This piece was created for a video game called Minion Masters - currently in alpha. I hope I can get some critiques!

Ravager was the apex predator of his world, but with no regard for anything but the hunt, he eradicated every other living thing. He now travels the universe looking for any kind of light.

https://app.box.com/s/twz88afy1dl1ck4bfkp14amla54ra27a

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  • I think you won the internet. 

    Ray said:

    Now, where did ravager find the time to develop the means by which to travel the universe while, eradicating every other thing on it's planet?

    No wonder our supposedly civilised world is fucked up. So many fantasists masquerading as intelligent beings.

    Yes! It is an age thing. We all should know, one large meteor strike on our little globe would do a job quick time.

    We are all nothing but star dust.

    Minion Masters - Ravager's Vengeance
    This piece was created for a video game called Minion Masters - currently in alpha. I hope I can get some critiques! Ravager was the apex predator o…
  • Sounds good to me; if you wanted to check out mastering stuff you can do a free trial of Izotope Ozone and see it it's something you think you need. And there are audio forums that will be happy to nit pick for you too. It's a competitive field and little things can make a difference.

  • Yes, all the tools in Ozone are available elsewhere and there are a multitude of flavors from different sources and an audio engineer should pick and choose the plugs that work the best for the project.

    I suggested Ozone because it's a good beginner package. It has lots of documentation and presets that are a good starting point to learn from; and the trial version is free, but there's lots more out there.

    Mastering is hard to learn, I think you need something, tutorials, a school, some helpful forums, as a starting point.

    Dave Dexter said:

    If you don't mind a counter opinion, I'd avoid Ozone. I find it colours the sound too much. If you have a decent DAW, the onboard tools are probably better.

    Ingo Lee said:

    Sounds good to me; if you wanted to check out mastering stuff you can do a free trial of Izotope Ozone and see it it's something you think you need. And there are audio forums that will be happy to nit pick for you too. It's a competitive field and little things can make a difference.

  • A lot of varying opinions here. I will check out Ozone, but if David is right, (coloring the sound), then I'll probably just do a better job of mastering with PreSonus. Practice, practice, practice!!

    I definitely always have something new to learn. I agree that it lacks a sparkle. This is something I really want to spend time with once I get my new speakers. I've strictly been using headphones, and I think this handicaps my mixes. I have a little compression on each track. After a fresh listen this morning, I'm also in concurrence with the drum kit sounding gimmicky. 

    I will definitely repost once I work on this a bit more after I get new speakers. I appreciate the feedback. Like you said, though, the general listening audience probably won't pick it apart quite as much as a composer's forum would - but that's exactly why I posted it here! I like being picked apart. 

  • For our listening pleasure, here is my new version of Ravager's Vengeance with added umph.

    https://app.box.com/s/twz88afy1dl1ck4bfkp14amla54ra27a

    Box
  • In my personal opinion, a good mix shouldn't have anything on the master track, except occasionally a limiter or very, very subtle compression to catch any potential peaks. I try to get the most volume and shine out of a mix by processing on each individual track  - I think it is a bad habit to crutch on using any one tool on your master track. 

    If you want to really get good at mixing and mastering, try hanging out on the Gearslutz forums for a few years - that's all I needed to get at least halfway decent at mixing, I never had any classes and maybe have only watched a handful of free youtube tutorials. It does simply take a lot of practice, just like composition, playing an instrument, or anything else. 

  • If you wanted to apply a single effect that applies equally to all tracks wouldn't it make sense to either route all tracks to a single buss, or else put it on the master buss (which is less work) ?

    Traditionally mastering engineers would only work with a stereo mix sent from a mixing engineer which is the same as putting effects on the master buss.  There are plenty of examples where an engineer made improvements to a recording by doing this, why limit yourself?  I'm just asking, I've never heard of anyone trying to avoid using the master buss .

    David Lilly said:

    In my personal opinion, a good mix shouldn't have anything on the master track, except occasionally a limiter or very, very subtle compression to catch any potential peaks. I try to get the most volume and shine out of a mix by processing on each individual track  - I think it is a bad habit to crutch on using any one tool on your master track. 

    If you want to really get good at mixing and mastering, try hanging out on the Gearslutz forums for a few years - that's all I needed to get at least halfway decent at mixing, I never had any classes and maybe have only watched a handful of free youtube tutorials. It does simply take a lot of practice, just like composition, playing an instrument, or anything else. 

    Minion Masters - Ravager's Vengeance
    This piece was created for a video game called Minion Masters - currently in alpha. I hope I can get some critiques! Ravager was the apex predator o…
  • I personally, if looking to add an effect to all audio tracks, would create a return track with the effect on it. Then I can control how much of each individual track I'd send to the return track, to determine how much I want that effect to affect the dry signal sending to it. 

    This gives me more control over each individual track and how much its signal is sending to the return track.

    This is speaking in terms of digital mixing and mastering. The methods you described are from working with tape most likely, and I have no experience in that. 

    To me, the more you can control in your mix, the better. Throwing a reverb on the master track, for example, can cause results you do not want in the way certain frequencies interact with one another. It also washes out the 'dry' signal of each individual track.  

  • I just got some M-Audio BX5's last night - unfortunately I open the box to find that one of the tweeters is blown. So I'm having it replaced. 

    I appreciate all the feedback, and you make VERY good points that I agree with. I'll have to do a fresh listen today and then see what I can determine as well. I am very OCD. I will be sure to return once I do have a finished track to get more feedback. 

  • You get a good sound so I suppose it works for you, but applying unique effects on single tracks won't give quite the same effect as applying them to the full mix.

    Never on a single track - I personally feel for any track or sound you're using, you need to have a dry track - I usually apply effects on a track by sending the dry track signal (or tracks if it's grouped with another duplicate track that may be panned differently, etc) to a return track - the return track hosts the effect itself. That way if I want another track or instrument or whatever, to have the same effect as another track, but not necessarily all of the tracks in the mix to have this effect, then, I have that control by choosing which tracks get a signal sent to the return track

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