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Originally Posted by The_Mop
Whoa hang on, when did I come into this? Last thing I posted here was about monitors o.O
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Lmao sorry dude I meant Moss. Mind slip.
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I am. In fact, there's a couple of sections in Bob Katz's book about why you might use some reverb in the Mastering phase. Check it out.
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I'm sorry Mo', but you need to stop reading books and start mixing more. Not only should most creative decisions be done at the mixing stage for artistic reasons, it's also easier and you have more control of what you actually put on into the reverb auxiliary.
I mean, have you actually tried to put reverb on a kick drum? 9/10 it sounds like dog shit and you take it off immediately.
Just because Ozone has a reverb in it, shouldn't think you need a global reverb to master.
A good mix should only need a bit of EQ tweak if that and level management depending on the genre and the eventual goal of the product. So to answer SBT'S question with a realistic answer:
Buy the Massey L2007, it;s like 89 dollars or something.
And buy a half decent digital EQ. Get a Linear phase one if you can.
Buuuuuut.
If you're wise,you'll find a friend who has a better setup than you do.
Mastering isn't about what plug ins or gear you have. It's how good your monitors are and how neutral your listening environment is.
Example: We have probably three top of the lines studios in NZ. My favourite, Roundhead Studios (owned by Neil Finn) has a Neve desk that recorded Quadrophenia and Grace, outboard that would blow your mind (Pultecs, API stuff, Urei, Neve 1073's (in their B room!) etc etc) a Studer A827. Microphones:
(that's just over half of them)
And guess what? Their head engineer said to me they don't pretend that they have the facilities to master. They send their mixes over to New York to Sterling etc etc.
So enter mastering with caution, you can easily fuck things up thinking louder is better. It's not how loud it is, it's how you make it loud, and if you even go down that road.