oh.. silly me hehe

awesome.. now where are the stats?!

Hmm.. well. as far as making songs.. its good to know a little bit of theory, but dont let it dominate you. Try reading through something like http://www.musictheory.net/

finally got around to reading this whole rant.. great stuff!.. I wish I had access to a studio. I have spent some time in local studios, but not lately.and yeah.. weeklybeat tracks are not a great gauge of mix and mastering hehe. Personally, I dont have a lot of time during the week to work on my WB.. I usually wait until saturday afternoon. I try to get a solid mix so then i can master it on sunday. but usually I get about 3/4 of a song done and end up writing the rest on sunday and have like 30 mins to master maybe.. sometimes even less.

haha. no one has said anything in response in like 5 weeks

After I have mixed down my track at 24bit 96khz.. i usually bring it into this software called Har-Bal to push down any frequencies that are sticking out and pull up any frequencies that are buried, I also roll of super low frequncies, usually at somewhere between 35hz or 45hz and mold the low end to have a decent 6db/octave curve. with a little bit of a dip to allow the kick to do its magic. The high end is usually rolled off sharply at somewhere between 14-18khz to end at 20khz (do this only if you are going to be dithering down to 44.1khz later. Then I render that and bring it into soundforge. My mastering chain is usually some SSL compressor clone followed by izotope ozone followed by wave L2 or L3.  The SSL is usually just to glue things together a little bit. usually only a db or two of gain reduction.. fast attack.. usually auto release. Sometimes I will parallel compress it so its not so heavy. I will then bring it back up to about -3db and start focusing on ozone. I dont usually use the presets they have. On a decent mix I can usually get away with two bands of compression, separated at somewhere between 200-400hz. The high band may or may not be engaged at all. The low band is generally really low ratio.. 1:2 or 1:3 with a medium attack of 100ms or so and a medium release of 200-500ms. 2db of reduction or so. This gives the low end some spring. If Necessary I will push up the makup gain on the low end a little. All of this should be done while the limiter is pushed up to reducing 2db or so. Smooth setting (3ms or so) is usually good and the meter is usually in RMS mode and should be peaking at around -12db. after giving the low end the spring, then I can focus on molding the mids and highs with eq. After all that. Usually I can get another extra few db out of L2 without hurting the tone much. If I need to, I will tweak the eq a little bit. I set the dithering to 16bit type2 moderate in L2 or L3 and render it. If its gonna be mp3 I usually set the ceiling to -0.3db. The encoder is gonna smash it a little. After Rendering, It should be good to respample at 16bit 44.1khz.. but i usually just mp3 at 16bit 48khz. Soundforge seems to introduce some weird noise at 44.1 regardless of your dithering. So if im gonna go to 44.1khz i will use an external tool. So that's pretty much it..;)

follow this link and try to upload agian:
http://weeklybeats.com/music/upload?has … b826d1c670