Dec 3, 2021)

I haven't been finishing anything lately and I just really changed this up, but my current sketching master is

Ghz Vulf Compressor - character and parallel compression glue
Ghz Tupe - fairly gentle saturation and excitement
Ghz Midside - mono under 125, maybe some widening
Gullfoss - disabled, still learning this.
Ghz Faraday Limiter - character limiting and glue
Newfangled Elevate - last dBs finishing limiter, etc etc (replaced Fabfilter L2, tons under the hood here, still mastering it ha)
Ghz Canopener Studio - disabled, only for headphones
Ghz Good Dither - yup.

If I was going to be serious about a final product I'd either hand it off to someone who knows (lol!) or buy some of the cool options from Acustica.

I have iZ Tonal Balance Control 2 since this summer but I've never really sat down and learned how to use it all together, not sure what the fuss is about, but I'm interested.

Also just picked up Ayaic Hyper-EQ COS Pro and Mix Monolith (@re-peat strikes again, I'd save a lot of money if I ignored him haha).


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## davidson (Dec 3, 2021)

Are there trailer publishers that ever ask for mastered tracks rather than raw stems?


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## Zanshin (Dec 3, 2021)

davidson said:


> Are there trailer publishers that ever ask for mastered tracks rather than raw stems?


I assume the thread is more about what's on your 2-bus when working on trailer music (as a genre) than actually mastering it for a movie trailer for example - because like you say, you would be handing over stems most of the time.


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## jneebz (Dec 3, 2021)

Marsen said:


> 3 Limiters in a row, seiously?





Marsen said:


> you must have done something seriously wrong


Who’s offensive?


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## JohnG (Dec 3, 2021)

Joël Dollié said:


> Nowdays I'd rather have the stems sound the same. The stems combined also sound as loud as the master.


While theoretically desirable, it’s sometimes difficult to make the stems sum exactly to the main stereo mix. 

But more to the point, why? In general, if it’s a library or trailer piece for a trailer-oriented library, if people want to start working with stems, by definition they are jettisoning the original mix and altering it in some way.

Whether it’s on the stage for a show or in a library, once people are messing with the mix, whether or not it sounds exactly the same seems to me somewhat academic.

Not saying it isn’t a nice-to-have, but practically speaking I’ve always wondered why people insist on it.


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## jneebz (Dec 3, 2021)

JohnG said:


> While theoretically desirable, it’s sometimes difficult to make the stems sum exactly to the main stereo mix.
> 
> But more to the point, why? In general, if it’s a library or trailer piece for a trailer-oriented library, if people want to start working with stems, by definition they are jettisoning the original mix and altering it in some way.
> 
> ...


Good point! My pubs (not trailers) that ask for stems are really only concerned with summed levels (leave room for mastering) and including baked-in effects appropriately….makes it pretty straight forward, IMO.


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## Marsen (Dec 3, 2021)

jneebz said:


> Who’s offensive?


You call this offensive?
I'm not into drama zone. /closed


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## Joël Dollié (Dec 3, 2021)

JohnG said:


> While theoretically desirable, it’s sometimes difficult to make the stems sum exactly to the main stereo mix.
> 
> But more to the point, why? In general, if it’s a library or trailer piece for a trailer-oriented library, if people want to start working with stems, by definition they are jettisoning the original mix and altering it in some way.
> 
> ...


Several trailer pubs I talked too insisted that the stems should sound the same if possible, and most of them when given the choice between unmaximized stems and maximized stems, seemed to prefer maximized stems.

I think the idea is to make the switch from full mix to stems as seamless as possible from the editors point of view? Because they make several versions of the trailer with different tracks.

Either way my mastering is usually pretty light so other than loudness not much changes.

Few years ago I sent stems for a pretty big trailer custom and the editors requested the stems to be louder, not the pub but the editors. I was confused, why couldn't they just turn them up but hey who knows.

But it's true they will mess with your mix in the end. I just think that having the stems sound the same is a safe bet. Doesn't have to be 100% mathematically the same of course, the mastering will be pushed more, but I don't think it's worth really messing with the master EQ.

I think that so far the only company I've worked with who specifically requested headroom on stems was Netflix. But I'm sure there are trailer pubs that would request that, especially the ones that do the stem mastering in house


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## JohnG (Dec 3, 2021)

Joël Dollié said:


> I think the idea is to make the switch from full mix to stems as seamless as possible from the editors point of view?


Yes, I understand the concept. I've written trailer and library music in my time and I've certainly heard that wish voiced.

But I don't think it makes practical sense. Even though the customer is always right, in this case I think one ends up tying his/her hands.

*It's a New Mix*

If someone is remixing the track, it's a remix, period. There's something they want to alter or they would just use the original mix. If you bake into your stems all the FX (so that it _does_ sum exactly), that sets constraints on the ability of the editor / mixer to change the sound.

This is all leaving aside the fact that most of the time (all the time) they audition music for trailers in stereo, but the final product has to be 5.1 (or 7.1 or what have you). I think that makes the "sum to the mix" argument even less persuasive. Stuff is going to happen as things go through all the wringers that inevitably they do, so that the final stems the editors use wouldn't sum to the original mix anyway.


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## Joël Dollié (Dec 3, 2021)

Yeah even the publishers once agreed that it doesn't really make sense. They still asked for it lol

In most cases they will turn up your hits 10db or even replace them


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## Hunter123 (Dec 3, 2021)

davidson said:


> Are there trailer publishers that ever ask for mastered tracks rather than raw stems?


That's a good question, not that I know of.


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## Hunter123 (Dec 3, 2021)

Joël Dollié said:


> Yeah even the publishers once agreed that it doesn't really make sense. They still asked for it lol
> 
> In most cases they will turn up your hits 10db or even replace them


Hi Joel, Would you say it's pretty difficult to master stems in a way that would sum to say 5.0 lufs for example?


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## Hunter123 (Dec 3, 2021)

Thank you everyone for your answers so far! I love geeking out on mixing master stuff and it's fascinating hearing all your chains/techniques


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## KEM (Dec 3, 2021)

Ozone
Virtual Tape Machines
Gullfoss
Virtual Mix Rack
Bx Townhouse
Standardclip
Bx True Peak


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## Henu (Dec 4, 2021)

Hunter123 said:


> 5.0 lufs


dear fucking lord


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## Hunter123 (Dec 4, 2021)

Henu said:


> dear fucking lord


I know right 😅


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## KEM (Dec 4, 2021)

Henu said:


> dear fucking lord



And you though I was crazy…


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## Hunter123 (Dec 4, 2021)

KEM said:


> And you though I was crazy…


I have sick fascination with loudness


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## KEM (Dec 4, 2021)

Hunter123 said:


> I have sick fascination with loudness



My music is known around here for being “too loud” by some and even my masters usually peak around -14 lufs, -5 lufs is literally insane that’s dubstep territory you’re getting into


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## Hunter123 (Dec 4, 2021)

KEM said:


> My music is known around here for being “too loud” by some and even my masters usually peak around -14 lufs, -5 lufs is literally insane that’s dubstep territory you’re getting into


14 lufs? pffft.... child's play


In all seriousness I wouldn't do this to orchestral music ever. Mostly for aggressive synth/sound design trailer tracks. It completely depends on the genre.


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## KEM (Dec 4, 2021)

Hunter123 said:


> 14 lufs? pffft.... child's play
> 
> 
> In all seriousness I wouldn't do this to orchestral music ever. Mostly for aggressive synth/sound design trailer tracks. It completely depends on the genre.



This is the loudest master I think I’ve ever achieved with my engineer and it’s probably -12 lufs or *maybe* -10 I can’t remember, but I couldn’t imagine pushing it any further than where it’s at!!


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## Hunter123 (Dec 4, 2021)

KEM said:


> This is the loudest master I think I’ve ever achieved with my engineer and it’s probably -12 lufs or *maybe* -10 I can’t remember, but I couldn’t imagine pushing it any further than where it’s at!!



Is that a real guitar at the end there or a vst?


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## KEM (Dec 4, 2021)

Hunter123 said:


> Is that a real guitar at the end there or a vst?



Real!! It’s an 8 string Schecter with a Lundgren M8 in the bridge


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## Hunter123 (Dec 4, 2021)

This is an Audiomachine track I'm analyzing. I didn't do anything to it.


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## KEM (Dec 4, 2021)

Hunter123 said:


> This is an Audiomachine track I'm analyzing. I didn't do anything to it.
> 
> View attachment 64462



I definitely have to hear this for myself


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## Hunter123 (Dec 4, 2021)

KEM said:


> I definitely have to hear this for myself


I'm telling you it's not unheard of


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## KEM (Dec 4, 2021)

Hunter123 said:


> I'm telling you it's not unheard of



I listened to it on my iPhone speakers it didn’t sound super full and huge like I would’ve expected, I’ll listen to it on my monitors tomorrow and see if my opinion differs. I’ve only ever heard of dubstep hitting those levels, the metal I listen to doesn’t even go that loud and most call that overboard as it is


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## Hunter123 (Dec 4, 2021)

KEM said:


> I listened to it on my iPhone speakers it didn’t sound super full and huge like I would’ve expected, I’ll listen to it on my monitors tomorrow and see if my opinion differs. I’ve only ever heard of dubstep hitting those levels, the metal I listen to doesn’t even go that loud and most call that overboard as it is


The Sourceaudio website might compress it a bit but it sounds pretty close.


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## MartinH. (Dec 4, 2021)

Hunter123 said:


> 14 lufs? pffft.... child's play
> 
> 
> In all seriousness I wouldn't do this to orchestral music ever. Mostly for aggressive synth/sound design trailer tracks. It completely depends on the genre.


You should take the -14 vs 14 distinction for loudness levels more serious, or you're going to be deaf soon :D. 

I only make metal at the moment and I'm never reaching -5 either. With -8 to -7 you're definitely loud enough imho.

I've watched a bunch of videos from this guy on the loudness topic and even he doesn't push for -5: 


https://www.youtube.com/c/Baphometrix/videos



There's good stuff in there about clippers vs. limiters, and how you maintain good punchy transients while also staying loud. I'd worry about all the things that can't be fixed with a volume dial first.


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## Joël Dollié (Dec 4, 2021)

If we're talking integrated LUFS it depends on how long the intro of the track is...

Even then -14 is usually achievable cleanly.

If we talk about short term LUFS then I'm mostly between -9 and -7 for loud sections depending on the genre.

Integrated -14 to -11 or something


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## gsilbers (Dec 4, 2021)

It’s the 3rd page and everyone chimed in and seems good.

I would say that it might be better to add less stuff on the master bus and then export stems to a new session and do a mastering session of stems. 
Or stem mixing. 

Somehow it helps daw grab some more headroom and get stuff louder, plus you can control more the stems vs master mix.

Or do things like export mix minus drums and drums separately and master them louder. Common trick for loud punchy masters.


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## Hunter123 (Dec 4, 2021)

MartinH. said:


> You should take the -14 vs 14 distinction for loudness levels more serious, or you're going to be deaf soon :D.
> 
> I only make metal at the moment and I'm never reaching -5 either. With -8 to -7 you're definitely loud enough imho.
> 
> ...


I control how many decibels I'm monitoring my music at, I always mix/master very very quiet. LUFS is just what the meter reads.

Also just to be clear I don't alway push my track this hard I'm just curious about it.



Joël Dollié said:


> If we're talking integrated LUFS it depends on how long the intro of the track is...
> 
> Even then -14 is usually achievable cleanly.
> 
> ...


That's right when I say a track reaching -5.0 lufs I'm not necessarily talking about integrated but what it's reading at the loudest/most climatic section of the trailer track.


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## ryst (Dec 6, 2021)

Marsen said:


> No need to be offensive.
> There is always a reason in making your own decisions.



"If you have to use a pultec in the masterchain, *you must have done something seriously wrong before front*."

This is what I find silly ^^^. That's a huge, baseless assumption. I apologize if finding that statement "silly" offended you.


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## ryst (Dec 6, 2021)

Hunter123 said:


> I'm always experimenting with different approaches to seeing how to get a good balance of loud masters that also sound good. It is subjective and dependant on the style of trailer track, like for more Synth and Sound Design heavy aggressive action trailer tracks you can get away with "squashing" them more than tracks with more orchestral elements.
> 
> I haven't really tried out using a clipper as much (unless the inflator acts as one?) so I might try experimenting with that. If your going for a fairly loud track how do you set your clipper?



I just boost it a few db going into the limiter. It really depends on how much more final gain I need. But it certainly helps the limiter not work so hard.


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## Marsen (Dec 6, 2021)

ryst said:


> "If you have to use a pultec in the masterchain, *you must have done something seriously wrong before front*."
> 
> This is what I find silly ^^^. That's a huge, baseless assumption. I apologize if finding that statement "silly" offended you.


So you're doing it again? Childish. 

We can talk about a topic, without calling others silly, cause you don't like it.
But I already lost every interest, to discuss anything with you, so move on.

*If I offended you to find this a rather poor and childish reaction , I apologize.


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## ryst (Dec 6, 2021)

I didn't call you silly. I called what you wrote silly. And no, I'm not offended by anything you've said.


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## FrozenIcicle (Dec 12, 2021)

Andrew schwepps uses puigtec on the submix, not sure why people are saying it’s wrong.


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## re-peat (Dec 12, 2021)

It’s _Scheps_, Icicle (*), not Schwepps. (_Schweppes_, with an additional 'e', is a soft drink brand.)

(Isn't an icicle, by way of being, always frozen?)

_


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## FrozenIcicle (Dec 12, 2021)

re-peat said:


> It’s _Scheps_, Icicle (*), not Schwepps. (_Schweppes_, with an additional 'e', is a soft drink brand.)
> 
> (Isn't an icicle, by way of being, always frozen?)
> 
> _


I just call him that cause it’s funny


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## dgburns (Dec 12, 2021)

Well, Pultec on the 2bus is like butter on bread @Marsen. Go grab a Schweppes and google ‘2bus Pultec‘ and possibly also google ‘Chris Lord Alge 2bus‘ and so on.

Not saying there aren’t other options, but it’s a classic choice.

The Pultec, not the Schweppes. I’m more a Root Beer kinda guy myself.


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## jcrosby (Dec 12, 2021)

For most tracks nothing other than maybe an EQ for some subtle sweetening. The libraries I work with master out of house and are pretty neurotic about having any processing on the bus. If anything dynamic is on there they'll catch it and request that you disable it and re-bounce... I do mix into a limiter though toward the end as a reality check, but disable before bouncing anything. I also have an analyzer on and refer to it pretty heavily... (Set to infinite release so I can see the shape of the entire mix)

If it's not for a library then some parallel compression, usually a multi-band compressor (also in parallel), usually some Ozone exciter for a little sugar, an EQ, a clipper, and a limiter. And once again an analyzer to make sure things are balanced well and the low end is sitting where it should.

I rarely mess with the image, I try and make sure that's handled in the mix. If I do anything it's with M-S EQ... Mono low end below 100 or so (usually happens when EQing anyway), maybe a very small lift in the highs on the sides, but most of the time I tend to leave the image as I had it.


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## from_theashes (Dec 13, 2021)

This is my master bus:

Waves Meter (-18db)
TDR Nova EQ (Low cut around 30hz)
Waves SSL G EQ (for some color and mid push)
Maag Air EQ (just for the Air band)
Waves Scheps 73 (MS-widening-preset)
Waves SSL G Comp (2db gain reduction)
SPL Iron Comp (MS-preset)
Logic Stock Limiter (loudness lifting stage 1)
bx_limiter (loudness lifting stage 2)
bx_Masterdesk (loudness lifting stage 3)
Youlean Loudness Meter (hitting -16 to -12 LUFS)


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## Marsen (Dec 13, 2021)

dgburns said:


> Well, Pultec on the 2bus is like butter on bread @Marsen. Go grab a Schweppes and google ‘2bus Pultec‘ and possibly also google ‘Chris Lord Alge 2bus‘ and so on.
> 
> Not saying there aren’t other options, but it’s a classic choice.
> 
> The Pultec, not the Schweppes. I’m more a Root Beer kinda guy myself.


Didn't knew, CLA mixes Trailer Music 😉.
A Schweppes on it!


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## Kabraxis (Dec 14, 2021)

I have,
Two number nines,
A number nine large,
A number six with extra dip,
A number seven,
Two number fortyfives, one with cheese,
And a large soda

on my master bus. Always sounds delicious.


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## FrozenIcicle (Dec 14, 2021)




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