[linux-audio-user] Mastering; Rezound, fir filter, digital clipping

[R Parker]

--- Paul Winkler <pw_lists at slinkp.com> wrote:
> On Mon, Jun 16, 2003 at 02:04:41AM -0700, R Parker
> wrote:
> > I've noticed that audio mastering is a mystery to
> many
> > musicians and engineers. If using a well designed
> > tool, the mystery will evaporate. And yes, that is
> > contrary to what most of us have heard during our
> > careers but I stand by the claims that A,
> mastering is
> > easy and B,  digital audio mastering produces
> great
> > results.
> 
> 
> I would agree if you mean that mastering is
> *technically*
> easy (given appropriate tools).  But it is a skill
> that is learned over time. In my mind, a big part of
> it
> is an ability to simultaneously see both the forest
> and the
> trees very clearly.

I don't disagree with your insites, at all, but I've
got to elaborate on my experience because I think it's
provides reason for all of us to be optomistic. For
many years we sent our mixes out of house to be
mastered. I don't know how many albums we've produced
over the years, maybe around 200 and the number of
demos and single songs is much more than that. A
couple years ago I got off my lazy butt and started
designing and building a mastering studio. We did
everything the right way.

The first time I mastered a mix in the new studio, I
was blown away. Within several minutes I stopped
working and started listening and hitting the bypass
switch. Everytime I master that experience is
reproduced.

In the early days, before we understood mastering,
clients would say "the mix sounds great in your studio
but sounds like crap everywhere else." I didn't know
what the problem was. It was very stressful. I thought
our mixes sucked.

Here's what I maintain is possible for everyone.
Within days, an aspiring mastering engineer can learn
to achieve the higher percentage of sonic potential
for a mix. Perhaps I'm not accounting for the
importance of the room accoustics and gear that we
designed into our  mastering studio. There's no
debating that designed accoustical environments and
good monitors will significantly accelerate
production--not having designed environments simply
causes alot more work. But  good results can still be
achieved in subpar rooms.

> Also, don't overlook the advantages of bringing in
> an
> experienced ear who has not been listening to the
> project
> for weeks nonstop.  An outsider can immediately spot
> problems 
> that you've long become accustomed to and don't even
> notice.

This is also true and I take advantage of it every
chance I get. BTW, an inexpensive method I use for
surrounding myself with experienced ears is to
announce , free beer! But that can lead to too many
cooks in the kitchen. Use it with caution. Seriously
though, you're right and for me it's very rewarding to
have someone come in and teach me a thing or two.
Audio production is great fun, I sure as hell don't do
it for the money. My dentist can attest to that. In
fact if you mention my name to the dentist, they'll
wonder who the hell you're talking about.

ron

> -- 
> 
> Paul Winkler
> http://www.slinkp.com
> Look! Up in the sky! It's THE <I>N</I> + 1 DRONE!
> (random hero from isometric.spaceninja.com)


__________________________________
Do you Yahoo!?
SBC Yahoo! DSL - Now only $29.95 per month!
http://sbc.yahoo.com