[ddots-l] Re: the mysterious world of mastering
- From: "George Bell" <george@xxxxxxxxxxxxxxxxxxx>
- To: <ddots-l@xxxxxxxxxxxxx>
- Date: Tue, 30 Nov 2010 17:53:39 -0000
Did anyone hear the Program on Radio 4 around mid-day today about this
subject in general? They had some early analogue synthesiser clips
too. Quite fascinating - even for a luddite like me!
George.
-----Original Message-----
From: ddots-l-bounce@xxxxxxxxxxxxx
[mailto:ddots-l-bounce@xxxxxxxxxxxxx] On Behalf Of Tim Burgess
Sent: 30 November 2010 17:15
To: ddots-l@xxxxxxxxxxxxx
Subject: [ddots-l] Re: the mysterious world of mastering
I'e talked to a few mastering engineers at seminars and the like and
asked
this exact question. The answer they've all given me is to talk to
the
engineer you're working with to see what he likes to be given.
Best wishes.
Tim Burgess
Raised Bar Ltd
Phone: +44 (0)1827 719822
Don't forget to vote for improved access to music and music technology
at
http://www.raisedbar.net/petition.htm
-----Original Message-----
From: ddots-l-bounce@xxxxxxxxxxxxx
[mailto:ddots-l-bounce@xxxxxxxxxxxxx] On
Behalf Of Shawn Brock
Sent: 30 November 2010 16:48
To: ddots-l@xxxxxxxxxxxxx
Subject: [ddots-l] the mysterious world of mastering
I'm always the first to say, I don't know when it comes to answering
most
questions about mastering. And it seems that the longer I live, the
less I
know. You would think it would be the opposite right?
Mastering has never been my cup of tee, and that aint ever going to
change
as far as I can see. Its a lot like great visual art, I have a great
appreciation for it, but I know my talents lie elsewhere.
I was reading back through several years of Sound On Sound Magazine,
and
found some articles from great engineers who make a living on both
sides of
the fence, those who record and mix, and those who master.
My reason for reading up on this is because the mixing of my record is
complete, and the mastering session will take place on December 13th.
Its been a long time sense I was the party responsible for delivering
files
to a mastering house, and I see the game has changed, or maybe it
hasn't.
I'm working with Robert Hadley and Doug Sax of The Mastering Lab Inc
www.themasteringlab.com
The credits and knowledge these men possess of there craft is quite
astounding! Needless to say, this is costing me a fare price, and I
want to
give them the best product I can to work with...
Anyhow, in the interest of providing the best possible files to them,
I
wonder if any of you have any tips?
I'm uploading split stereo 24-96 files to them a week in advance, and
will
also be taking the files down on a hard drive.
My questions are all about the meter. When I look at the master
busses
output meter, my objective has been to get it to stay below 0. You
know how
it goes, you start mixing on a tune, add some compression, turn the
kick up,
and bla bla bla. The next thing you know, the output meter is
bouncing
between minus 4 and plus 2... So in your collective opinions, what
kind of
output numbers do you like to see on a tune that's ready for
mastering?
I don't want to go to the point of obsession, and line A Coleman Audio
2-channel VU meter into my chain, like David Rideau does... But I
want the
mastering house to have the best product they can get from me.
Any thoughts and advice is always appreciated.
Shawn
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