Some real mastering info.

Is that it?

That's all? I could swing that!
Anyone got a crowbar, a truck and some free time tonight?
 
Blue Bear Sound said:
Without the right monitors, you can't master.... without the right listening environment, you can't master... without the pristine signal chain that only colors a signal when you WANT to color it, you can't master....

So it's not "impossible" -- if someone invests in the creation of the proper sonic space, with the proper monitors, and the proper signal chain, it can be done in a home.... the reason I say it's unlikely is the cost of doing it... easily an $100-200K investment at a minimum. And then there's the whole other question of skill/experience.

It sounds like you think a piece of s/w can replace all the other requirements of mastering and sorry - that simply isn't the case........
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I happen to agree with everything bluebear has said about pro mastering. But here is the argument that many will have. Take that paragraph above, and substitute the word 'recording' for 'mastering'. You get:

Blue Bear Sound said:
Without the right monitors, you can't record.... without the right listening environment, you can't record... without the pristine signal chain that only colors a signal when you WANT to color it, you can't record....

So it's not "impossible" -- if someone invests in the creation of the proper sonic space, with the proper monitors, and the proper signal chain, it can be done in a home.... the reason I say it's unlikely is the cost of doing it... easily an $100-200K investment at a minimum. And then there's the whole other question of skill/experience.

It sounds like you think a piece of s/w can replace all the other requirements of recording and sorry - that simply isn't the case........
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For a pro recording, many would consider that paragraph to also be true. But how many of us are willing to accept that? Probably not that many - simply because we are either getting results we are happy with, or are somewhere on the learning curve and feel we are getting there. If you don't accept the above paragraph for 'recording', then there really is no good reason to accept the argument for 'mastering'. Objectivity is one thing, but as already mentioned, it's whats between your ears that count. In my opinion, objectivity does not exist in a 'all or none' fashion, and you may find that you have a sufficient amount of it to improve your sound at the end of things.
 
The difference being that Mastering is the final step in the process - the last chance for any sort of polish/enhancement of a production - so that makes it a critical step that isn't easily accomplished with the often-inadequate resources of the DIY'er.

If the mix isn't completely well-balanced or has a few aberrations, it can be noticed/caught/corrected by the critical listening of an experienced ME. This can only happen if the environment, and the signal chain allows for such a level of detail to be differentiated.
 
Here, I'll quote myself (is that tacky?):
Mastering isn't processing - it's listening without prejudice, something that is impossible to do while you are mixing. You have to get away from it for a time to gain some objectivity. That's mastering. The processing that happens in mastering is a result of the objective listen.

Also, regardless of the engineer's talent, it's virtually impossible to accurately hear what's going on in a mix in the same room as the mix occured as all shortcomings of that room will remain masked. There's no cheap cure for this - even the best mixing rooms in the world would be a bad place to master if the mix was done there - so self mastering is usually going to be a compromise. I'm not saying don't do it, but understand that without a good room that's different from the one you mixed in you're not going to hear the inherent room problems.
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"You only get to hear it for the first time once."
Denny Purcell
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Indeed. A tip to people trying to do mastering at home: the less quality you have in your studio, the more critical it is to rely on other environments to know what you've got.

I alternate between a set of spare computer speakers (living room), 12"x4"x2" rock-and-roll speakers (TV room), and some crappy 4" full range drivers (car). Each one emphasizes a different frequency range, so if you create something that sounds good on all of them... odds are you're in the ballpark, anyway.... :D
 
Chewie said:
That's all? I could swing that!
Anyone got a crowbar, a truck and some free time tonight?
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There's one thing missing off of that list... the MAC 10 that he uses to protect it all... ;)
 
7string said:
There's one thing missing off of that list... the MAC 10 that he uses to protect it all... ;)
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Not that I don't love Ingram, but I wouldn't want to spray with a pair of 10's in here...

I might hit a piece of gear... :eek:

Modified S&W 910's are my preffered line of defense. :)

Tactical series spring guides, 147 grain Winchester HP's... That perfect blend of accuracy vs. stopping power.

But of course, I am first and foremost a safety advocate. And an NRA lifer.
 
Blue Bear Sound said:
Without the right monitors, you can't master.... without the right listening environment, you can't master... without the pristine signal chain that only colors a signal when you WANT to color it, you can't master....

So it's not "impossible" -- if someone invests in the creation of the proper sonic space, with the proper monitors, and the proper signal chain, it can be done in a home.... the reason I say it's unlikely is the cost of doing it... easily an $100-200K investment at a minimum. And then there's the whole other question of skill/experience.

It sounds like you think a piece of s/w can replace all the other requirements of mastering and sorry - that simply isn't the case........
Click to expand...

point well taken...

I guess I will be locked in my "Amateur engineering" title for a while

:laughs:

..? Question:

do MEs "master" a mixdown (single track) version of a song, or

are they presented the entire "session" (as us CEP heads call it)..????

If so, (in either case) does this constitute a change in price or service?

Would "mastering" that needed some "mixing" be "post production"???

..Or am I confusing myself??? :D
 
Traditionally, it's a stereo mixdown. Many of us do "stems" (busses, for the most part - Drums, guitars, vox, effects or what have you) sent at unity so we can fine tune them at the group level. It DOES get more expensive that way. Sometimes WAY more. "My package rates do not apply" type of thing.
 
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