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Mastering bootlegs

For posting and discussing information regarding music recording quality and dynamics

Mastering bootlegs

Postby adiblol » Tue Oct 16, 2012 9:16 pm

I often record local bands (nothing illegal, they even encourage me to do so :mrgreen: ) using portable recorder with integrated microphones. Usually the recording is very realistic and sound fidelity is great (flat frequency response, unhearable THD+N etc), but it lacks something what I expect from music... Maybe I should do slight DRC?

I have tried mastering concert recorded in pub with bad sound system (weak HF response), by using the following plugins (in order)
- parametric EQs (spectrum analyzer helped a lot):
140Hz: -8dB: 0.6octave
740Hz: +3dB: 0.7octave
2.4kHz: +3dB: 1octave
16kHz: +4dB: 0.5octave
high-shelving filter: 6kHz: 11dB
- subharmonic synthesis below 150Hz
- multiband compression: attack 200ms, release 400ms
- very slight graphical EQing
- fast lookahead limiter with 100ms release time (kicks in very seldom)

...and it resulted in usable fidelity. Listen for yourself:
The whole remastered bootleg has DR13.

What could be better in it? What do you recommend to get the best of bootlegs recorded using microphones?
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