Another 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.

http://tinyurl.com/7t7s4m3

Provides just a tiny hit of job security!

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.

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!

The 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

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?

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?

Common Mistakes Mixing Engineers Make - From The Mastering Engineer's Perspective

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.

"Add more reverb, it'll come back drier"
"Keep it dark, it'll come back warmer"
"Don't compress at all, leave all compression to mastering"

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 to the best of your ability. Then the mastering engineer has something to work with!

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.

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....

Here, then, is a list of some typical foibles:

• 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..
• Send the limited versions for reference so the ME knows what you have been listening to
• 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
• 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!
• Too much reverb....easier to add a little than take it away. No one has invented the de-verb!
• 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!
• 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.
• 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.

Well that’s a short list for now....happy mixing!

The promise of a 'better' mp3

Whilst consumers revel in the freedom of consuming music in the mp3 form, the format is considered something of a blight when it crosses into the world of professional audio production. This is due in part to the phenomenon that some DIY home producers think it a good idea to actually produce mp3 as the final 'master' rather than using a full resolution format and then deriving the lossy version....and it's also due to the fact that making mp3's is something of a 'dumb' process.

Well Sonnox has announced a tool to make it easier to inspect and adjust the encoding process so that it can be optimized (read made less bad). Read more about it here:

http://blog.mixonline.com/mixblog/2011/02/10/meet-the-sonnox-game-changer/