[ddots-l] Re: the mysterious world of mastering
- From: "Sean A. Cummins" <seanacummins@xxxxxxxxx>
- To: <ddots-l@xxxxxxxxxxxxx>
- Date: Tue, 30 Nov 2010 12:20:47 -0700
-.1 and you can achieve this with a brick wall limiter.
----- Original Message -----
From: "Shawn Brock" <shawn@xxxxxxxxxxxxxx>
To: <ddots-l@xxxxxxxxxxxxx>
Sent: Tuesday, November 30, 2010 9:48 AM
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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