tag:blogger.com,1999:blog-43271099215143171392024-03-12T20:16:22.845-07:00M WORKS MASTERINGUnknownnoreply@blogger.comBlogger63125tag:blogger.com,1999:blog-4327109921514317139.post-15182588093986254192015-01-11T12:00:00.003-08:002015-01-11T12:00:56.443-08:00Automated masteringFor the last couple of years we've been hearing about automated mastering coming into the marketplace. It seems like a direct path from sophisticated meters, to software presets to 'smart software'. As tools evolve there's the potential for good use, and abuse.<br />
<br />
So<br />
<br />
This in response:<br />
---------------------<br />
<br />
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
We tried (insert name of online automated mastering service here) and had some clients do the same. Based on the result thus far, no one I know is taking it seriously. It's not the fault of the processing but rather the lack of good context within which to make mastering decisions. Sadly this condition exists in many a basement 'mastering' environment too. Bad acoustics and lack of practice can yield results as bad as automated mastering. (In fact I would assert it may be worse when a person is involved)</div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
<br /></div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
Don't blame the tools.</div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
<br /></div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
We need to be careful not to throw the baby out with the bathwater. Many companies are creating tools for analyzing audio that can help guide us to good solutions more quickly than we can on our own. That's part of the same evolution that brings us automated mastering. </div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
<br /></div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
In my view, it's a question of how the answers and decisions are arrived at.</div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
<br /></div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
I think the biggest problem we face is in marketing. If a company makes great software tools (and they may well indeed) and then claims that the software can make you sound like Bob Clearmountain (and they never can), we have a problem. Marketing departments are eager to help customers understand how they can help contribute to a meaningful difference in the work of all people involved in creative acts of music making. The majority of customers out there don't have a good grasp on the process of mastering (or mixing or production) and so they don't understand nuance, subtlety and they way great records are made....and messages that include these ideas are often lost on the great unwashed masses.</div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
<br /></div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
So....how do we address the problem? In my view, by educating the customer/artist/producer/etc....and by educating ourselves. That seems like the best way to build a bridge to understanding that we are all collaborating toward the same goal. Making great music and/or recordings to help us achieve our various goals.</div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
<br /></div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
It is for this reason that I have become involved with Berklee and most recently with iZotope.</div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
<br /></div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
My two cents -</div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
<br /></div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
Jonathan</div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
M Works Mastering - Chief Engineer</div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
iZotope - DIrector of Education</div>
<div style="font-family: UICTFontTextStyleBody; font-size: 17px;">
Berklee College of Music - Associate Professor</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4327109921514317139.post-58111988110426245172014-11-25T19:31:00.001-08:002014-11-25T19:31:55.295-08:00Looks like we may, finally, at long last, be turning the cornerEver since 1983 and the ascendance of the CD, we've all been waiting for the next big thing, the next format. Something that was easier, used less plastic, sounded better, was more immersive. Something that made us feel even more of the music.<br />
<br />
There have been plenty of new characters appearing on the horizon. SACD, DVD Audio, Audio on DVD discs, Pur Audio/Blu Ray.....but each of them was slain by one dragon or another. Whether the misguided attempts to copy protect (SACD), or the reliance on an expensive and arcane authoring and manufacturing system, each has largely been relegated to a niche market.<br />
<br />
All the while the 44.1k/16 bit leviathan kept lumbering on.<br />
<br />Well finally...>FINALLY we seem to be moving on. It's not a single format that's doing the trick, but an amalgam of established and new formats that offer enough high and higher fidelity delivery to consumers that we are gradually surpassing the CD as the singular preferred delivery.<br />
<br />
The modern paradigm includes:<br />
<br />
Loudness normalized streaming (iTunes radio)<br />
Blu Ray Audio<br />
Surround Audio embedded in html5 web streams<br />
Higher fidelity standard iTunes with Soundcheck enabled<br />
HD Tracks<br />
2L Records<br />
Bandcamp allowing PCM downloads.....<br />
<br />
and this is just the beginning. The pipe gets ever wider into the consumer's ear and the reason to compress data gradually disappears.....<br />
<br />
Now I deliver 24 bit files to clients as a matter of course....and more of them want the 88.2/96k versions.<br />
<br />
I think we're turning the corner. The end of the peak normalized era is around the corner. Putting Youtube out of the music delivery business would be a HUGE step in the right direction. At least getting them to buy into ATSC/85 - BSS 1770.3 ....That will take some time.<br />
<br />We're finally getting somewhere folks. I'm looking forward to a future full of immersive music!Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-4327109921514317139.post-44210432411627304272014-08-21T09:13:00.002-07:002014-08-21T09:13:58.798-07:00Alex Psaroudakis in the house!We are thrilled to announce that after many successful years mastering in Barcelona Alex Psaroudakis has joined M Works in Boston. His work is second to none and Alex has been winning mastering shootouts left and right. We look forward to having Alex make the world sound better right here at M Works for years to come - sorry about the weather Alex!!! :)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Y03SCVco-_J-mjhc4iI-K5M059KagvDurg5kSgBbefpFHPZYsiXjJvWWwyT0GuJeUJSftgE2tjcCAaUDoGVH5MszNa2Qz5Pm3JQ280z3XLBTmG-RSsUoVO1i4DXYH15tFFNvI7dE7bM/s1600/studio-collage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Y03SCVco-_J-mjhc4iI-K5M059KagvDurg5kSgBbefpFHPZYsiXjJvWWwyT0GuJeUJSftgE2tjcCAaUDoGVH5MszNa2Qz5Pm3JQ280z3XLBTmG-RSsUoVO1i4DXYH15tFFNvI7dE7bM/s1600/studio-collage.jpg" height="640" width="276" /></a></div>
<br />M-Works Masteringhttp://www.blogger.com/profile/07418215804937565901noreply@blogger.com0tag:blogger.com,1999:blog-4327109921514317139.post-23166984547720254272013-06-07T13:49:00.000-07:002013-06-07T13:49:41.153-07:00Book is out, and landing page is ready so...<a href="http://www.berkleepress.com/catalog/product?product_id=37054153" target="_blank">Audio Mastering: Essential Practices</a> is now on the shelves of the internet near you. I sincerely hope some find it interesting and informative. I've attempted to give some perspective on what mastering is (at least as I see it). In my mind it isn't mysterious, or magical, but it IS a discipline that requires practice and understanding. This is my contribution to help point people in the direction towards all the above.<br />
<br />
If you are willing, I would be pleased to have reviews posted on Amazon and elsewhere and happy to receive feedback.<br />
<br />
Here's a short introduction<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://img.youtube.com/vi/mI_mFBnxXtg/0.jpg"><param name="movie" value="http://youtube.googleapis.com/v/mI_mFBnxXtg&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="http://youtube.googleapis.com/v/mI_mFBnxXtg&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4327109921514317139.post-55701277435162520932013-03-23T15:55:00.000-07:002013-03-24T09:17:13.514-07:00Dynamic Range Day 2013 - What is Loud?<a href="http://www.youtube.com/my_videos_edit?video_id=aRUAd1C-uJQ&feature=vm&ns=1"></a>
Once again the folks from the Dynamic Range Day website are doing the good work to make people aware of the damage done by applying hyper-compression and limiting to audio mixes, and reminding everyone that they have a level control on their playback system!
I applaud those efforts. To that end there are changes in playback tools and platforms that result in a ‘level playing field’ when it comes to matching level of various material. Those changes will require mix engineers to re-evaluate their work and reconsider what goes into making a track sound ‘good and loud’.
Back in the day, before the advent of the digital limiter, it was awfully clear who was good at making loud records. Hypercompression was obvious and brickwall limiting sounded terrible. I suspect we’re heading back in that direction so to that end, here’s a video with a brief overview of the subject. There’s much more to be said of course…..
<a href="http://www.youtube.com/my_videos_edit?video_id=aRUAd1C-uJQ&feature=vm&ns=1">What makes a mix good and loud?</a><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/aRUAd1C-uJQ?feature=player_embedded' frameborder='0'></iframe></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4327109921514317139.post-43989948180793602152013-02-28T09:25:00.002-08:002013-02-28T09:50:00.869-08:00Thanks to iZotopeMy good friends and allies at iZotope care about making great tools to make great music. To that end they keep working at improving the products they create. They also are committed to education. They educate themselves about what is important to the professional production community, they are keenly focused on understanding best practices and making sure that the tools they develop honor those. They also offer knowledge freely to their users and that's where we come in.
<br />
<br />
In the course of working for almost 30 years as a mastering engineer I have developed my own perspective on the practice and had the good fortune to be able to teach at Berklee College and Berkleemusiconline.com and also write about it. When iZotope asked if I would help them refine some of the online resources on the topic I jumped at the chance and so, today iZotope is releaseing the new improved mastering guide. It's a free document that gives some tips on using their tools but more to the point, some good starting point information about how to think about using the tools to accomplish the task of mastering. These perspectives are generally applicable, not applying only to iZotope's Ozone.
<br />
<br />
I gratefully acknowledge a few of my mastering brethren who were gracious enough to offer some bits of wisdom that are included in the document: Scott Hull, Greg Calbi, Adam Ayan, Bob Ohlsson, Marc Dieter-Einstmann and Michael Romanowski.
<br />
<br />
You can find the guide and the announcement by following this link:
<br />
<br />
http://www.izotope.com/newsletters/2013_02/
<br />
<br />
I hope you enjoy....and stay tuned for my book on mastering coming in May via Berklee Press/Hal Leonard.
<br />
<br />
<a href="http://www.izotope.com/newsletters/2013_02/"></a>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-4327109921514317139.post-76491634973558408672013-02-19T18:22:00.001-08:002013-02-19T18:25:37.798-08:00No news for so longWell it has been busy beyond belief. I'm not usually one for hyperbole but in this case I really mean it. Fortunately all this business is starting to bear some fruit. Two upcoming items:
I shot a video for iZotope offering some tips and perspective to the DIY crowd. I got a little help from a few of my mastering brethren namely:<br />
<br />
Scott Hull<br />
Adam Ayan<br />
Bob Ohlsson and<br />
Marc Dieter Einstmann<br />
<br />
I also helped iZotope re-write and reorganize their online mastering guide and<br />
<br />
lastly but not leastly,<br />
<br />
<br />
my book is coming out in May, published by Hal Leonard via Berkleepress. More news as each of these moments goes by. Needless to say it's pretty exciting!Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4327109921514317139.post-69248305199750241002012-05-08T03:45:00.000-07:002012-05-08T03:54:50.880-07:00Multiband compression<iframe width="560" height="315" src="http://www.youtube.com/embed/ml8hykur9vA" frameborder="0" allowfullscreen></iframe>
Multi-Band Compression
Today I’d like to spend just a little bit of time talking about multi-band compression.
Multi-band compression is something that’s been at play in audio for decades. It first came into play in radio station broadcasts. More recently, beginning in the early 1990’s as DSP became cheaper and more affordable, we were able to deploy multi-band compression affordably so that recording, mixing and mastering engineers could use it.
What’s good about multi-band compression?
Probably the main thing that multi-band compression allows for and that gives you an advantage as opposed to using one single band across the spectrum of compression is that you can set independent attack and release times for different parts of the spectrum.
The reason that’s important is that a bass waveform has a much longer period to it. The fundamental frequency of a kick drum in a hip-hop tune is going to take 50–70ms for the low-frequency transient to get through. If you don’t want your compressor to be chomping at the very beginning of that low-frequency transient, you need to make sure to give the attack time enough time before the compressor kicks in so it doesn’t restrain the low end.
Of course, 50-70ms is going to be a very long period of time for a compressor to wait if you are thinking about trying to also compress a jangly, bright acoustic guitar or something like that. You might have a tune that has a deep kick drum and a jangly guitar and it’s hard to find a single compression setting that’s going to work equally well in both those parts of the spectrum.
A multi-band compressor allows you to divide the spectrum up into typically three or four different sections, apply different time constants, different attacks, different release to each part of the spectrum and to optimize the performance of the different segments of the compressor to the various instruments in a mix.
What does this mean for your audio?
In theory, it means you can get a compressed signal that’s tailored more to the program, and also because you can restrict the dynamics a little bit more effectively without hearing the compression per se, it theoretically gives the possibility of getting a louder sounding result in your mastering work.
Potential problems with multi-band compression
Multi-band compression is problematic for a couple of reasons that most people don’t really think about. First of all in order to divide the audio, you have to run through a series of filters – hi-pass, low-pass etc. Every time you run audio through a filter, you lose something in terms of fidelity. That goes a little bit against the credo of the mastering engineer. The idea of mastering is to always make something come out sounding better than how it went in, at least from one perspective. Running through the crossovers that are adding possible a little bit of ringing, a little bit of distortion and a little bit of noise flies in the face of trying to make stuff sound better.
The minute you turn on a multi-band compressor, even if you have linear phase filters that are well designed you’re still going to get some change to the audio and it’s usually not a flattering change. That’s problem number one to my way of thinking.
Problem number two is that I believe there’s something important about the proportion of harmonics in the sound of any given instrument.
For a moment, I’d like to segregate this conversation so I’m making it clear – if you’re talking about dance music or music concrete – electronic music that doesn’t refer to an instrument that you might hear played acoustically then all bets are off in terms of maintaining the integrity of the original instrument. But let’s say you’ve got a recording that’s got a bass, and a guitar, and a vocal, and assume that I’m correct in saying that there’s something important about the proportion of harmonics to the fundamental frequency of any instrument. The minute you put a crossover in a compressor and start doing something different with one range of an instrument and another range of that same instrument, you’re going to start to skew the relationship the fundamental and the early harmonics of that instrument which give it the warm, full, clear part of its sound and the higher harmonics which give it some edge or brilliance.
At first it can be a very seductive phenomenon that you get when you get this increased sense of brilliance and control and so on, but to my ear usually what comes out of a multi-band compressor – the instruments themselves – don’t sound as good as how they sounded going in to the multi-band compressor.
So keeping that in mind, I think most mastering engineers who work at the top of the craft use multi-band compression sparingly if at all. It’s just something to keep in mind when you turn on a multi-band compressor, just for a moment focus your attention on the individual instruments in the mix. Listen to the bass, listen to the guitar before and after, listen to the vocal and make sure you aren’t harming that instrument in a certain way that ultimately means the thing isn’t going to sound as good as when it went in.Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-4327109921514317139.post-33058598299956044412012-04-08T14:17:00.000-07:002012-04-08T14:17:06.538-07:00Stereo Processing - Twice as nice?<iframe width="560" height="315" src="http://www.youtube.com/embed/gddytaG7EEI" frameborder="0" allowfullscreen></iframe><br />
<br />
Stereo Processing<br />
<br />
I’d like to talk a little bit about stereo processing and mastering.<br />
<br />
So what does it mean, ‘stereo processing’?<br />
<br />
Maybe the place to start is to talk about what does it mean to think about stereo – there are really two different ways of thinking about stereo. One is left channel / right channel. You have two mono channels that are feeding two channels in an amplifier, two speakers, and the arrival time coming out of one speaker or the other or both at once will determine the perceived direction of any given sound. If you delay one speaker a little bit, everything will sound as if it is coming from the other speaker because of the precedence effect, or the Haas effect as we know it. So that’s one way of thinking about it – as dual mono.<br />
<br />
The second way of thinking about it is something called M/S or Mid-Side processing. It is a style of processing audio that’s coming a little bit more into vogue in some plug-ins, compressors, equalizers and analog equipment that is being introduced to the market over the last several years. Going way back, it is best known as a microphone pickup technique.<br />
<br />
The principle of M/S, or Mid-Side is to think about everything that’s coming from both speakers at one (that’s common to both channels) as being one component of the sound and everything that’s different, that’s arriving at a different time from one speaker or the other, or the ‘difference channel’ as being the other component of the sound. This is sometimes known as ‘A minus B’. if you want to listen to the difference signal in a mix or a recording, you can take the two channels in a recording, pan them both to mono, flip one of them out of phase and what you end up hearing is the ‘difference signal’ – everything that’s not common to both channels in a recording.<br />
<br />
So that’s a different way of thinking about the stereo field and the way that we thinking about processing stereo – what’s important, what’s interesting, what’s meaningful about this?<br />
<br />
If you think about it, when you are listening to two speakers, in order to determine direction you are relying very heavily on this concept of phase or arrival time shall we say. If something shifts in the arrival time between two speakers then suddenly you’ll have a very very different sense of its location. If we’re processing the left channel and the right channel separately and we introduce an equalizer that’s not a linear phase equalizer for instance, there’s a strong possibility that that instrument or that part of the spectrum is going to change in it’s perspective in the stereo image. If that’s what’s desired – great – maybe that’s a desirable effect. But more often than not, we want to do the same thing to both channels at the same time in order to keep the phase coherency between the two channels and maintain that sense of stereo image. What’s important about stereo image is not just the localization of an instrument – not just that the trumpet is coming from right field - but also that the integrity of the reverb stays the same, that the width of the stereo field and the sense of openness and space and top end remains the same as what was present in the mix when it came into the mastering studio.<br />
<br />
M/S Paradigm<br />
<br />
Processing in the mid-side paradigm has a similar kind of concern about it. In other words if you change the arrival time, the phase relationship between the mid and the side channel, you are likely to drastically change the sense of space in a recording. If you exaggerate the side component too much, you are also likely to find that everything that was in the center of the mix might begin to recede for the listener. I think most people would agree that the stuff that appears in the center of the stereo image is very often the most important stuff. For a Pop mix, it’s usually the kick drum, the snare drum, the vocal, the bass – the main players in a mix. So you have to be careful about how much you change things in the mid channel and the side channel with respect to each other.<br />
<br />
What to watch for with stereo processing<br />
<br />
As you start to think about mid-side, it’s important to note that there some other arenas of what happens to audio that is playing in the M/S sandbox if you will - where they become important.<br />
<br />
The first thing I want to point to is when you are using a stereo compressor. If you are feeding the left channel and the right channel separately into two sides of a stereo compressor and you allow the detector circuit for each side to behave independently, you could end up with some very strange behavior when you are listening to the output of the speakers (listening to a stereo mix) when for instance, the drummer hits a rack tom that appears in one speaker that jumps out of the mix a little bit, one channel of the compressor might be compressing heavily whereas the other doesn’t compress hardly at all and the whole stereo image can begin to steer in one direction or another. So most of the time when we are compressing a stereo mix, we’ll work in a mode where the two channels are linked together and the compressor is really paying attention primarily to the mid component of a mix and not so much to the sides.<br />
<br />
How codecs affect stereo processing<br />
<br />
In a similar sense, MP3 encoding is based on the idea that you want to try to do as little processing as possible to the most important part of the signal, namely the mid, the thing that is common to both signals and throw away as much of the information that is involved in the quote “less important part of the signal” namely low level signals, out of phase signals, very high frequency, very low frequency signals that are out of phase and so if you start to create a mix where you exaggerate the side information and de-accentuate the center channel, when you pass this audio through an MP3 encoder you may find that you are hearing a much more pronounced effect from the MP3 encoder on your mix. <br />
<br />
So there again, you want to be careful about exaggerating the side channel too much, exaggerating the sense of space too much because given that we are all having to deliver things with lossy codecs (MP3, AAC), you may end up with some unintended consequences of your processing.Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4327109921514317139.post-46550888623300033822012-03-18T14:21:00.000-07:002012-03-18T14:21:23.376-07:00Reverb and Mastering<iframe width="560" height="315" src="http://www.youtube.com/embed/Wn1d1Jz_xgE" frameborder="0" allowfullscreen></iframe><br />
<br />
Reverb<br />
<br />
Today, I’d like to talk a little bit about using reverb in mastering.<br />
<br />
The applications for reverb in mastering are in some cases I think quite obvious, but in other cases a little bit less so and some of you may be surprised to learn that reverb comes into play in mastering at all.<br />
<br />
Application One – Reverb Tails<br />
<br />
The first one is using reverb to lengthen the tail of a song that’s been cut off. One of my pet peeves is that an overeager engineer, or artist or producer will decide that they want to save a little bit of time in the mastering studio and cut the very beginning or the very ending to a song closely so that you don’t have to worry about doing that in the mastering studio. In doing so, they think they’re going to save themselves money in the mastering session, but invariably what happens is that they cut the beginning too close or they cut off something at the very end because their studio is noisy or they aren’t listening carefully and suddenly you end up with a song where you wish the end of the piece could go on another couple of seconds. Or there might be a noise at the end of a mix and you have to pull a fade on the tail to get a ringing note down before the noise comes in and causes an interruption in the attention of the listener. So in any case, we might use reverb to extend the tail and in this case it’s a pretty simple think to apply reverb just to the very end, have it gradually rise as the last note decays and try and create some sort of sense of a natural extension to the last note for as long as need be.<br />
<br />
Application Two – Acoustic Space<br />
<br />
The second place that reverb comes into play in mastering is when you are trying to match the sound of two different recordings that are coming from two different acoustic spaces – one might be dry and one might be ambient – that are going to be included in a single album’s worth of material. This comes into play most often when I’m working with something that comes from various orchestras from around the world. I’ve received recordings made in Seattle, Bratislava, Warsaw and Prague and each engineering crew has their own aesthetic about how much reverb they like to allow to creep in, or ambience they like to have creep in to the sound of the recording. In some cases they are bound by the dimensions of the space that the orchestra is playing in.<br />
<br />
So if I’m doing a record by a single composer and their works and it’s recording in multiple places, I might apply some reverb to some of the recordings to bring them into a similar sonic universe when going from one to the next.<br />
<br />
Application Three – Creating A Sense Of Depth<br />
<br />
The third instance where reverb might come into play in mastering is when I want to be able to create a little bit of a sense of depth in a recording. There are those moments where I will have done everything that I can think of to do that seems to be making a recording sound better with EQ, with compression, where I just want a very tiny sense of warmth and sort of a widening and deepening of the soundstage. And more EQ is just making it worse, more compression is just making it worse and I’ll try adding a hint of a very short, not very bright bit if reverb to the sound of the recording.<br />
<br />
My recipe is usually rolling off the top end of the reverb, setting the roll-off somewhere around 2.5 or 3 kHz, having a decay of about 2/3 of a second and just a little touch of it – sometimes that gives me just that sense of depth that I’m after in a very natural way, in a way that an EQ or a compressor is not able to do.<br />
<br />
You have to be careful, because if you add reverb to a heavy metal tune, a punk rock tune or something that really needs to maintain it’s immediacy and edge, reverb will soften the general sense of the program usually. but It can come in handy.Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4327109921514317139.post-89118955790099276482012-01-15T17:24:00.000-08:002012-01-15T17:24:41.424-08:00Another record we are proud of...What a joy to be able to help bring so much expression, joy and, well, music into the world.<br />
<br />
Here's a review of just one example of a project we are proud to be a part of. Powerhouse modern big band with some inspired performing....and dynamics to boot!<br />
<br />
http://www.jazmuzic.com/2011/12/cd-review-new-world-jazz-composers.htmlUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-4327109921514317139.post-6592804506718908752012-01-10T17:34:00.000-08:002012-01-10T17:34:50.089-08:00Another vote for good sound....This piece gives some nice ammunition to those of us who believe that good sound is an important part of musical expression, and that regular ole people, even the mp3 generation (!) can discern differences in sound quality....and they might even prefer higher resolution.<br />
<br />
http://tinyurl.com/7t7s4m3<br />
<br />
Provides just a tiny hit of job security!<br />
<br />
As I have said many times, I don't have much of a gripe about mp3....or cassette or whatever, so long as it is where it belongs: in the domain of the consumer. In fact mp3 represents a leap forward for people in many parts of the globe.<br />
<br />
Where I DO have a problem with it is when it is confused with professional production tools. That is a non-starter in every way. It is tough soetimes to distinguish between a professional tool and a hobbyist toy when they both reside on the same platform; laptop, desktop or tablet. Indeed there is a world of difference however!Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4327109921514317139.post-83845701677554770742011-11-25T18:01:00.000-08:002011-11-25T18:01:16.883-08:00But really what IS loudFor years now my brethren in the mastering profession have been jumping up and down in defense of music and in self-defense, trying to raise flags about what is happening to music during the so-called Loudness War. <br />
<br />
Indeed, the way that the RMS level have been creeping higher and higher as the dsp tools we have are better and better at hiding the distortions of limiting and compression, has caused immeasurable harm to the presentation of recorded music. It permeates all genres and affects pretty much ALL artists. It's frightening to think that we adapt to it, assimilate the new sound and begin to become numb to the effects.<br />
<br />
There are developments on the horizon for creating a level playing field in the presentation and playback of music to the consumer that hold some hope that we might return to what Mastering folks might call 'sanity'....<br />
<br />
but....and....however...<br />
<br />
I think that the story that has been told thus far about the loudness war, how it is motivated by the fear of A&R , PD's in radio and other decision makers might reject an artist, only tells one part of the story. I think there is something significant that is escaping everyone's attention. Perhaps it is being 'masked' the the gross issues of RMS volume, but beneath the surface I think part of what is happening is that the craft of producing recorded sound is suffering. I think the art of making a good, well balanced recording is eroding and I think that the real ART of making a truly loud record is being lost.<br />
<br />
A couple of years ago I gave a presentation to my fellow faculty at Berklee entitled 'What IS Loud?'. I sought to deconstruct the idea of loud. Focused on frequency distribution, the art of arrangement in music, the art of dynamic control in mixing and it really looks like making a truly loud recording involves time, skill and even, yes, nuance.<br />
<br />
I hope to slowly unfold this topic....especially if we end up with the new BS1770 standards for playback reference, I think it will become clear what loud and GOOD mean again.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4327109921514317139.post-38061272619968141452011-08-24T23:11:00.000-07:002011-08-24T23:16:39.359-07:00Metadata, ISRC, UP and QC <style> <!-- /* Font Definitions */ @font-face {font-family:"MS 明朝"; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-charset:128; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 134676480 16 0 131072 0;} @font-face {font-family:"Cambria Math"; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} @font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} a:link, span.MsoHyperlink {mso-style-priority:99; color:blue; mso-themecolor:hyperlink; text-decoration:underline; text-underline:single;} a:visited, span.MsoHyperlinkFollowed {mso-style-noshow:yes; mso-style-priority:99; color:purple; mso-themecolor:followedhyperlink; text-decoration:underline; text-underline:single;} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} @page WordSection1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.WordSection1 {page:WordSection1;} --> </style> <p class="MsoNormal"><object height="390" width="640"><param name="movie" value="http://www.youtube.com/v/31QZiZYE2CI&hl=en_US&feature=player_embedded&version=3"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://www.youtube.com/v/31QZiZYE2CI&hl=en_US&feature=player_embedded&version=3" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" height="390" width="640"></embed></object>
<br /></p> <p style="text-align: justify;" class="MsoNormal">
<br /></p><p style="font-weight: bold; text-align: justify;" class="MsoNormal">What is metadata? </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal">
<br /></p><p style="text-align: justify;" class="MsoNormal">Any information that is included within a program, whether it is for a download or creating a disc, that is not the program itself.<span style="mso-spacerun:yes"> </span>It is embedded within the digital file (as a download or when burned to disc). Examples are track IDs, start and stop IDs, ISRCs, UPCs, and CD Text information. One of the things that the mastering engineer is responsible for is understanding what these are and including all this information in a master.
<br /></p><p style="text-align: justify;" class="MsoNormal">
<br /></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><div style="text-align: justify;"> </div><p style="font-weight: bold; text-align: justify;" class="MsoNormal">What is an ISRC?</p><p style="text-align: justify;" class="MsoNormal">
<br /></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal">It stands for International Standard Recording Code. It is a number that is allocated to any publisher (record label, artist, or anybody that is owns a catalogue of music). It is registered in the USA with the RIAA (Recording Industry Association of America) and in Europe with GEMA (a performance rights organisation) . The code is a unique identifier that gets attached to every single piece of music (each song within a record would have its own ISRC code). Any time that the music is played over the air, downloaded or streamed, the identifier is logged. This is vital in the payment process . </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><a href="http://www.usisrc.org/">http://www.usisrc.org/</a></p><p style="text-align: justify;" class="MsoNormal"><a href="http://www.usisrc.org/">
<br /></a> </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><div style="text-align: justify;"> </div><p style="font-weight: bold; text-align: justify;" class="MsoNormal">What is a UPC?</p><p style="text-align: justify;" class="MsoNormal">
<br /></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal">It stands for Universal Product Code. Is a number assigned to a product. Traditionally it has been a physical item, such as a cereal box in a grocery store, which has a bar code (and correlating number) to scan at the checkout to identify what that product is. The same is true of CDs or DVDs. But they are also used to track downloads in some cases, so you should register and include it in your product.
<br /></p><p style="text-align: justify;" class="MsoNormal">
<br /></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-weight: bold;">What is QC? </span>
<br /></p><p style="text-align: justify;" class="MsoNormal">
<br /></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal">This is what is known as Quality Check. Mastering is <i style="mso-bidi-font-style:normal">the </i>final process before distribution. As a result, it is the mastering engineer’s job to make sure that there are absolutely no flaws in the program (a dropout or a click for example). The mastering engineer should give the client assurance that there is no problem with the audio. </p> M-Works Masteringhttp://www.blogger.com/profile/07418215804937565901noreply@blogger.com3tag:blogger.com,1999:blog-4327109921514317139.post-8552304266670759702011-08-22T07:31:00.000-07:002011-08-22T07:34:03.555-07:00On Stereo-Imaging<div style="text-align: justify;"> <style> <!-- /* Font Definitions */ @font-face {font-family:"MS 明朝"; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-charset:128; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 134676480 16 0 131072 0;} @font-face {font-family:"Cambria Math"; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} @font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:-536870145 1073743103 0 0 415 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} @page WordSection1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.WordSection1 {page:WordSection1;} --> </style> </div><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><div style="text-align: justify;"> </div><object height="390" width="640"><param name="movie" value="http://www.youtube.com/v/MdfTU7WT8_c&hl=en_US&feature=player_embedded&version=3"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://www.youtube.com/v/MdfTU7WT8_c&hl=en_US&feature=player_embedded&version=3" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" height="390" width="640"></embed></object><p style="text-align: justify;" class="MsoNormal">
<br /></p><p style="text-align: justify;" class="MsoNormal">Stereo-imaging tools are often included in DIY mastering packages or equalisers with stereo spreading facilities (most commonly offering some kind of mid-side processing options), so it is important to acknowledge their purpose and their limits. </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal">
<br /></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal">As with many of the specialist tools we have for processing audio, they are great at solving <i style="mso-bidi-font-style:normal">specific </i>problems. If you have something mono or largely in mono, for example, and you need to try and widen it, you can add reverb or perhaps exaggerate the little stereo information that already exists in the track. </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal">
<br /></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal">But what exactly is the ‘stereo information’? </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal">
<br /></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal">Well, it has to do with the relationship between the ‘out-of-phase’ information, and the ‘in-phase’ information. Anything that is in-phase happens at exactly the same time<i style="mso-bidi-font-style:normal"> </i>in <i style="mso-bidi-font-style:normal">both </i>channels, and that information will appear to be centered. If anything is slightly delayed off to one side or the other, compared to the center of the image, it is ‘out-of-phase’ and is one of the things that creates a stereo sense of spread. </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal">
<br /></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal">So when you are mixing, you are using pan pots, delays and reverbs (etc) to create a stereo image of individual elements <i style="mso-bidi-font-style:normal">within</i> an overall stereo mix. However, when you go in during mastering and increase the out-of-phase component, you are changing the relationship between the out-of-phase and in-phase parts of the signal <i style="mso-bidi-font-style:normal">of the entire mix. </i>You therefore are able to radically change the sense of the stereo image and the placement of each individual instrument in a song, which can be very dangerous if not treated with care. And although you may increase the perceived wideness, this is at the expense of the in-phase components in the song. That is to say, the elements that are dead-center, which also tend to be the most important elements of most productions – vocals, snare, kick, bass – are weakened. <span style="mso-spacerun:yes"> </span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal">
<br /></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal">So sometimes – in its various forms – stereo-imaging can be used to good effect. However, one should err on the side of caution.</p> M-Works Masteringhttp://www.blogger.com/profile/07418215804937565901noreply@blogger.com0tag:blogger.com,1999:blog-4327109921514317139.post-16804430768584791762011-08-15T09:08:00.000-07:002011-08-15T09:14:22.247-07:00Analog Versus Digital Signal Processing (dynamics) <style> <!-- /* Font Definitions */ @font-face {font-family:"MS 明朝"; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-charset:128; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 134676480 16 0 131072 0;} @font-face {font-family:"MS 明朝"; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-charset:128; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 134676480 16 0 131072 0;} @font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:-536870145 1073743103 0 0 415 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} @page WordSection1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.WordSection1 {page:WordSection1;} --> </style> <p class="MsoNormal"><span style="font-size:130%;">
<br /></span></p> <object height="390" width="640"><param name="movie" value="http://www.youtube.com/v/eUN4OBIKbxo&hl=en_US&feature=player_embedded&version=3"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://www.youtube.com/v/eUN4OBIKbxo&hl=en_US&feature=player_embedded&version=3" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" height="390" width="640"></embed></object><p class="MsoNormal"> </p><p class="MsoNormal">
<br /></p><p class="MsoNormal">
<br /></p> <p style="font-weight: bold;" class="MsoNormal">Limiters (peak limiters, protection circuits)</p> <p class="MsoNormal"> </p><p class="MsoNormal">
<br /></p> <p class="MsoNormal">Most common is a digital plugin. Plugins tend to be much faster, cleaner, and have less overshoot than what you get in the analog-domain. </p> <p class="MsoNormal"> </p><p class="MsoNormal">
<br /></p> <p style="font-weight: bold;" class="MsoNormal">Compressors</p> <p class="MsoNormal"> </p><p class="MsoNormal">
<br /></p> <p class="MsoNormal">When you look at an equipment roster of a high-end mastering studio, a compressor will more likely than not be seen in any of the studio’s analog gear. It seems that DSP (digital signal processing) plugins do an excellent job of recreating the dynamic-range control that happens in an analog compressor, yet they don’t quite seem to sound just as good. </p> <p class="MsoNormal"> </p><p style="font-weight: bold;" class="MsoNormal">
<br /></p> <p style="font-weight: bold;" class="MsoNormal">What could be the reasons for this? Let’s speculate a little.</p> <p class="MsoNormal"> </p><p class="MsoNormal">
<br /></p> <p class="MsoNormal">When audio comes out into the analog-domain, you get added distortion and noise. These are not necessarily characteristics that will be programmed into the digital circuits (or, algorithms). As a result, you get a subtly different overall presentation of the sound. </p> <p class="MsoNormal"> </p><p class="MsoNormal">
<br /></p> <p class="MsoNormal">The detection circuit (the device used to tell the compressor when to compress the audio passing through it) is what really drives the action of a compressor. Another possibility, which was proposed to me by George Massenberg, is that sample rate for the detector circuit in a digital compressor needs to be much higher than the typical sample rates we are using now, because of the nuances that you typically get at the output of a compression stage. 44.1kHz may be sufficient for the audio passing through the compressor, but it may not present enough detail for the audio that is feeding the detection circuit for the compressor to do as good a job as its analog counterpart. It is speculation, but it is an interesting point to consider.</p> <p class="MsoNormal"> </p><p class="MsoNormal">
<br /></p> <p class="MsoNormal">A lot of the time you will find mastering engineers using an analog circuit not because they’re going to use an EQ to equalize, or a compressor to compress, but because there is something about the filtering that takes place when running audio through that analog gear that changes the sound in a desirable way. So, a great compressor may be used not to compress, but simply due to the tone-shaping sound that is imparted to the program. This seems to be a common factor missing from many current DSP equivalents. </p> <p class="MsoNormal"> </p><p class="MsoNormal">
<br /></p> M-Works Masteringhttp://www.blogger.com/profile/07418215804937565901noreply@blogger.com1tag:blogger.com,1999:blog-4327109921514317139.post-90102176099956648312011-08-08T12:34:00.000-07:002011-08-08T12:35:56.665-07:00CDR Quality - Or Lack Thereof<div style="text-align: justify;">While we're on the subject of good sound (how's THAT for a non-sequitur?!) there's something that's slowly creeping into the world of music production, namely poor quality CDR's.
<br />
<br />While I don't want to get into a long discussion of the CRC (error correction) that's built into the playback of a CDR, you should know that the CD format was built to tolerate errors. In some cases it will fix errors on playback perfectly. In other cases, if it can't reconstruct the data, it will 'approximate' the data. The implication is, when you play a CD you don't know if you are hearing exactly what was recorded to it. The difference is usually very subtle, and arguably fine for most consumers, but not so fine for those of us that work hard to craft recordings.
<br />
<br />This problem is not so prevalent with replicated (pressed) CD's, but moreso with duplicated (burned) CD-R's....and it's getting worse. At my studio we routinely check every disc that's intended as a master, and in the last 6 months we have noticed a significant decline in the quality of the burns to disc. We can still get a workable master, but sometimes we run into a batch of discs that are unusable. We wouldn't know it if we didn't test, and that makes me wonder how many discs people make that are malfunctioning in ways they might find unacceptable....if they knew.
<br />
<br />THe answer is probably a move away from redbook audio to full resolution data transfer from local servers for consumers and studios alike....but for now we check our discs carefully, and make ddpi masters when we can.</div>M-Works Masteringhttp://www.blogger.com/profile/07418215804937565901noreply@blogger.com1tag:blogger.com,1999:blog-4327109921514317139.post-82091703866246813642011-08-04T08:26:00.000-07:002011-08-04T08:26:49.530-07:00The hype in Hypebot.com? "Compression Rules! Rick Rubin Masters Red Hot Chili Peppers Just For iTunes"www.hypebot.com/hypebot/2011/08/compression-rules-rick-rubin-masters-red-hot-chili-peppers-just-for-itunes.html<br />
<br />
If you take the announcement about a track being mastered specifically for itunes at face value the idea is intriguing. So we know fidelity and itunes are somewhat at odds with each other. mp3/aac just don't sound great....so how could they make it sound better? Has Rick Rubin got some secret sauce?<br />
<br />
So let's take a look at what might make an aac/mp3 sound 'better'. FIrst ff lossy encoders generate distortion, so to have a better sounding mp3, turn it down...what's the likelihood that that happened in this case? Also consider that RIck Rubin and his team are renowned for creating very very compressed masters. The comment from the audiophile website "...but considering this production Trio's history of sonic destruction it did not shock me." goes to the point. So do we think they would compress less, and turn the level down to make it sound better on itunes? What are the chances? It remains to be heard I suppose but really I wonder, Is this mostly an attention grab aka hype?Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4327109921514317139.post-56064235967477805802011-07-29T04:08:00.000-07:002011-07-29T04:13:47.110-07:00Should I (the Artist) Attend The Mastering Session<style> <!-- /* Font Definitions */ @font-face {font-family:"MS 明朝"; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-charset:128; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 134676480 16 0 131072 0;} @font-face {font-family:"MS 明朝"; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-charset:128; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 134676480 16 0 131072 0;} @font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} p.MsoListParagraph, li.MsoListParagraph, div.MsoListParagraph {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; margin-top:0in; margin-right:0in; margin-bottom:0in; margin-left:.5in; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} p.MsoListParagraphCxSpFirst, li.MsoListParagraphCxSpFirst, div.MsoListParagraphCxSpFirst {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; mso-style-type:export-only; margin-top:0in; margin-right:0in; margin-bottom:0in; margin-left:.5in; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} p.MsoListParagraphCxSpMiddle, li.MsoListParagraphCxSpMiddle, div.MsoListParagraphCxSpMiddle {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; mso-style-type:export-only; margin-top:0in; margin-right:0in; margin-bottom:0in; margin-left:.5in; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} p.MsoListParagraphCxSpLast, li.MsoListParagraphCxSpLast, div.MsoListParagraphCxSpLast {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; mso-style-type:export-only; margin-top:0in; margin-right:0in; margin-bottom:0in; margin-left:.5in; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} @page WordSection1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.WordSection1 {page:WordSection1;} /* List Definitions */ @list l0 {mso-list-id:1500850888; mso-list-type:hybrid; mso-list-template-ids:-517591176 67698689 67698713 67698715 67698703 67698713 67698715 67698703 67698713 67698715;} @list l0:level1 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l0:level2 {mso-level-number-format:alpha-lower; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in;} @list l0:level3 {mso-level-number-format:roman-lower; mso-level-tab-stop:none; mso-level-number-position:right; text-indent:-9.0pt;} @list l0:level4 {mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in;} @list l0:level5 {mso-level-number-format:alpha-lower; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in;} @list l0:level6 {mso-level-number-format:roman-lower; mso-level-tab-stop:none; mso-level-number-position:right; text-indent:-9.0pt;} @list l0:level7 {mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in;} @list l0:level8 {mso-level-number-format:alpha-lower; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in;} @list l0:level9 {mso-level-number-format:roman-lower; mso-level-tab-stop:none; mso-level-number-position:right; text-indent:-9.0pt;} ol {margin-bottom:0in;} ul {margin-bottom:0in;} --> </style> <p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;">Should I Attend The Mastering Session</span></p><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><br /></span></p><object height="390" width="640"><param name="movie" value="http://www.youtube.com/v/kF1WBw-Q178&hl=en_US&feature=player_embedded&version=3"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://www.youtube.com/v/kF1WBw-Q178&hl=en_US&feature=player_embedded&version=3" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" height="390" width="640"></embed></object><p style="text-align: justify;" class="MsoNormal"><br /></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal">Having the artist attend the session can often be useful for both parties, and make for effective and fast communication. However, it is not absolutely essential that the artist attends the session and it is commonplace that mastering sessions and communications are dealt with via FTP (file transfer protocol) and email/telephone respectively.<br /></p><p style="text-align: justify;" class="MsoNormal"><br /></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-weight: bold;">What If I Can’t Attend? </span><br /></p><p style="text-align: justify;" class="MsoNormal"><br /></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal">As mentioned, it is not essential that artist attends the mastering session. There are certain things that should be provided to the mastering engineer, however:<br /></p><p class="MsoNormal"><br /></p> <p class="MsoListParagraphCxSpFirst" style="text-indent: -0.25in;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span><b style="mso-bidi-font-weight:normal">The sequence – </b>This is the song order of your album. There are many possible orders and this should be decided and given to the mastering engineer before the session.</p><p class="MsoListParagraphCxSpFirst" style="text-indent:-.25in;mso-list:l0 level1 lfo1"><br /></p> <p class="MsoListParagraphCxSpLast" style="text-indent:-.25in;mso-list:l0 level1 lfo1"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span><span style="mso-spacerun:yes"> </span><b style="mso-bidi-font-weight:normal">Notes</b> – any questions and concerns you may have. For example, perhaps you feel one song is too quiet, or the vocal is not quite bright enough, or you want a warm and darker master. Let the mastering engineer know this, as he will otherwise take lead from what he is hearing and assume that it is the creative intention of the artist and producer.<br /></p>M-Works Masteringhttp://www.blogger.com/profile/07418215804937565901noreply@blogger.com0tag:blogger.com,1999:blog-4327109921514317139.post-28526167917122267202011-07-28T03:10:00.000-07:002011-07-28T03:23:00.808-07:00Learning From The Artist<div style="text-align: justify;"><span style="font-size:130%;">Learning From The Artist</span><br /><br />When working on a science experiment, conducting a poll or doing anything creative there is always a danger in beginning the process with the conclusion already decided. Not only will initial prejudice skew the results but it will often get in the way of discovering something more meaningful than you could have imagined or anticipated.<br /><br />Where art is concerned, we usually look for a strong sense of identity and conviction in the creators or participants, and there lies a paradox. My clients want me to have a strong idea of how I think their recording could sound (or in some cases should sound), yet there have been instances where my clients have a strong idea and I learn from <span style="font-style: italic;">them</span>. Just last week a client instructed me to NOT add any high frequency equalisation. He didn't want his project to be articulated, or 'opened up'. The texture he was after was murky and purposely distant. This is certainly not a choice I would have made, however the result was rather stunning. It evoked a feeling of warmth and melancholy, and allowed for a sort of intrigue that wouldn't have been achieved without his instruction.<br /><br />It behooves us to always keep our ears and minds open, and to listen for those little nuggets that might indicate meaning or serve as a catalyst for new ideas. It allows the producer or engineer to do something different and out of the ordinary... and when has creating really been a place for the ordinary?<br /></div>M-Works Masteringhttp://www.blogger.com/profile/07418215804937565901noreply@blogger.com0tag:blogger.com,1999:blog-4327109921514317139.post-7837101812581966952011-07-27T03:19:00.000-07:002011-07-27T03:22:52.447-07:00The Cost and Value of Mastering<style> <!-- /* Font Definitions */ @font-face {font-family:"Courier New"; panose-1:2 7 3 9 2 2 5 2 4 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} @font-face {font-family:Wingdings; panose-1:5 0 0 0 0 0 0 0 0 0; mso-font-charset:2; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:0 268435456 0 0 -2147483648 0;} @font-face {font-family:"MS 明朝"; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-charset:128; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 134676480 16 0 131072 0;} @font-face {font-family:"MS 明朝"; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-charset:128; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 134676480 16 0 131072 0;} @font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:-536870145 1073743103 0 0 415 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} p.MsoListParagraph, li.MsoListParagraph, div.MsoListParagraph {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; margin-top:0in; margin-right:0in; margin-bottom:0in; margin-left:.5in; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} p.MsoListParagraphCxSpFirst, li.MsoListParagraphCxSpFirst, div.MsoListParagraphCxSpFirst {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; mso-style-type:export-only; margin-top:0in; margin-right:0in; margin-bottom:0in; margin-left:.5in; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} p.MsoListParagraphCxSpMiddle, li.MsoListParagraphCxSpMiddle, div.MsoListParagraphCxSpMiddle {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; mso-style-type:export-only; margin-top:0in; margin-right:0in; margin-bottom:0in; margin-left:.5in; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} p.MsoListParagraphCxSpLast, li.MsoListParagraphCxSpLast, div.MsoListParagraphCxSpLast {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; mso-style-type:export-only; margin-top:0in; margin-right:0in; margin-bottom:0in; margin-left:.5in; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} @page WordSection1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.WordSection1 {page:WordSection1;} /* List Definitions */ @list l0 {mso-list-id:948198301; mso-list-type:hybrid; mso-list-template-ids:-741307678 67698689 67698691 67698693 67698689 67698691 67698693 67698689 67698691 67698693;} @list l0:level1 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l0:level2 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l0:level3 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l0:level4 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l0:level5 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l0:level6 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l0:level7 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l0:level8 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l0:level9 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} ol {margin-bottom:0in;} ul {margin-bottom:0in;} --> </style> <p class="MsoNormal"><span style="font-size:130%;">The Cost and Value of Mastering</span></p> <p class="MsoNormal"> </p><p class="MsoNormal"><br /><object height="390" width="640"><param name="movie" value="http://www.youtube.com/v/b_kmbG9hyZw&hl=en_US&feature=player_embedded&version=3"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://www.youtube.com/v/b_kmbG9hyZw&hl=en_US&feature=player_embedded&version=3" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" height="390" width="640"></embed></object><br /></p> <p style="font-weight: bold;" class="MsoNormal"><br /></p><p style="font-weight: bold;" class="MsoNormal">What can one realistically expect to pay for mastering?</p> <p class="MsoNormal"> </p><p class="MsoNormal"><br /></p> <p class="MsoNormal">The range is huge and one tends to get what one pays for. Here is a good guide (for a 10-12 track record):</p> <p class="MsoNormal"> </p> <p class="MsoListParagraphCxSpFirst" style="text-indent:-.25in;mso-list:l0 level1 lfo1"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span><u>$200-$300</u> - Cheaper options /mainly online</p> <p class="MsoListParagraphCxSpMiddle" style="text-indent:-.25in;mso-list:l0 level1 lfo1"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span><u>$700-$2000</u> - An engineer with a fair amount of experience, and this usually allows for a full day in the mastering studio and a couple revisions.</p> <p class="MsoListParagraphCxSpLast" style="text-indent:-.25in;mso-list:l0 level1 lfo1"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span><u>$2000 +</u> - usually multiple days in the mastering studio, or one of the top mastering engineers around (Bob Ludwig, Doug Sax)</p> <p class="MsoNormal"> </p><p class="MsoNormal"><br /></p> <p style="font-weight: bold;" class="MsoNormal">Fitting Mastering Into The Budget</p> <p class="MsoNormal"> </p><p class="MsoNormal"><br /></p> <p class="MsoNormal">Mastering is the <i style="mso-bidi-font-style:normal">final </i>stage of the recording-making process, and it is by no means the least important. If one considers all the time that one spends making the record, the money for the recording, the mixing, hiring musicians, and the amount of CDs/downloads to be sold (etc), paying a little more for quality mastering amounts to not much extra cost per unit. One should try and budget for this at the beginning stages of the recording process, even though mastering is the final step!</p> <p class="MsoNormal"> </p> <p class="MsoNormal"> </p>M-Works Masteringhttp://www.blogger.com/profile/07418215804937565901noreply@blogger.com0tag:blogger.com,1999:blog-4327109921514317139.post-9602596024006612902011-07-11T08:30:00.000-07:002011-07-11T08:41:21.115-07:00Compression in Mastering (Part 3)<style> <!-- /* Font Definitions */ @font-face {font-family:"MS 明朝"; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-charset:128; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 134676480 16 0 131072 0;} @font-face {font-family:"MS 明朝"; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-charset:128; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 134676480 16 0 131072 0;} @font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} @page WordSection1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.WordSection1 {page:WordSection1;} --> </style> <p class="MsoNormal"><span style="font-size:85%;"><span style="font-style: italic;">Welcome to Part 3: 'Compression' of the new video-blog series in which Jonathan Wyner of M-WORKS Mastering will be discussing various aspects of the mastering process. Let us know your thoughts, questions and opinions! Stay tuned for a new video and post next week.</span></span></p><p class="MsoNormal"><span style="font-size:85%;"><span style="font-style: italic;"><object height="390" width="640"><param name="movie" value="http://www.youtube.com/v/jaBU1RAcfEM&hl=en_US&feature=player_embedded&version=3"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://www.youtube.com/v/jaBU1RAcfEM&hl=en_US&feature=player_embedded&version=3" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" height="390" width="640"></embed></object><br /></span></span></p><p class="MsoNormal"><span style="font-size:130%;"><br /></span></p><p class="MsoNormal"><span style="font-size:130%;">Part 3 – Compression</span></p> <p class="MsoNormal"> </p><p class="MsoNormal"><br /></p> <p style="font-weight: bold;" class="MsoNormal">How much compression to use?</p> <p class="MsoNormal"> </p><p class="MsoNormal"><br /></p> <p class="MsoNormal">Mastering engineers generally don’t use a lot of compression. If any compression is applied during the mastering process, it is usually very subtle. Low ratios (1.2:1 to 2:1) with high thresholds that yield around 2-3 dBs of gain reduction – at most – is common. </p> <p class="MsoNormal"> </p><p class="MsoNormal"><br /></p> <p style="font-weight: bold;" class="MsoNormal">Compression and audio fidelity.</p> <p class="MsoNormal"> </p><p class="MsoNormal"><br /></p> <p class="MsoNormal">In an absolute audiophile sense: compression never sounds good! When compressing one loses depth, gains noise and loses dynamic range, all of which make a <i style="mso-bidi-font-style:normal">recording </i>sound worse. <span style="mso-spacerun:yes"> </span>To learn to use compression effectively, one should focus on whether it makes the <i style="mso-bidi-font-style: normal">music </i>sound better. One needs to be able to differentiate between the music and the recording.</p> <p class="MsoNormal"> </p><p class="MsoNormal"><br /></p> <p class="MsoNormal">The idea of using compression – usually – is to reduce the dynamic range so as to make the different elements in an arrangement sound more clearly to the listener.</p> <p class="MsoNormal"> </p><p class="MsoNormal"><br /></p> <p style="font-weight: bold;" class="MsoNormal">Should the mix engineer send a compressed or uncompressed 2-Mix?</p> <p class="MsoNormal"> </p><p class="MsoNormal"><br /></p> <p class="MsoNormal">If you are a more experienced mix engineer and/or you feel like you’ve got the compression sounding just how you want it, then print the mix with the compression and send it to the mastering engineer (M.E).<span style="mso-spacerun:yes"> </span>Every compressor behaves and reacts differently, and those characteristic nuances that you (the artist and/or mixing engineer) have learned to love in the mix may not be so easily replicated by the M.E.<br /></p><p class="MsoNormal"><br /></p> <p class="MsoNormal">However, if you’re nervous that your compressor is ‘misbehaving’ or you are unsure whether you are using too much compression, it is a good idea to send <b style="mso-bidi-font-weight:normal">two versions </b>of the mix. Send the M.E the uncompressed mix <i style="mso-bidi-font-style:normal">and</i> the compressed mix so that the he has it for reference. This way, the M.E will be able to decide if he can improve the uncompressed mix or work with your compressed mix and take it a step further!</p> <p class="MsoNormal"> </p><p class="MsoNormal"><br /></p> <p class="MsoNormal">Hope you enjoyed this. Please let me know your thoughts, and what you may like to see in future here on the blog.</p>M-Works Masteringhttp://www.blogger.com/profile/07418215804937565901noreply@blogger.com1tag:blogger.com,1999:blog-4327109921514317139.post-11376533637684504532011-07-05T03:24:00.000-07:002011-07-11T08:40:58.855-07:00Equalisation in Mastering (Part 2)<div style="text-align: justify;"> <style> <!-- /* Font Definitions */ @font-face {font-family:"Courier New"; panose-1:2 7 3 9 2 2 5 2 4 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} @font-face {font-family:Wingdings; panose-1:5 0 0 0 0 0 0 0 0 0; mso-font-charset:2; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:0 268435456 0 0 -2147483648 0;} @font-face {font-family:"MS 明朝"; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-charset:128; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 134676480 16 0 131072 0;} @font-face {font-family:"MS 明朝"; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-charset:128; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 134676480 16 0 131072 0;} @font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:-536870145 1073743103 0 0 415 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} p.MsoListParagraph, li.MsoListParagraph, div.MsoListParagraph {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; margin-top:0in; margin-right:0in; margin-bottom:0in; margin-left:.5in; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} p.MsoListParagraphCxSpFirst, li.MsoListParagraphCxSpFirst, div.MsoListParagraphCxSpFirst {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; mso-style-type:export-only; margin-top:0in; margin-right:0in; margin-bottom:0in; margin-left:.5in; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} p.MsoListParagraphCxSpMiddle, li.MsoListParagraphCxSpMiddle, div.MsoListParagraphCxSpMiddle {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; mso-style-type:export-only; margin-top:0in; margin-right:0in; margin-bottom:0in; margin-left:.5in; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} p.MsoListParagraphCxSpLast, li.MsoListParagraphCxSpLast, div.MsoListParagraphCxSpLast {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; mso-style-type:export-only; margin-top:0in; margin-right:0in; margin-bottom:0in; margin-left:.5in; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} @page WordSection1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.WordSection1 {page:WordSection1;} /* List Definitions */ @list l0 {mso-list-id:469371689; mso-list-type:hybrid; mso-list-template-ids:-2038562102 67698689 67698691 67698693 67698689 67698691 67698693 67698689 67698691 67698693;} @list l0:level1 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l0:level2 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l0:level3 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l0:level4 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l0:level5 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l0:level6 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l0:level7 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l0:level8 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l0:level9 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l1 {mso-list-id:1269969514; mso-list-type:hybrid; mso-list-template-ids:-1666531754 67698689 67698691 67698693 67698689 67698691 67698693 67698689 67698691 67698693;} @list l1:level1 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l1:level2 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l1:level3 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l1:level4 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l1:level5 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l1:level6 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l1:level7 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l1:level8 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l1:level9 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} ol {margin-bottom:0in;} ul {margin-bottom:0in;} --> </style> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:85%;"><span style="font-style: italic;">This is Part 2: 'Equalization' of the new video-blog series in which Jonathan Wyner of M-WORKS Mastering will be discussing various aspects of the mastering process. Let us know your thoughts, questions and opinions! Next week, compression.<br /></span></span></p><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><span style="font-size:130%;"><br /><object style="height: 390px; width: 640px"><param name="movie" value="http://www.youtube.com/v/ZklcpLP5QbY?version=3"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://www.youtube.com/v/ZklcpLP5QbY?version=3" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" height="390" width="640"></embed></object><br /></span></span></p><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><span style="font-size:130%;">Part 2: Equalization</span><br /></span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"> </span></p><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><br /></span></p><div style="text-align: justify;"> </div><p style="text-align: justify; font-weight: bold;" class="MsoNormal"><span style="font-size:100%;">Why were equalizers created?</span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"> </span></p><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><br /></span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;">Equalizers were invented to compensate for deficiencies in recording mediums (for example, to increase intelligibility over phone-lines). This idea of a <span style="font-style: italic;">corrective</span> equalizer is very much at play in mastering. </span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"> </span></p><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><br /></span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;">An example is if a mixing engineer is perhaps mixing in an overly dull environment. In this case, he will produce overly bright mixes (to compensate). It is then the mastering engineer’s job to try and figure out the inverse EQ to get the mixes sounding more like the mix engineer thought they sounded.</span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"> </span></p><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><br /></span></p><div style="text-align: justify;"> </div><p style="text-align: justify; font-weight: bold;" class="MsoNormal"><span style="font-size:100%;">To Cut? Or to Boost?</span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"> </span></p><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><br /></span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;">I think mastering engineers in <i>general </i>find themselves cutting more than boosting. </span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;">Listen for areas that sound cloudy, or that contain unpleasant harmonic content and don’t contain much of the fundamental frequency of the instrument. These areas can be gently and carefully carved out. </span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><span style=""> </span></span></p><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><span style="mso-spacerun:yes"><br /></span></span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;">Older-style equalizers tend to have <b style="">narrow-bandwidth cuts</b> and <b style="">broader-bandwidth boosts.</b> This tends to sound better and is a safe, general rule to follow when EQ’ing. </span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"> </span></p><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><br /></span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;">Are there common areas you (the Mastering Engineer) find yourself working on?</span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"> </span></p><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><br /></span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;">There are no set-rules. However, if you find yourself doing the same thing for each master you work on – you may be compensating for a deficiency in your room/listening environment. So try be aware of this. </span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"> </span></p><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><br /></span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;">There are a few common areas that one can focus on, though:<br /></span></p><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><br /></span></p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpFirst" style="text-indent: -0.25in; text-align: justify;"><span style="font-size:100%;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>Usually some clearing out (cutting) can be done in the <b style="mso-bidi-font-weight:normal">low-midrange</b> (focus on the relationship with the bass and the vocal, or try to reveal the bass more clearly for example). </span></p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in; text-align: justify;"><span style="font-size:100%;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span><b style="mso-bidi-font-weight:normal">Low-frequency </b>information also tends to be a common area that requires attention at mastering (focus on the relationship between the kick drum and the bass, for example). </span></p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpLast" style="text-indent: -0.25in; text-align: justify;"><span style="font-size:100%;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>Use <b style="mso-bidi-font-weight:normal">small adjustments</b>, and constantly check back with the original. The goal is simply to make the recording sound better! If you improve it, even slightly, then you are doing well!</span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"> </span></p><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><br /></span></p><div style="text-align: justify;"> </div><p style="text-align: justify; font-weight: bold;" class="MsoNormal"><span style="font-size:100%;">Small EQ moves to make Big changes.</span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"> </span></p><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><br /></span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;">Most of the boosts and cuts that I am doing are no more than 0.5-1dB. The reasons for that are:</span></p><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><br /></span></p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpFirst" style="text-indent: -0.25in; text-align: justify;"><span style="font-size:100%;"><span style="font-family:Symbol;"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>You are working with a complex waveform that is a <i style="">balanced</i> recording. Thus, big changes are likely to alter the balance in a way that may not reflect the artist’s intention. </span></p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpLast" style="text-indent: -0.25in; text-align: justify;"><span style="font-size:100%;"><span style="font-family:Symbol;"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>An EQ filter sounds better – that is, it has less distortion and less ringing – if you use broad bandwidths (‘Q’s) and are making small moves (in dBs) with it. <span style="mso-spacerun:yes"> </span></span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"> </span></p><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><br /></span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;">So sometimes in mastering you will use up to 12 different EQ filters, but each one will be doing just <i style="mso-bidi-font-style:normal">a little bit</i>. That is pretty typical of a mastering engineer’s use of an equalizer. </span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"> </span></p><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;"><br /></span></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-size:100%;">Join us next week for Compression!</span></p>M-Works Masteringhttp://www.blogger.com/profile/07418215804937565901noreply@blogger.com0tag:blogger.com,1999:blog-4327109921514317139.post-44890466174814223712011-06-30T12:13:00.001-07:002011-06-30T12:26:18.267-07:00Common Mistakes Mixing Engineers Make - From The Mastering Engineer's Perspective<div style="text-align: justify;"><style> <!-- /* Font Definitions */ @font-face {font-family:"Courier New"; panose-1:2 7 3 9 2 2 5 2 4 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} @font-face {font-family:Times; panose-1:2 0 5 0 0 0 0 0 0 0; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} @font-face {font-family:Wingdings; panose-1:5 0 0 0 0 0 0 0 0 0; mso-font-charset:2; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:0 268435456 0 0 -2147483648 0;} @font-face {font-family:"MS 明朝"; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-charset:128; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 134676480 16 0 131072 0;} @font-face {font-family:"MS 明朝"; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-charset:128; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 134676480 16 0 131072 0;} @font-face {font-family:Calibri; panose-1:2 15 5 2 2 2 4 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} @font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} @page WordSection1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.WordSection1 {page:WordSection1;} /* List Definitions */ @list l0 {mso-list-id:463932519; mso-list-template-ids:-312847766;} @list l0:level1 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:.5in; mso-level-number-position:left; text-indent:-.25in; mso-ansi-font-size:10.0pt; font-family:Symbol;} @list l0:level2 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:1.0in; mso-level-number-position:left; text-indent:-.25in; mso-ansi-font-size:10.0pt; font-family:"Courier New";} @list l0:level3 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:1.5in; mso-level-number-position:left; text-indent:-.25in; mso-ansi-font-size:10.0pt; font-family:Wingdings;} @list l0:level4 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:2.0in; mso-level-number-position:left; text-indent:-.25in; mso-ansi-font-size:10.0pt; font-family:Wingdings;} @list l0:level5 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:2.5in; mso-level-number-position:left; text-indent:-.25in; mso-ansi-font-size:10.0pt; font-family:Wingdings;} @list l0:level6 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:3.0in; mso-level-number-position:left; text-indent:-.25in; mso-ansi-font-size:10.0pt; font-family:Wingdings;} @list l0:level7 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:3.5in; mso-level-number-position:left; text-indent:-.25in; mso-ansi-font-size:10.0pt; font-family:Wingdings;} @list l0:level8 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:4.0in; mso-level-number-position:left; text-indent:-.25in; mso-ansi-font-size:10.0pt; font-family:Wingdings;} @list l0:level9 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:4.5in; mso-level-number-position:left; text-indent:-.25in; mso-ansi-font-size:10.0pt; font-family:Wingdings;} ol {margin-bottom:0in;} ul {margin-bottom:0in;} --> </style> </div><p class="MsoNormal" style="margin-bottom: 12pt; text-align: justify;"><span style="font-family: Calibri;font-family:";font-size:100%;" >Starting out it's worth making a general comment: I've often heard discussions where someone suggests that they have 'psyched out' a way to be sure that their mixes come back right after going through mastering, whether for vinyl, cassette or digital.<br /><br />"Add more reverb, it'll come back drier"<br />"Keep it dark, it'll come back warmer"<br />"Don't compress at all, leave all compression to mastering"<br /><br />Now in reality that sort of thing almost never gets you what you want. You can't possibly anticipate exactly what will happen downstream....in fact if you supply a 'dark' mix the mastering engineer might assume you actually WANT it dark. And that's exactly the point. Get your mixes sounding as close as you can to perfect <i>to the best of your ability</i>. Then the mastering engineer has something to work with!<br /><br />That doesn't mean make it loud, or to over compress or under compress or do anything that might be construed as mastering. Leave mastering to the M.E.....but do a good job mixing.<br /></span></p><p class="MsoNormal" style="margin-bottom: 12pt; text-align: justify;"><span style=" font-family:Calibri;mso-fareast-font-family:"Times New Roman";mso-bidi-Times New Roman"font-family:";font-size:100%;" >If you want the mastering engineers perspective beforehand, hire her or him for an hour to listen and give you feedback. If you make a good mix it makes for a better end result. If you can build into your mindset that you MIGHT need to adjust your mixes slightly, you should. Sometimes time, money, patience or skill argue against, but if you can do it....<br /><br />Here, then, is a <span style="font-weight: bold;">list of some typical foibles</span>:</span></p><div style="text-align: justify;"> </div><ul style="text-align: justify;" type="disc"><li class="MsoNormal"><span style=" font-family:Calibri;mso-fareast-font-family:"Times New Roman";mso-bidi-Times New Roman"font-family:";font-size:100%;" >Mixes too loud: in case you didn’t know, leave 2-6 dB of headroom in your mixes. If you have been listening with a limiter on, turn it off and send the unlimited versions to the M.E..</span></li><li class="MsoNormal"><span style=" font-family:Calibri;mso-fareast-font-family:"Times New Roman";mso-bidi-Times New Roman"font-family:";font-size:100%;" ><span style="mso-spacerun:yes"> </span>Send the limited versions for reference so the ME knows what you have been listening to </span></li><li class="MsoNormal"><span style=" font-family:Calibri;mso-fareast-font-family:"Times New Roman";mso-bidi-Times New Roman"font-family:";font-size:100%;" >Kick and bass out of proportion: The most common problem encountered in mixing rooms is inaccurate low end. Where music includes drums this often means the kick is too loud or quiet with respect to the bass (or vice versa). A room mode (that basically means the room exaggerates a narrow band of frequencies) can easily make a kick drumsound like it’s fundamental is loud causing the mix engineer to turn it down. A null ( a dip in frequency) can you might crank it up. Slight imbalances can be fixed in mastering, gross one’s need a remix. Cheapest cure....get a GOOD pair of headphones and learn what the bass sounds like. Don’t rely on headphones for your mix, but use them for a reality check </span></li><li class="MsoNormal"><span style=" font-family:Calibri;mso-fareast-font-family:"Times New Roman";mso-bidi-Times New Roman"font-family:";font-size:100%;" >One thing dark and another thing bright: This is a really tough one. Let’s say the drums are bright and the vocal dull. Using m/s techniques and others the ME can fix small imbalances, but usually you have to prioritize one instrument over another and go for ‘fixing’ that one in mastering. Time for a remix! </span></li><li class="MsoNormal"><span style=" font-family:Calibri;mso-fareast-font-family:"Times New Roman";mso-bidi-Times New Roman"font-family:";font-size:100%;" >Too much reverb....easier to add a little than take it away. No one has invented the de-verb! </span></li><li class="MsoNormal"><span style=" font-family:Calibri;mso-fareast-font-family:"Times New Roman";mso-bidi-Times New Roman"font-family:";font-size:100%;" >Cutting beginnings and ending too closely: So often the first note or the reverb tail gets cut off. Leave them alone. The mastering engineer can often get rid of undesirable noise and edit the begin and end lickety split! </span></li><li class="MsoNormal"><span style=" font-family:Calibri;mso-fareast-font-family:"Times New Roman";mso-bidi-Times New Roman"font-family:";font-size:100%;" >Phasing problems: It used to be you HAD to check mixes in mono to be sure they would pass muster for vinyl. Digital audio doesn’t care about phase, but you SHOULD. Too much out of phase information (experience helps you learn how much is too much) creates problems if you want a loud record, if you play music on the radio, and it will cause your mp3’s to sound pretty bad (quite important considering today's listening norms)! Always check your mixes in mono and make sure no important instruments disappear. </span></li><li class="MsoNormal"><span style=" font-family:Calibri;mso-fareast-font-family:"Times New Roman";mso-bidi-Times New Roman"font-family:";font-size:100%;" >Not providing the album sequence: Assuming there are more than 3 or 4 tracks on your album, you should always provide a running order to the ME. You can always change it later, but an ME will pay attention to the relationship between the end of one song running into another in case someone listens through your whole record in sequence.</span></li></ul><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"><span style="font-family:Calibri; mso-fareast-font-family:"Times New Roman";mso-bidi-Times New Roman"font-family:";font-size:100%;" ><br /><br />Well that’s a short list for now....happy mixing!</span></p>M-Works Masteringhttp://www.blogger.com/profile/07418215804937565901noreply@blogger.com0tag:blogger.com,1999:blog-4327109921514317139.post-5903346918032280392011-06-27T06:55:00.000-07:002011-06-30T12:24:53.961-07:00The Mastering Mindset (Part 1)<span style="font-size:85%;"><span style="font-style: italic;">Welcome to the first in a new video-blog series where Jonathan Wyner of M-WORKS Mastering will be discussing various aspects of the mastering process. In this first introductory video, Jonathan discusses the overall thought-process involved, the goals, the mastering engineer's responsibilities, different music styles, and more. Next week, equalization (EQ).</span></span><br /><br /><object height="390" width="640"><param name="movie" value="http://www.youtube.com/v/dGSmV5uNRuM&hl=en_US&feature=player_embedded&version=3"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://www.youtube.com/v/dGSmV5uNRuM&hl=en_US&feature=player_embedded&version=3" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" height="390" width="640"></embed></object><br /><br /><style><!-- /* Font Definitions */ @font-face {font-family:"Courier New"; panose-1:2 7 3 9 2 2 5 2 4 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} @font-face {font-family:Wingdings; panose-1:5 0 0 0 0 0 0 0 0 0; mso-font-charset:2; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:0 268435456 0 0 -2147483648 0;} @font-face {font-family:"MS 明朝"; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-charset:128; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 134676480 16 0 131072 0;} @font-face {font-family:"MS 明朝"; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-charset:128; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 134676480 16 0 131072 0;} @font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} p.MsoListParagraph, li.MsoListParagraph, div.MsoListParagraph {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; margin-top:0in; margin-right:0in; margin-bottom:0in; margin-left:.5in; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} p.MsoListParagraphCxSpFirst, li.MsoListParagraphCxSpFirst, div.MsoListParagraphCxSpFirst {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; mso-style-type:export-only; margin-top:0in; margin-right:0in; margin-bottom:0in; margin-left:.5in; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} p.MsoListParagraphCxSpMiddle, li.MsoListParagraphCxSpMiddle, div.MsoListParagraphCxSpMiddle {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; mso-style-type:export-only; margin-top:0in; margin-right:0in; margin-bottom:0in; margin-left:.5in; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} p.MsoListParagraphCxSpLast, li.MsoListParagraphCxSpLast, div.MsoListParagraphCxSpLast {mso-style-priority:34; mso-style-unhide:no; mso-style-qformat:yes; mso-style-type:export-only; margin-top:0in; margin-right:0in; margin-bottom:0in; margin-left:.5in; margin-bottom:.0001pt; mso-add-space:auto; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} @page WordSection1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.WordSection1 {page:WordSection1;} /* List Definitions */ @list l0 {mso-list-id:399014641; mso-list-type:hybrid; mso-list-template-ids:1686174878 67698689 67698691 67698693 67698689 67698691 67698693 67698689 67698691 67698693;} @list l0:level1 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l0:level2 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l0:level3 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l0:level4 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l0:level5 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l0:level6 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l0:level7 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l0:level8 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l0:level9 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l1 {mso-list-id:507672085; mso-list-type:hybrid; mso-list-template-ids:-1314866500 67698689 67698691 67698693 67698689 67698691 67698693 67698689 67698691 67698693;} @list l1:level1 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l1:level2 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l1:level3 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l1:level4 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l1:level5 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l1:level6 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l1:level7 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l1:level8 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l1:level9 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l2 {mso-list-id:717389414; mso-list-type:hybrid; mso-list-template-ids:-1467035500 67698689 67698691 67698693 67698689 67698691 67698693 67698689 67698691 67698693;} @list l2:level1 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l2:level2 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l2:level3 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l2:level4 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l2:level5 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l2:level6 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l2:level7 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l2:level8 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l2:level9 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l3 {mso-list-id:1030834389; mso-list-type:hybrid; mso-list-template-ids:-1616979894 67698689 67698691 67698693 67698689 67698691 67698693 67698689 67698691 67698693;} @list l3:level1 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l3:level2 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l3:level3 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l3:level4 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l3:level5 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l3:level6 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l3:level7 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l3:level8 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l3:level9 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l4 {mso-list-id:1100947648; mso-list-type:hybrid; mso-list-template-ids:828942442 67698689 67698691 67698693 67698689 67698691 67698693 67698689 67698691 67698693;} @list l4:level1 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l4:level2 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l4:level3 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l4:level4 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l4:level5 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l4:level6 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l4:level7 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l4:level8 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l4:level9 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l5 {mso-list-id:1240671198; mso-list-type:hybrid; mso-list-template-ids:1187119652 67698689 67698691 67698693 67698689 67698691 67698693 67698689 67698691 67698693;} @list l5:level1 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l5:level2 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l5:level3 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l5:level4 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l5:level5 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l5:level6 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l5:level7 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l5:level8 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l5:level9 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l6 {mso-list-id:2112045930; mso-list-type:hybrid; mso-list-template-ids:-504345526 67698689 67698691 67698693 67698689 67698691 67698693 67698689 67698691 67698693;} @list l6:level1 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l6:level2 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l6:level3 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l6:level4 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l6:level5 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l6:level6 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} @list l6:level7 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Symbol;} @list l6:level8 {mso-level-number-format:bullet; mso-level-text:o; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:"Courier New";} @list l6:level9 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:none; mso-level-number-position:left; text-indent:-.25in; font-family:Wingdings;} ol {margin-bottom:0in;} ul {margin-bottom:0in;} --> </style> <p class="MsoNormal"> </p><p class="MsoNormal"><br /></p> <p class="MsoNormal"><span style="font-size:130%;">Part 1: The Mastering Mindset</span></p> <p class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal"><br /></p><div style="text-align: justify;"> </div><p style="font-weight: bold; text-align: justify;" class="MsoNormal">What is mastering?</p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal"><br /></p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpFirst" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>It is the last creative step, and the first step in distribution. </p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>It’s the last chance to catch any mistakes. When it leaves mastering, there cannot be any flaws in the master.</p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>It needs to function well in all common formats: mp3s, CDs etc. </p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpLast" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>Getting it ready for distribution in these formats is key. </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal"><br /></p><div style="text-align: justify;"> </div><p style="font-weight: bold; text-align: justify;" class="MsoNormal">What are the responsibilities of the mastering engineer?</p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal"><br /></p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpFirst" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>In the case of a whole album, to take all the disparate pieces and unify them sonically (level and tone-wise). </p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>Pacing between the tracks should reflect the mood of the songs and allow each one to breathe or run-on to each other, depending on the desired effect.</p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>Enhance the sound – create a more open sound, a deeper sound, a fuller sound or a warmer sound etc – in a way that benefits the sound of the record. </p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>Sometimes you can enhance the dynamic range by turning up some sections and turning down other sections, reduce the dynamic range to create a louder master.</p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpLast" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>Thus, the mastering engineer has some creative input. However, there is only so much that he can do in mastering, so that the mastering engineer relies on the mixing engineer to do a good job and to get the mix as close as possible to the desired sound. </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal"><br /></p><div style="text-align: justify;"> </div><p style="font-weight: bold; text-align: justify;" class="MsoNormal">What mastering isn’t...</p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal"><br /></p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpFirst" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>Mastering is not about making everything bright and loud!</p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpLast" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>In this overcrowded and noisy world, the temptation to create a louder and brighter mix in hope of drawing attention is strong. However, such recordings tend to be hard to listen to for a sustained period of time, so that people may be reluctant (consciously or subconsciously) to come back and listen to them again and again.</p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal"><br /></p><div style="text-align: justify;"> </div><p style="font-weight: bold; text-align: justify;" class="MsoNormal">Knowing what the artist wants…</p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal"><br /></p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpFirst" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>It’s important to know what the artist wants, so that you don’t land up going in a different direction. </p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>Have a discussion with the artist. You are more likely to keep him happy and achieve his vision. Sometimes, indeed, you learn from doing something you may not have considered before. </p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpLast" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>At the end of the day, it’s art. And there are no recipes for what it ‘has’ to sound like. Always try to support the song’s meaning and artist’s vision.</p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal"><br /></p><div style="text-align: justify;"> </div><p style="font-weight: bold; text-align: justify;" class="MsoNormal">Different styles of music...</p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal"><br /></p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpFirst" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>There will always be similarities – there is such a thing as ‘too much bass’ or ‘too much treble’ regardless of the style. </p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>However, different styles of music will require a different approach. For example, you want the low-end to lead in reggae, you want a wide stereo-image with depth (hearing into the reverb tails) and aggression through guitars with metal, a wide and true dynamic range with a classical recording...</p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpLast" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>So, it is important to be informed about different styles of music and what each style wants. </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal"><br /></p><div style="text-align: justify;"> </div><p style="font-weight: bold; text-align: justify;" class="MsoNormal">What are the prerequisites for mastering at a high level?</p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal"><br /></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal">A great <u>monitoring system</u>.</p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpFirst" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>Relatively neutral – no part of the spectrum is exaggerated)</p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>It’s phase accurate – the sound arriving from each speaker is arriving at the listener at the same time)</p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpLast" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>Low distortion – so that nothing is being introduced by the monitoring system that is not <i style="mso-bidi-font-style: normal">in </i>the recording. It also allows for longer listening periods without much fatigue. </p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal"><br /></p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal">A <u>room</u> that can support the monitoring system</p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpFirst" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>A quiet environment – so that you can ensure what you are hearing is directly from the speakers, and not ambient sound pollution. </p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpLast" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>Size – the room needs to be large enough to allow the low-frequency information to be heard properly, for the waves to propagate.</p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal"><br /></p><div style="text-align: justify;"> </div><p style="font-weight: bold; text-align: justify;" class="MsoNormal">What if I’m mastering at home?</p><div style="text-align: justify;"> </div><p style="text-align: justify;" class="MsoNormal"> </p><p style="text-align: justify;" class="MsoNormal"><br /></p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpFirst" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>Get a good pair of headphones, with good low-frequency response. </p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>Listen to a lot of recordings you know and like, and become accustomed to the way that those sound in your listening environment(s). </p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>Have multiple monitoring environments so that you can get different points of reference (computer speakers, headphones, studio monitors, car speakers etc). </p><div style="text-align: justify;"> </div><p class="MsoListParagraphCxSpLast" style="text-indent: -0.25in; text-align: justify;"><span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;" ><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman""> </span></span></span>Different speaker-systems will exaggerate different parts of the sound differently – so at least you’re not hearing a single distorting of the sound.<span style=""><br /></span></p><p class="MsoListParagraphCxSpLast" style="text-indent: -0.25in; text-align: justify;"><br /></p><div style="text-align: justify;">Hope you enjoyed. See you next week, we'll be covering equalization (EQ)!<br /></div><p class="MsoListParagraphCxSpLast" style="text-indent: -0.25in;"></p><p class="MsoListParagraphCxSpLast" style="text-indent:-.25in;mso-list:l3 level1 lfo7"><span style="mso-spacerun:yes"><br /></span></p>M-Works Masteringhttp://www.blogger.com/profile/07418215804937565901noreply@blogger.com0