Since 2005 Vestman Mastering has defined the
most flexible, creative mastering format possible.
Separations can significantly increase the possible enhancements made
to the sound of your project.
• Traditional stereo audio mastering enhancements are
made to the entire stereo track/file.
• Separation Mastering allows refinements to be made
to separated portions of the mix. The
enhanced tracks are recombined to make the final mastered stereo
product.
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Separations are easy
- no added equipment is needed!
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First, record your standard approved stereo
mix
Make a folder on your
hard drive and label it with the name of the
song you're working on [Your Song].
Record (or
bounce) your 24
bit stereo mix just like you would normally. The overall stereo
ouput level should be around
-3dBFS (this headroom is important) on your stereo out meter.
Name
the file [Your Song] Mix.wav (or .aif, etc.) and
put it into the [Your Song]
folder (no brackets needed!).
Then without
changing
any
levels, any plug-ins,
automation or
anything else -
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1) Make a drum
Separation
Mute (or disable the outputs of) all
tracks except the drums. Record (or bounce)
this drums-only part of your mix
to a 24 bit stereo
file (with all drum-related reverbs and
effects). Go through your stereo buss exactly as you would for any
normal mix. Don't change any settings. Name the file [Your
Song] Drums.wav (or aif, sd2). Put it in
the same [Your Song] folder as the stereo mix.
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2) Make an instruments Separation
Mute (or
disable the outputs of) all tracks but the remaining (non-drum) instruments. Record/bounce
this instruments-only
Separation "mix" separately (in 24 bit stereo with all related
effects) using your normal stereo buss (including any buss processing).
Name the file [Your Song] Instruments.wav (or aif, etc.) and
put it in the same folder.
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3) Make a vocal Separation
Mute (or disable) all
tracks but the vocals. Record/bounce
the vocals
portion
separately (24 bit stereo
with effects) through your stereo buss. Don't change any plug-ins. Name
the file [Your
Song] Vocals.wav (or aif etc.) and put it in
the same folder.
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You have now recorded
four
files including three
Separations into one
[Your Song] folder. All files must be in stereo - each
bounced the same way through your
stereo buss output.
Important!
Be SURE you leave
your computer automation ON for each Separation so that every sonic
move you make in your stereo mix is retained in the Separations.
•
Don't
change any aspect of your mix - this
is only a process
of turning off and on tracks (disabling/enabling).
• Start
the song at the exact same place at the beginning of the song
• If you
are recording "wild" onto a separate computer or Masterlink, clone
a cue "tick" (like a drum cross-stick or other percussive sound)
at the beginning of one track that is within each set of Separation
tracks. We will line up your tracks using your sound cue.
Key: KEEP
A COUNT OF ALL THE TRACKS YOU ARE
MUTING/TURNING OFF. Every element in your mix, every
plug-in, every
automation move, every
musical component
should go into the Separations. When recombined together, they exactly
add up
to the stereo mix. (Note: if you've used stereo buss compression, each
separation will be less compressed than the full stereo mix. When
recombined in mastering, this compression will be restored.)
Check your Separations: Load them into a new mix session. The combined
Separations should sound the same as your stereo mix file, but just
more open and less compressed. You may see "overs" in your stereo
meters from the
Separations because the transients come through more. This is normal,
although "overs" are not
as common when a good amount of headroom is left in the original stereo
mix.
• KEEP ALL
SEPARATION TRACKS IN STEREO
- MONO TRACKS ARE NOT ACCEPTED
• MP3's, zip or
rar files are not accepted. Use uncompressed wav's or aiff's.
• Copy your files to a flash drive, data CDR(s), DVD-(minus)R
iPod or other data drive for delivery to the studio
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• Want it simpler? Record/bounce a stereo Instruments Separation
and a stereo Vocal
Separation (along with the full stereo mix).
Excellent results are achieved with this 2-Separation format.
• Want more flexibility? Separate the bass from the instruments and
make four Separations instead of three.
• KEY: The better you like your stereo mix, the fewer Separations you
need.
The 3 detailed above gives excellent results for a mix you're
pleased with.
The less pleased you are with your mix, the more Separations can
help.
The maximum Separations accepted is eight (plus the stereo mix).
Tight budget? Use fewer Separations. The 3 above are ideal for
fast work.
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Vestman High-Definition
Separation Mastering - The
Technique
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Separation
Mastering
allows us to
reconstruct your mixdown using the Separations - to enhance separate
elements - without compromising other elements within your mix.
It's
more precise than applying traditional equalizers and
compressors to a complex locked-down 2-channel waveform. Separations do
what multiband compressors DREAM they could do!
Separations
give you the flexibility to open up the sound and improve
the transients and dimension. Each layer can be made to have more
articulation and musicality than a standard stereo format.
We
listen to
your 2-track mix and A/B compare it with your
Separations to
ensure that the intentions of your original mix are honored.
We
use non-destructive,
totally recallable mastering
enhancements that enable us to
produce everything from light sonic retouching all the way to
practically transforming
the final master for you.
Save time and money:
•
Submit
24
bit
stereo
files. Even if
your system is 16 bit, make 24 bit stereo mix and stereo Separation
files.
•
Do NOT
change the
sampling rate
from the original
mix session! If your
system is 48k, make 48k-24 bit files. If
your system is 44.1k,
make 44.1k-24 bit files, etc.
•
Flash drives are the most convenient, but you can also bring
in a hard drive with your
Separation folders. If you bring in DVD-R's
use
DVDminusR...
not
DVD+R.
Note on
loud rock projects:
We HIGHLY
recommend that you separate your drums into two Separations: [Your
Song] Drums.aif and [Your Song] OHs.aif (overheads). Your
Overhead Separation should include ALL hi hats and cymbals that you have
blended in your mix. The Drum Separation should be ONLY drums.
We encounter
more issues with cymbals than any other drum-related sound. This
recommendation makes an amazing difference in the sound and it can save
money and time needed to process drums. (P.S. For a bigger
drum sound, have the drummer hit the cymbals softer...)
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Vestman
HD Separations
are better because they:
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• Eliminate the need for alternate
mixes - gives you more creative control
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• Produce a more musically
pleasing, more transparent 3-D sound
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• Restore elements that can be
lost when "slamming" levels are desired
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• Resolves mixing debates, eases
studio deadlines and creative burnout
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• Practically eliminates
compromises associated with traditional mastering
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• Maximizes the benefits of ideal
acoustics and expert mastering engineering
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• Can give you the sound of analog
summing in the mastering room
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"Separation Mastering is a
non-destructive process. In the hands of a competent mastering
engineer, Separations can deliver much better results."
- Grammy winning engineer, Erik
Zobler (Dianne Reeves, George Duke,
Anita Baker, etc.)
"Mastering with Separations
made a huge difference. The clarity, punch, and definition is amazing.
It allows me to concentrate on the music while you made the
sound world-class."
- Joe DiBlazi, renowned guitarist, producer, LA, California
"Separations simply BLEW THE
ORIGINALS AWAY! I sat here open mouth
listening back
and forth with amazement all over my face! I was astounded."
- Caleb Magnino - Engedi - Bakersfield, California
"Separation Mastering is
simply amazing. It's definitely the wave of the future -
take a plunge into this
new dimension of mastering."
- The
Artist Grace - O.C. California
"Separations is quite a
'jaw-dropping' thing to hear. I'll never have anything mastered another
way."
- Scott Menefee - Copperdown
- Texas
"This format makes
so much sense for
Indy artists who want a competitive edge."
- Laurie Morvan,
The Laurie Morvan Band
- Award-winning blues rock recording artist
"Separations made a
huge difference in our final product. John Vestman has a great
'ear'
and made the process personal and exciting."
- Stayce Roberts, Smalltown/Hit City Records
"Our master
sounds dramatically fuller, richer, more polished and lush."
- Robert and Maria Veloso, "Midwinter
Turns to Spring"
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