Quote:
|
Originally Posted by Samc
Again, I don't really see any new concepts here or anything that engineers haven't been doing sucessfully since......forever. The part about the amount of compression did strike me though, since I always thought that using a compressor in the first place, and the amount of compression depended on what you and the client wanted to achieve sound wise and not on a preconceived monitor-level adjustment.
|
It's BOTH, Samc. If a client tells me in advance----that he would like his master to be as "loud" as Green Day---I know EXACTLY where to preset my monitor attenuator before going to work, and without having to put Green Day back in the CD player or reference again to it. The tool saves me a lot of time. And having prepositioned the monitor attenuator to -10 (probably -12 in my room for "Green Day') I will almost automatically, in the process of seeking a specific loudness in the room, end up with Green Day "sound" and Green Day "level". Yes, there's a LOT more to this, you can't turn a mx that's not destined to be Green Day into a "Green Day" master. I"m simply referring to how the use of the monitor attenuator becomes a tool in itself.
In other words, if I have previously played Green Day on my reference monitor system and I know where the attenuator falls for this "genre" of music, then it eliminates both the guesswork AND the comparative listening process. I can preset my attenuator and get right to work!
BK
__________________
Bob Katz DIGITAL DOMAIN
http://www.digido.com
"There are two kinds of fools. One says-this is old and therefore good. The other says-this is new and therefore better."
No trees were killed in the sending of this message. However a large number of electrons were terribly inconvenienced.