It is also true that some mixes can't be pushed to that kind of level without serious negative artifacts. The additional distortion from the processes sometimes just adds the right 'sound' to the mix. Sometimes I work on mixes that can stand really heavy processing and they will still retain the punch. When I master 'techno' and all related genres, I am almost always asked to make it 'loud and punchy', and I always try to reach the level of artists 'original' master - with as big as possible improvements in sound. Majority of producers are mixing into a 'mastering chain of plug-ins' and they will push the levels to the max in the process, so they get accustomed to the sound and expect similar, but better sounding results from my mastering. Vinyl releases are definitely an exception, but I always have to do two versions of the master - one 'dynamic' and one 'hot' for digital release. There are still many releases that are not that 'hot' and every producer has a preference for a final 'level' of his track. Just check more recent techno or any related sub genre tracks.these levels and associated distortions are nowadays part of 'the sound', and are an essential element of the production process. I think it must be genre specific because I don't tend to see these levels much. Make that sound the way you want and like, if you decide on a radio release when a track gets populair you can always do a remix. Most of the big club systems you mentioned include a limiter, a MaxxBCL or Finalizer is not uncommon.Īnyway, my gut feeling is that you should focus on one version of your tracks as you are producing dance music mainly for the clubs. When a dj runs his channels full gain with todays material he is seriously doing something wrong, I've seen many top DJs slaming a DJM800 in the red but it's rare they max out the gain on a channel. Traktor automaticly adjusts gain when a track is too loud or too soft. Loudness is not a big deal to me, freq spectrum, brightness or dullnes can be sometimes.

Remember as a DJ you are constantly adjusting volumes.

Personally, when I put on my DJ hat, I don't mind if a track is a little less loud, I tend to play older tracks in sets too wich are way less loud compared to todays releases. And it is a creative decision too of course, do you want your lead sound to be pulled upwards during a break and pulled back when the beat kicks in or do you want your breaks to be more easy on the ear. A club version can use less compression overal and can have a wider dynamic range, the whole audible spectrum becomes different at louder volumes.įor the club it is finding the balance between sounding massive but still clear and detailed and not fatiguing. Interesting topic, I think if you decide to create both a club version and a radio version of your track, the difference should be made during mixing and programming to begin with. Therefore the producers are pushing the levels to the max and also expect that from me. Majority of DJ's nowadays use Traktor/Live or similar software, and don't want to adjust gains from track to track and they expect that all of them will be at equal 'volume'. but they also complained about the 'level'. The feedback from DJ's was great as the track worked great on a good club PAs. We did an experiment with DJ Umek some time ago and we mastered one of his releases with approx 12-14dbRMS. Heavily clipped and distorted file will sound 'better/louder' and there is a bigger chance that DJ's will buy it, as they will expect good sound on the dance floor.įrom my experience big percentage of tracks that sound 'good' when 'previewed' on Beatport, sound like s.t when downloaded at mp3/wav quality or played on a club PA. I agree with Ben that Beatport and other on-line stores are also responsible for this kind of levels ,because of their 'preview' quality standards. I master club related genres daily and 90% of clients want it REALLY LOUD!!įor electronica/hiphop which will be released digitally the norm is around 6-8 db's RMS.

Traktor tomi