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Comments
Iˋd say it the other way round.Iˋd recommend Lurssen IF YOU KNOW what youˋre doing.Having worked with
UADs,Fabfilters,Waves and others for many years I know (I hope) a bit about whats going on under the hood.
Fabfilterˋs presets are just presets,UADˋs presets are just presets and so are Lurssenˋs,in most cases they are
just starting points not more.And only speaking for me,the result is what counts,and what impresses me most
is that the LurssenConsole is subtle and musical.
If you use presets, FF presets are just presets. That's my point.
Honestly, my personal experience is, presets are the easy way out for someone who haven't a clue of what s/he is doing. Even more with Ozone-like solutions, such the Lurssen Console, where not only individual effects are preset, but also there are preset effect-chains. You seem to think otherwise. Fair enough to me (and don't get offended but it's laughable when I see folks resorting to those infamous genre-presets inside Ozone to get work done: do they really believe they will get the desired result, or just want to induce their customers to believe so?).
Yep, got all those you named + Pro DS and Pro G, etc.
I would describe myself as about halfway down the road to effective (not excellent, by any means) mastering using these tools. And I've been working on it off and on for two years. So perhaps you can see the appeal of Lurssen - Dammit, Jim! I'm a musician, not a mastering engineer!
Echoing @Schimanski's comment, I know enough to recognize a bit of the black magic going on under the hood, and would agree that it's actually pretty subtle (they do a good job of minimizing fail points - the two really big powerful knobs are about the only way you could get into trouble) and quite effective.
So, I'd have a lot more time to be creative if Lurssen lives up to my (fairly thorough) test run AND I just happened to have $100 lying around
I would still recommend a pro mastering engineer in a heartbeat for anything that would fall into the "super critical this sounds perfect" category, 'cause you get that second pair of seasoned ears
Missed this. I should have just pointed ^^^ and said, "What HE said!"
Fair enough, Bones!
LOL, pleased to see we agree both Auria w/plugs and Lurssen are nice pieces of kit - at the end of the day, whatever works best for each person's workflow (Y)
@theconnactic no offense at all!I think everybody develops his own workflow.Starting at point zero:A/B comparison etc.I believe that I know what Iˋm doing.If I would try to induce my clients to believe my results are
good ,Iˋd have no jobs in the long run.But I donˋt want to start a personal discussion about mastering philosophy.
In my daily work I dont have to invent a "square wheel".And one important note: Lurssen is definitely no tool for "surgical" purposes!And like with every mastering tool you have to be careful and think in milimeters.Every
context needs certain tools.I just donˋt think in black Or white.Iˋm very happy with this excellent tool...
All good, then!
For me, it's the pricing model that keeps me from feeling confident about the IAP. I really don't care if iK is a bunch of a$$holes or a bunch of saints. And $100 doesn't bother me, per se.
I just can't be confident enough to buy it with the demo limitations. I'd much rather see, for instance a $10 version with a couple fully functional presets and then $90 to unlock the rest. Because I want to be able to live with the finished product song for a couple of days, through a multitude of speakers and some feedback from trusted friends. Without that, and being an amateur at mastering, even with 20+ years of experience making and recording music in studios and in bedrooms, on desktops, analog and in iOS, the risk of dissatisfaction is too high.
Now, I am going to moralize for a moment. I, for one, think it's a damn shame that @MusicInclusive was forced to defend himself against @ikmultimedia 's accusation of 'pimping' when he's one of the most consistently generous and informative members of this forum. I steadfastly believe @ikmultimedia owes @MusicInclusive an explicit apology and not just a well-deserved compliment. Such an accusation is a serious attack on one's honesty and credibility in a venue such as this.
@ikmultimedia : why are you always so passive aggressive?
It's a very nice bunch of informed people here.
This kind of doing PR rubs me the wrong way.
This goes way back. They've always gotten rotated on this forum for any number of things. Nag screens, limited demos, pricing, comparisons to Wal-Mart. It's actually become a bandwagon that too many people have jumped onto. They are the Nickelback of iOS audio apps.
I'm not saying their reaction is the best PR move they can make. But it's understandable. The customer is not always right.
Coldplay?
Yep, Coldplay.
For a bunch of hipsters, excuse me - _ serious musicians_ - trying to be original or purist, jumping on the hate-wagon against IKM is about as unoriginal and impure as it gets.
Couldn't agree more. I took umbrage at an accusation leveled at a specific member, but iK has some great products, and I'd actually _like___ to want to buy this one.
I'm particularly thrilled that Mic Room is a general-purpose AB effect now.
We should try to be giving examples; audio comparisons. This way we can all hear the differences and help us make an informed judgement. Or else, it all ends up with this is what I like or prefer over this other one.
I will not be buying this app not because of price but because I do my mastering on Logic Pro X running some really excellent and expensive third party plugins. I've looked at all the mastering iOS apps and they do a good job. It's all relative.
This is all just privilege conversation and educational. So all good.
Looking at the comparison between buying all the Fabfilter plugins and this, then this doesn't look overpriced at all. As to the continued thoughts that everything should cost 10 bucks on the iPad, I continue to heartily disagree. It's still cheap compared to the desktop, and if we want good software in iOS, there needs to be an incentive for the devs. The biggest problem with the software is just convincing people they need it - look at Final Touch, also a very nice piece of mastering software, which is languishing badly, and looks like it might be headed for the scrap heap.
I won't buy this simply because I'm still mostly using the presets in the FF stuff, and I need to spend the time figuring that all out completely, before I go deeply into other complex apps that solve problems I don't even know I have yet.
If I was using something else for a DAW that didn't have the great plugins, this would be looking really good.
As to IK Multimedia, I'm a fanboy. I have a number of their pieces of hardware, and they are great bang for the buck. I have gone to Biax FS for guitar more, but have been mucking a lot with Amplitube lately, just because it works on both iPhone and iPad, and damn, it''s got some great sounds in it. And IK is committed to this market, whereas I wonder a lot about some of the smaller companies trying to make a go.
Sucks about Final Touch. I wanted it to work, and be a good little app. But, I think they are moving onto different mixing/mastering apps. Fab Filter is where I play too. PSP will be too, as soon as they have a dang sale!
Another related point of view from the vintagemusician
http://www.thevintagemusician.com/presets-professional-results/
I am totally against presets, as I said a few posts before. Mastering is like speaking an idiom: memorizing a few nice phrases from a dictionary can help you to communicate in the most basic level, but will never lead to a meaningful conversation. To me, Genre-based preset chain effects such as Ozone's are pure nonsense and meant to trick people into believing they are actually getting work done. About the article, I wholeheartedly agree with every word.
Final Touch was updated on Jan 7, 2016, and I've really liked it, so it seems Positive a Grid is still/back in the game.
Unfortunately Final Touch still suffers from a distortion in the maximizer even after the recent update with a largeish threshold set unless the release time is set high. I've mentioned this to PG. Audio Mastering doesn't exhibit the same issue with the same level in the maximizer. (Give or take - every one is implemented differently of course).
Sure, one has to be pumping something with say a threshold of about -9dB, but one can do that easily in L1 say on the desktop without introducing any distortion at all - very transparent, as is AM.
That's good news since this isn't a "pick a preset and export" product. You can tweak and "push" (see the site information as this is a big part of Gavin's methodology), as well as automate. There's no "preset" you can choose to automatically perform the automation of any of the control you have over your master with [url=http://www.ikmultimedia.com/lurssen]Lurssen Mastering Console[/url]. I understand it isn't for you from the sound of it, but it also isn't as simple as some are implying in this thread. I covered that already, and ruffled some feathers apparently so I'll just suggest trying it, visiting the product pages, watching the most recent video, and that sort of thing if you'd like to get a better idea of what it is (for those interested).
Played with it some more this morning. Tip - toss your mixdown into Remaster and use the stereo EQ to build up your stereo field from the get-go. Just make sure you maintain headroom (easy to do with the preamp slider) - then open it in Lurssen.
Lurssen is not preset-based mastering, unless you call FabFilter's Pro-L preset-based mastering, or Saturn preset-based saturation. Presets are starting points. I use presets to get me "in the area" on Pro-L all the time. This app is designed to keep you "safe," but still allows some control over the last few elements of the signal chain (within a modest 3-5db range), and you get total control over input/drive, eq levels on 5 frequencies, and the ability to gang "push" those EQ settings - with automation for the Input and Push dials.
Can you dig deep into Lurssen's inner workings? No. But you can safely fiddle quite a bit.
Can you dig deeper with Pro-L? Of course, but it will likely be a measure of years before you can fiddle as safely there via experience as you can with Lurssen pretty much out of the box.
Not sayin' I don't think a sale would be nice @ikmultimedia ...
@ikmultimedia +++ everything you said.What a great tool!!!I donˋt want to join in this ridiculous preset discussion
again.This is a different mastering "philosophy" and itˋs a GOOD one.The results are marvelous.
Downloaded it and had a played around last night, and got to say i'm impressed, the results are really nice sounding to my ear. The concept and interaction is different but I dont think thats necessarily a bad thing as some folks are implying and obv not for eveyone, but does make sense to me after watching the videos. The ony reason I wouldnt buy this atm is the limitation of the input options as you'd have to be tethered to a computer to add audio into the ipad from itunes library. This really limits the workflow of being able to bounce files in and out of apps or have a live integration / input into an app like Auria etc. @ikmultimedia is there any plans to add further options?
Recent Final Touch (one before current) as well as very finicky maximizer mentioned above suffered from a performance cliff, taking well over 4 minutes to process a minute of audio. I opened a ticket, but I haven't heard any more from them yet.
Only just installed the newest update. Haven't tried it yet.
@Jose_Bee "Open In" works like a charm.I can import files from Audioshare like itś supposed to be.Very nice!
But maybe thatˋs a feature of the full priced version?!
@Schimanski yeah hadnt thought of that approach, and works for the demo version too. theres nothing obvious from inside how to import audio except for itune library, but this could work thanks.
I’m happy with the mastering results from Lurssen Mastering Console.
However, I can't figure out how to delete the different sample/bit-rate files after they're exported. The app keeps taking more and more space on my iPad, because -- apparently -- it doesn't delete any of the internally processed files.
I could delete the entire project after each export session, but that seems drastic. Especially as there doesn’t appear to be a way to save an entire project outside the app or archive an automation sequence.
Am I missing something here? Has anyone figured out a way around this issue?
@DavidEnglish Whatˋs even worse is that even deleting a whole project doesnˋt free up space.I donˋt have no
project,no song etc. in the app but it uses about 600 MB.Although I deleted EVERYTHING!So right now the only
way to clear everything is to delete the app and then reinstall...this definitely needs an urgent update!
Otherwise Iˋm more than happy with this app.