On Sun, 10 Jul 2011 22:24:25 -0700
Ken Restivo <ken@xxxxxxxxxxx> wrote:
> On Sat, Jul 09, 2011 at 09:43:07PM +0000, Fons Adriaensen wrote:
> > 2. To provide an extra set of ears and a second reproduction
> > environment. This won't happen if the mixing and mastering
> > is done by the same person, within a short time, and using
> > the same studio.
> >
>
> If what I've read and seen about comb-filtering is true, I'd guess that the mastering engineer's ROOM, dampening, and speakers are really what you're paying for as much as his or her ears or engineering knowledge or "vintage" gear.
It's funny, I just had this conversation last night with a member of
a band that I recorded. I've got what I feel is a very good mix, but
the overall levels seem low compared to other CDs I play, even though
the master output levels are usually -0.2 or so. It also sounds flat,
but I know both of these issues would go away by the mastering process.
I'm very reluctant to do the mastering for this project, because other
than some basic fumbling around with Jamin, I have no experience with
that end of the project. I also am in total agreement with Fons in that
I think it's best done in another studio with a different set of ears.
The band can't afford to hire a professional mastering engineer, though,
so I may end up trying to at least get someone with a younger set of
ears to help with the process. I know I have some hearing loss in
certain frequencies thanks to both years of rock and roll and years of
working in noisy server room environments.
At the very least, right now I run it through Jamin to up the output
level to make it on a par with other recordings - not to squash it
like a Rush album, but to make it so I don't have to turn the volume
up to 85% just to listen to the disk.
--
======================================================================
Joe Hartley - UNIX/network Consultant - jh@xxxxxxxxxxxx
Without deviation from the norm, "progress" is not possible. - FZappa
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