16 Jun
2003
16 Jun
'03
4:12 p.m.
--- Paul Winkler <pw_lists(a)slinkp.com> wrote:
On Mon, Jun 16, 2003 at 02:04:41AM -0700, R Parker
wrote:
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.
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. 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)
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