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> What I want is a free plugin with presets ya know? Mastering of all the >best sounding recordings in a one click function. You know what I want for my musical projects? A musician which can play anything, will adapt easily to any style I ask of him, works tirelessly, is a piece of software and is free at that. It's not available. The reason isn't that there isn't outstanding software on the market which is, in some way or another, free. If you look e.g. at web2.0 cms systems, the majority of these solutions (and allegedly the most powerful one) are open source. The reason is that (same as with typo3), you still need a guy who knows how to handle that thing. So I'll try again to give these suggestions which were ignored so far, and summarize them in a proper way: 1. The best step on the path to a nicely-sounding recording is the original source material. Go and read up what you can do - using equalization and compression on the source tracks (and you've really come a long way if you use a free plugin properly and won't need the pricey e.g. Algorithmix stuff), and if necessary by applying a motownesque approach. If that is accomplished, nobody ever uses e.g. enemy number one - the multiband compressor. (A lot of people tend to use them these days. The reason I avoid them is simply because they work in a way that is rather contrary to the way the human hearing works). And you also should never have to use a transient designer on the 2bus - same goes here: if you feel you have to use it, then something is wrong with your source material - like overcompressing it (and compression must not come from a dedicated compressor - one thing a guitar amp tends to do is compress, so working with the settings and - if used - miking of your guitar amp can bring you a long way as well). 2. Listen! How would you be able to do a good master if you can't (by lacking a proper listening equipment or proper training) judge yourself if it's good or not? Part one are proper speakers (and sorry, there's no way 'round spening money on those), part two is a proper room for listening - which can also be expensive, but there are second-best options - like use your bedroom and don't tidy up your bed. Get rid of those blinds which might resonate, and by combining well-known best practices (again, I'd suggest recording.org, but am open for other sources) and trial and error find the place where to place the speakers and yourself. Don't put them on a table - stands are in order, and keep distance to walls and floor. Another help are displays (like frequency analyzers, phase scopes and level meters). There are also free things available - I personally don't use them that much, simply because the meters which come with my (RME) hardware do what I need - including K-system level metering (again: digido.com). But these, like listening, are things you need to learn (see below). 3. Learn. This includes your tools (including your speakers), and how a well-done record sounds. Sit down and try to see what is the difference between e.g. Aenema (by Tool) and Hipnotize (by System of a Down). Listen to them on different systems (car stereo, portable mp3 player with good and bad phones, kitchen radio). Pay attention to listening fatigue - there are recordings similar in style which tend to tire you a lot after some period of listening, and others which don't. Then after listening, use the meters you've selected above, and see how a different sound translates to a different meter result. Why do some things with the same RMS level (and thus probably the same "loudness") sound vastly different (with regard to loudness) - check e.g. Part 2 of my Saturday performance against tracks from "Stadium Arcadium" (by the Red Hot Chili Peppers). Then learn your software weapons - experiment with compressors, with eqs and whatnot. Change the order and see what happens. Also when talking about mastering (I'm not talking about creative, sound-shaping compressor and eq use e.g. when mixing a multi-miced trapset), there's the same rule as with effects during mixing: the proper amount is found when you don't notice that it's there, only when it's missing. When training yourself, try to focus on a few selected devices. Nobody ever uses seven different compressors for mastering in rapid exchange. 4. Define your production flow. A good starting point are again well-known best practices - you can even search the archives here, there has been a long discussion a while back - one starts here http://www.loopers-delight.com/cgi-bin/wilma_hiliter/LDarchive/200708/msg01319.html?line=3#hilite). This production flow will most probably include the following facts: * which file format is required/preferred for start of the process? * which tools are used (effects chain etc.) * quality control etc. This will also include those presets you're looking for - and there's nothing wrong with starting with some presets supplied with your tools of choice and go from there. 4a. Level Practices: as I said, there's a reason why "level practices" exist. Read up on digido.com on that topic. 5. The business pov. So you've now reached a point where, with certain investments, you've implemented a proper mastering chain for home use, which includes monitors, processors and a trained engineer. According to economy theory, that training for the engineer was rather cheap and the the monitors rather expensive or just the other way round, depening on your financial situation. There may still be situations where what you get out of it is not enough - and for those you need a pro. However, I'd limit that to those releases which "really count". Summarizing: Sorry, there's really no way around investing shitloads of time and some money (other than letting all your mastering be done by a pro). If you're not willing or able to invest that, then the (mastering sound) quality of your recordings will not improve. Sorry. Best, Rainer