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I'd agree, and think this has been proven time and again. Relating to space and time, smaller rooms can be a hassle to get right, although not impossible. I am not the most scientific guy and approach sound more holistically, so when I say "time to develop" I haven't written any white papers on...

What up G? Hope everything's good with you. We've had some crazy times in Boston this week. Stay well.

My comment pertained to the accuracy of low frequency sounds traveling through air using speakers within a room where headphones are different animal. Sure our ears can adjust differently when we have transducers shoved in our ear canals, but It's comparing apples and oranges and I would not...

I guess this is true. I've never seen speakers advertised as far field but still use the term (maybe incorrectly) although I do see manu's using the terms mid and near field quite a bit, so it seems far would be a consideration. My speaker are 12 feet away from the listening position. Having...

Here's some Windows VST - Might be worth checking out the Baxter EQ BaxterEQ Downloads

You really have to keep an ear out for sibilance and any harshness in the high end as well. Because of the nature of the medium those things can easily be exaggerated. With low end it's not just excessive bass, but also a stereo bass that can be problematic. The person cutting the record...

Well, it's really all about the: writing > performance > production > recording > mixing > mastering > marketing

Here's the long version: http://recording.org/content/381-wal...mastering.html Here's the short version: It's basically preparing the final representation of the mixes for manufacturing, broadcast and distribution.

It would probably be best to have the ME do it.. But if you are careful and listen back after you make and export the consolidated files as long as you are just sequencing it should be cool.

Sure. There are a bunch of independent companies that do small runs, including Kunaki -- CD/DVD manufacturing and publishing service that have comparable pricing. The question is are they a broker for the bigger jobs or are they doing everything in house. The company that was mentioned, WPD...

I'm kinda with John on this one, because there's a lot less you can get away with. Maybe use the best of the lot to match up to and use subtractive eq to finesse the rest in to place for continuity ...and also a very slight safety limiter and re-dither. Almost always an itb job for me, there's...

Any cd can be compliant but I would use a very good media like JVC and not use any budget cd's. WL is definitely capable of assembling a compliant master cd. Just make sure to listen through it once it's printed so there are no suprises. Sometimes I'll send a duplicate cd as a safety. For...

The reason it's done as Mo mentioned is that excessive and wide low end would cause the needle to jump out of the groove or skip on vinyl. There are analog Eq.s called elliptical EQ who's sole purpose was to control and keep the low end in phase when cutting vinyl through a lathe.

I know a couple mastering guys who use a couple comps at once through series (one patched into the other) or parallel (one blended into the other on 2 separate channels) I think it can be a little heavy handed or over the top or would imagine the music would have to have a lot of space to begin...

I don't always use compression or have the compressor in the chain when mastering, but for a large percentage of the projects I do. It really depends how the track sounds. There's are mixers that I get stuff from that are very good with bringing the final sound to where it barely needs...

Finally.... a topic that hardly ever gets a proper discussion.. Loudness...:p I like to make stuff loud. I really do. Sorta like Ricky Bobby likes to go fast. The trick is to make it sound good. .. and loud IMO/E the 3 things you need are: Proper monitoring, Eq balance. Clean analog signal...

The EQs I'm using now are GML 8200 - Bax (hardware) and RenEQ (software) I got the GML because I used to have this equipment dealer who would just drop stuff off for me to check out and if it was awesome I would just let him know he couldn't have it back and in turn, I would have to pay for it...

I never look at or try to match rms numbers when mastering. They can be very deceiving when it comes to perceived loudness. You can have two different sources reading the same number that sound worlds apart. I did try it when I first started but realized it was a lost cause early on. If...

I never got along with B&W for mastering either. ..although it seems like the 802's are one of the most popular speakers around for the job. I'd personally go for the 801's if I had to choose an 800 series.

Yep. Sort of what Jay W is saying. I don't want to have to choose between 3 different comps or 3 different eq's. I rather be a little more restricted in that sense and then the importance comes down to making the right decisions.