--- Paul Winkler <pw_lists@xxxxxxxxxx> wrote: > On Mon, Jun 16, 2003 at 02:04:41AM -0700, R Parker > wrote: > > 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. 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. > 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) __________________________________ Do you Yahoo!? SBC Yahoo! DSL - Now only $29.95 per month! http://sbc.yahoo.com
