regebro said:
Mastering schmastering. Use a Behringer Ultramizer instead!
Oh... My... Gawd... But hey, who knows... In the right hands, it could happen...
An another note (foreverain4), I don't keep an equipment list... It changes frequently, and I have a nice "loaner program" with other studios in the area... Sometimes I need something they've got, other times they need something I've got. We share gear, we share clients. Symbiosis can be a wonderful thing...
I also don't like to be "pigeonholed" into "Oh, he uses Manley stuff, so it's gonna sound like..." Pick a brand... It's all over. The only clients I have that are really "concerned" about it are from Europe... Never figured out why - I guess mastering places in Europe advertise "the gear" while America advertises "the ear."
Back in the late 90's, I was at the JEM Music Complex - People would come in and say "I want that 'Finalizer' sound..."
...'Finalizer' sound? I had a Finalizer at the time, and REALLY didn't care for it... Ended up using it exclusively as a converter. What the client actually wanted was a squished mix with exaggerated highs and almost no lower mids. I'm sure that TC Electronics wouldn't want that known as the "Finalizer Sound."
On top of that, much of my analog gear (including my monitors) is modified. Some quite heavily. I have an amazing optical compressor just off to my left that looks EXACTLY like
an Art Pro VLA (for good reason!) - The VLA being quite a nice comp to begin with, a couple tweaks and you've got serious, SERIOUS gear. I'm surprised that ART hasn't caught on to the mods yet...
That all being said, mastering is 90% experience & technique - I can use the greatest gear available and get Master "A" - However, give me Nuendo or ProTools and a good set of plugs and I'll get 95% of Master "A" every time. It's all in the technique. That's why I'm not a big fan of "mastering" programs... None of them are capable of doing what I need them to do in the first place (long story there... I'll work on a book).
And, as anyone can tell, I'm a BIG advocate of making the most of what you've got. Don't get me wrong - There is indeed BAD gear out there... But for the most part, I've heard good engineers make great recordings on mediocre gear. I've also heard mediocre engineers make crappy recordings on wonderful gear.
So, much of the "base" of my gear is indeed "off-the-shelf" stuff. Some stock, some modified, some old, some new. My main DAW is Nuendo 2. My main plugs are the UAD series. The hardware changes - there's always an optical tube compressor or two lying around, tube preamps, a couple channels of parametrics, etc. Other than that, anything goes...