Rock Mixing & Rock Mastering
analog mix
Rock Mixing & Rock Mastering with analog outboard like the stars from America.
Internationally successful
Rock Mixing References: Van Halen, Oasis, Andreas Kümmert, Universal Music.
Top customer service
Changes in rock mixing are discussed and implemented personally.
Rock Mixing & Rock Mastering at Peak Studios
Fat guitars and banging drums - that's how you could describe a good rock sound... Of course there's a lot more to consider! In the following lines we provide a brief overview of the do's and don'ts in rock mixing and rock mastering when it comes to optimally emphasizing the typical characteristics of rock and metal in the sound.
Regardless of whether you need a professional mixing, a stereo and Stem mastering to classic vinyl mastering - our trained team of experts is at your disposal as a competent contact person.
Unique sound
- In order to optimally emphasize the genre-typical sound of rock and metal, we orientate ourselves on the unique “New York sound”.
- Thanks to our years of experience and practice in working with numerous bands and artists, we have continued to perfect the New York sound and impress with powerful guitars, banging drums and clear vocals. This interaction generates a “warm","the tiefe","clear"And"punchy“Sound – the ideal starting point for every rock mixing and mastering.
- Regardless of whether you want an 80s sound like Pink Floyd, a current sound like Maroon 5 or an experimental/psychedelic sound like MGMT, we at Peak Studios are familiar with the common settings of the subgenres and can perfectly showcase the individual aspects of your song .
Your advantages
- Hi-end outboard equipment
- Acoustics at mastering level
- Fast completion (usually 2-3 working days)
- Changes included
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What others say about us
SUCCESSFUL COOPERATIONS WITH WELL-KNOWN ARTISTS
- Universal Music
- Percy sledge
- Van Halen
- Ricky Shayne
- Cheryl Studer (Grammy Award Winner)
- Oasis
- Eurosport
- Andrew takes care of
Would you like to start your own successful project?
Prices for Rock Mixing & Rock Mastering
Prices for rock mastering are an important criterion when deciding on the right mastering studio.
Therefore we tried this as transparent as possible to design. For larger projects we are happy to clear generous discounts !
Rock Mixing & Mastering
Analog mix of your vocals and instrumentals with New York sound is guaranteed by our rock and metal online mixing and mastering-
2 change versions included.
Rock Mastering - Stereo Mastering
Rock mastering with analogue outboard gear. Either for CD or streaming-
2 change versions included.
Rock & Metal Mix Analysis Extended
Rock mix analysis directly from the professionals with recommendations for action for the ideal rock sound-
including recommendations for action
Prices include VAT
Rock & Metal Mixing & Mastering Customers
Chris mastered our Stereo Stories album and did a great job! The great and fast communication, his high level of commitment and his flexibility really impressed us! The songs were edited very professionally and competently - the result put a smile on our faces 🙂 Thank you very much, Chris, for your patience and support! Gladly again at any time.
Chris did the full mastering of our Jack and the Whitebears - On Fire album. TOP result! Now nothing stands in the way of our career. LoL. Super competent and friendly contact. Meets our needs perfectly. Thank you Chris and see you next time. LG the Jackys
top customer service and advice! uncomplicated via whatsapp or phone. Fast processing and top result. I can only recommend !
IS YOUR MIX READY?
In our free mix analysis you will find out whether your track can be refined for rock or metal mastering.
What matters: volume, delay and low-end management
WHAT MAKES ROCK MUSIC?
The final steps in rock and metal music production are mixing and mastering. This immediately raises the central question: what actually defines rock music? Above all, rock is loud, heavy and dense in sound, it differs from other styles of music in its harshness and aggressiveness - and that's exactly what im mixing process and the final mastering are the main focus. Below we go into different ways to emphasize these aspects in skirt.
Also in the rock is of course again the quality of the recordings crucial for how good the basis for the mixdown is: Even the best mixing engineer ultimately has to work with what is made available to him from the recording process. And the result of the mastering can only get out of a song what is already there in principle. So it is not only much easier to make a high-quality mixdown from a good recording in terms of effort, the finished mastered song can also pick up on aspects that are not available in a poorer recording.
VOLUME IN ROCK
As far as the volume is concerned, the finished song must not actually be louder than other songs - the LUFS on radio and online platforms such as Spotify or YouTube are fixed and would ultimately always reduce the volume of the mixdown through volume normalization. The actual challenge in mixing is much more that rock and heavy metal is often heard very loudly by the listener and therefore has to be designed to sound good even with the music systems and headphones turned up to the max. So it's not so much that the song itself is always loud, it's much more that it sounds perfect IF it's heard loud. At the same time, songs are now also listened to and assessed on smartphones, which results in very different demands on the mix in terms of the sound quality of the end devices. We therefore test the sound when mixing rock and metal State-of-the-art studio equipment, in order to accommodate as many device types as possible.
LOW-END MANAGEMENT
The "heavy sound" in rock and metal is mainly created in the low frequencies up to about 100hz. Therefore, the low-end management is usually the most important and most time-consuming task: A certain frequency range should not be recorded several times by different instruments, otherwise they work against each other and blur into each other - ie in the worst case they are hardly audible. Due to the preference for low frequencies in rock, however, several tracks are in direct competition with each other - kick drum and bass guitar in particular are problematic in almost all rock mixes. The solution is obvious: set the bass a little higher or lower than the kick drum so that they complement each other and give the song more power. Filters and equalizers can also be used here to ensure that all instruments are clearly audible and that the "heavy sound" is retained.
DELAY AND DOUBLE TRACKING
Now to the last point: the density. In addition to the focus on the lower frequencies, the "heavy sound" lives from a high density: by playing several notes at short intervals, the mix gets the necessary power. One of the best-known tricks for more density is the so-called “double tracking” of tracks, especially (but not exclusively) of the guitar: the guitar part is already recorded twice during recording, so that it can be marked with a broad left-right distribution in the stereo field can flow twice into the final song. Logically, it is not enough to simply copy the same track and thus double it - that would not have increased the density. A doubling only leads to the addition of the amplitudes, ie a higher volume with the same sound. Delaying one of the tracks is also not a sensible solution, since shifting identical tracks leads to phase problems. An additional recording in the recording process is therefore absolutely necessary, which shows how much the mixing depends on professional preparatory work in the recording.
One of the guitar tracks must therefore deviate minimally from the other, which on the one hand must be given due to the natural differences between the various recordings, and on the other hand can be amplified by the mixing engineer with an additional delay.
It's not just the guitar tracks that contribute to the density of the song: the natural delay from the recording should also be retained or even increased for the other instruments in order to give the mix more density.
Ultimately, however, it depends on each song individually whether and to what extent these or other techniques should be used - here we can only give an overview of common techniques. We are happy to support you personally with the mixing and mastering of metal and rock music - just take it with us without obligation Contact on! If you want to get a professional opinion on a finished mixdown and make sure it's ready for the master, you can have one too Mix analysis commission from us.
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- More than 20 years of experience
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Origins of rock music
Today's rock music has changed a lot compared to before now lives from a full wall of guitars, rich bass and a voice that sits in the center. The “compression” of the individual elements has also changed a lot over time.
Rock music emerged in the UK in the late 1950s from the stylistic genre of rock 'n' roll. Pioneers like Elvis Presley, The Rolling Stones and the Beatles shaped this style with classical instruments like guitar, bass, drums, vocals, keyboard and synthesizer. It is often supplemented by the Hammond organ, and horns are added in funk rock.
In the 1950s, rock 'n' rollers like Bill Haley, Jerry Lee Lewis, Little Richard and Buddy Holly made the beginning and created the foundation for rock. Well-known greats such as Jimi Hendrix and the Rolling Stones, but also the Kinks, Eric Clapton and the Beatles continued this tradition in the 1960s. Chic suits, correct haircuts - also called 'mushroom heads' - and calm stage shows contrasted with the scratchy, dirty sound of the bands.
Subgenres of rock and metal
Even today, all of the genres mentioned are still being produced, mixed and mastered again and again.
GLAMROCK
Glamrock emerged in the 1970s and presented the musicians with strong make-up, glittery clothes and androgynous attitudes. David Bowie and T. Rex were representatives of this genre. It formed a strong contrast to Hard Rock, which also appeared at the time and was shaped by Led Zeppelin and Deep Purple.
PSYCHODELIC ROCK
Psychodelic Rock combined classical music, jazz, folk and new music with the electronic instruments. Bands like Jethro Tull, Pink Floyd, Genesis and Yes developed completely new ideas and presentations of rock music.
PUNK ROCK
Punk rock was also on the rise. The Sex Pistols, The Clash and the Ramones used simple 4/4 time. Musical quality was in the background. It was again about protest, the expression of a feeling for life and rebellion, but not in a peaceful way, as the hippie movement demonstrated.
POP METAL
Pop metal originated in the 1980s and celebrated a mixture of catchy melodies and stadium bombast with Bon Jovi, the Scorpions and Europe.
NEW WAVE
As the end of the punk movement, the New Wave genre was formed with the bands Joy Division and The Cure, who came up with dark melodies and plenty of electronic elements. Because the borders to pop suddenly floated again here, too, a need arose to differentiate from the mainstream.
INDEPENDENT & GRUNGE
The independent scene developed in the course of the 1990s with the bands Pixies and Sonic Youth. And because there was obviously always a need for rebellion, a new genre emerged: grunge. Nirvana, Pearl Jam and the Smashing Pumpkins were legendary representatives, but they could only last until the death of Nirvana frontman Kurt Cobain in 1994.
BRIT POP
Nevertheless, the rock music remained loud: Crossover bands such as Rage Against the Machine and Incubus, skatepunk and also pop-punk developed in the last decade of the 20th century. In addition, this decade achieved the union of alternative rock and pop through the genre Brit Pop. Blur, Placebo and Oasis were bands of that time and some of them are still active today.
NUMETAL
From the turn of the millennium people longed for loud sounds back. A retro wave stamped new bands out of the ground: The Strokes, Kings of Leon and Mando Diao. While this band focused more on the past decades, Nu-Metal bands like Linkin Park and Limp Bizkit used more on crossovers.
EMO GENRE
The emo genre featured bands like 30 Seconds to Mars and My Chemical Romance.
Nowadays, a rock band usually consists of a singer, guitarist, drummer and bassist.
