Massive Master
www.massivemastering.com
Not at liberty to mention any names here...
Just got in a mastering project from a reasonably well-established indie label, recorded at a well-established studio by a well-established artist.
I would really like to go and wring the necks of the recording AND mixing engineers... Allow me to use fancy italics and lists to make my point...
A wonderful mood-setting acoustic guitar starts one tune... When you listen past the 60-cycle hum that's sitting at -50 or so, it really sounds great. Then, if you can ignore the "fmm fmm" of the noise gates holding back the vocals (obviously being triggered by the vocalists headphones), it's a really wonderful mix.
Once the vocals come in, they sound superb. Warm, dynamic, sweet - Obviously recorded in a top-notch room that you can plainly visualize by the ambience in the recording. That is, until the noise gate slams down on it. Oh wait - there it is again - Amazing ambience and spaciousness. Whoops, gated again.
This is Track One...
Other tracks suffer similar fates, including cuts from other passes that didn't make the final cut. Bass thumps, an extra cymbal crash at the end of a sustaining acoustic, poor, noisy fade-outs (WHY would ANYONE perform FADES on a project that is being sent out for MASTERING?!?) and other mix anomalies.
The artist, who admittedly "doesn't know much about the recording process in general" never noticed these things.
Obviously, the engineers didn't notice either... Oh, but the mastering guy (me) sure did...
We, as engineers, are entrusted by our clients to AVOID these problems. If the problems are unavoidable, it is OUR responsibility to make "the best" of them. So, here are a few tips. Do with them what you will...
Just got in a mastering project from a reasonably well-established indie label, recorded at a well-established studio by a well-established artist.
I would really like to go and wring the necks of the recording AND mixing engineers... Allow me to use fancy italics and lists to make my point...
A wonderful mood-setting acoustic guitar starts one tune... When you listen past the 60-cycle hum that's sitting at -50 or so, it really sounds great. Then, if you can ignore the "fmm fmm" of the noise gates holding back the vocals (obviously being triggered by the vocalists headphones), it's a really wonderful mix.
Once the vocals come in, they sound superb. Warm, dynamic, sweet - Obviously recorded in a top-notch room that you can plainly visualize by the ambience in the recording. That is, until the noise gate slams down on it. Oh wait - there it is again - Amazing ambience and spaciousness. Whoops, gated again.
This is Track One...
Other tracks suffer similar fates, including cuts from other passes that didn't make the final cut. Bass thumps, an extra cymbal crash at the end of a sustaining acoustic, poor, noisy fade-outs (WHY would ANYONE perform FADES on a project that is being sent out for MASTERING?!?) and other mix anomalies.
The artist, who admittedly "doesn't know much about the recording process in general" never noticed these things.
Obviously, the engineers didn't notice either... Oh, but the mastering guy (me) sure did...
We, as engineers, are entrusted by our clients to AVOID these problems. If the problems are unavoidable, it is OUR responsibility to make "the best" of them. So, here are a few tips. Do with them what you will...
- NOISE IS YOUR ENEMY - Do EVERYTHING in your power to get rid of it BEFORE you hit "RECORD"
- Room ambience isn't a sin - If you have a wonderful sounding room, exploit it - Don't hide it. Does it really need a gate? Could you use a slow expander instead?
- If there is hum or noise on a track, find out whether it will actually be better with a noise gate on it... Most people won't really notice a bit of noise or hiss if it is constant. They sure will when it pops in and out all the time...
- Take out those headphones and have everyone in the control room SHUT UP while you listen carefully to a rough mix. Solo the problem tracks and see if there's anything you can do with them. 60-cycle hum? That's ROOKIE STUFF! Dial it out! Hiss? Same thing - Sweep a graphic and find the "nasty" part and bring it back a little.
- Heads and tails need special treatment - If the contrabass with the noisy Fishman pickup doesn't come in for the first 30 seconds, don't have it up for the start. If it's a situation where the noise can't be gated efficiently (see above), then fade it in gently under the rest of the music. On the tails, at the very least, make sure that the "end" instruments are on the same group so everything else can be faded down. 24 tracks of sound all disappearing at the same time can be pretty noticable. A few at a time over a short peroid (even only a second or two) is a far better way to go if you can get it there.
- Can't get rid of a noise? Can't do anything with it? USE IT! Get "artsy" with it. Make the noisy vocal track a "telephone" or "AM radio" or something. Background noise? how about a loop of an ocean surf sound effect to mask the bad stuff? Get creative! Be a Producer for a minute.
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Some engineers will want to ignore their goof-ups. Don't be one of them. If there are problems, let the client know. It may not be your fault anyway. Can you help it if they have a noisy amp or they tap their foot while cutting the violin part?
What you CAN do is step up to the plate and educate the client... Let them know about the anomalies and some options to take care of them. Let them know YOUR thoughts on the matter. Come to an agreement and get to work on it.
You'll be a hero, they'll have a better sounding product, and you won't have some goofy mastering engineer making a rant about your noisy mixes on a well-read internet forum.
The next mastering guy might not take the liberty of being "not at liberty to mention any names."
John Scrip - www.massivemastering.com
