Monolake explains it all for you

[Silver Sonya]

http://soundcloud.com/monolake/mastering-a-step-by-step-guide

YAY!

- c

[PBM]

Originally Posted by Silver Sonya

http://soundcloud.com/monolake/mastering-a-step-by-step-guide

YAY!

- c

Excellent: now I know who is responsible for this.

Original: http://www.youtube.com/watch?v=FaBC4DuXv9k

Mastered version: http://www.youtube.com/watch?v=c-gWspCMuug


Cheers,

Eric

[Silver Sonya]

Ha ha ha!

Mystery solved!

Btw, for those who don't know, Monolake is the excellent acoustic/electronic music of Robert Henke. (Henke is also known as one of the founders of Ableton.)

He has great taste. For those not familiar with his work, I recommend the album Silence as a starter.

Get it on vinyl! You'll thank me.

cheers,
c

[Ruairi]

Thanks Chad, I actually laughed out loud.

I'll check out the record too.

[Red Mastering]

nice found Sonya!
I know monolake very well, great music, I thought they do their own homebrew mastering ..

[807Recordings]

I think Monolake does a lot of the mastering with Dub Plates and Mastering In Berlin. At least the record cuttings.
Most the chain reaction and Basic Channel stuff was also done there, not to mention Tresor releases, etc.

Perhaps not the digital stuff?

[Red Mastering]

Originally Posted by 807Recordings

I think Monolake does a lot of the mastering with Dub Plates and Mastering In Berlin. At least the record cuttings.
Most the chain reaction and Basic Channel stuff was also done there, not to mention Tresor releases, etc.

Perhaps not the digital stuff?

basic channel, rhythm&sound, are my favourites,
I just love this sound, I think lads behind basic channel and r&s and tresor mastering their stuff themselves,
as dub/electronica this is as good as it's gets

[whitecapstudios]

can you do this with analog gear too?

[Peaks]

Originally Posted by whitecapstudios

can you do this with analog gear too?

No. It is absolutely impossible. Trying to do so will trigger an event that eventually leads to the Mayan's predictions coming true, so don't even think about it.

[chopstickkk]

Monolake used to cut at Dubplates and Mastering in the 90's.

Here he is interviewing former D&M ME Rashad Becker, one of the most respected names in electronic music mastering Europe IMO.

Robert Henke talks with Rashad Becker about Mastering

[Ben F]

Originally Posted by chopstickkk

Monolake used to cut at Dubplates and Mastering in the 90's.

Here he is interviewing former D&M ME Rashad Becker, one of the most respected names in electronic music mastering Europe IMO.

Robert Henke talks with Rashad Becker about Mastering

That is such an insightful and honest interview.

[Jim Williams]

More compression, please.

[sakamoto]

this is his story about Ghost album

The album has been produced *entirely* in Live. The Icon is not located in my little room, but in the mastering studio in Basel. And it was *not' used for anything apart from routing.

"the entire production of the album was 96k /24 bit and we played back all tracks in the mastering studio straight out of Live from my laptop into a Metric Halo interface and from there digitally into his PT HD system."

All tracks of the album playing back as mixed down stereo fliles with each song in one track for possible overlaps between the tracks. and the mastering in protools with the stereo files. mastering took less than two days and was mainly making small adjustments to glue the tracks well together.

the console was rolled out of the way because it would cause reflections of the sound from the monitors and color the sound. this is why for mastering there is only the little table with -most important for the sound quality: the coffee mug ( analogically heated with a discrete coffee maker, not the one that comes with Live.

[aof21]

I'm so glad someone posted this! My friend sent me this clip on FB and I was hoping someone posted this on GS. It's a great example of everything that can go wrong with mastering in 45 seconds!

[idee und klang]

Originally Posted by sakamoto

this is his story about Ghost album

The album has been produced *entirely* in Live. The Icon is not located in my little room, but in the mastering studio in Basel. And it was *not' used for anything apart from routing.

"the entire production of the album was 96k /24 bit and we played back all tracks in the mastering studio straight out of Live from my laptop into a Metric Halo interface and from there digitally into his PT HD system."

All tracks of the album playing back as mixed down stereo fliles with each song in one track for possible overlaps between the tracks. and the mastering in protools with the stereo files. mastering took less than two days and was mainly making small adjustments to glue the tracks well together.

the console was rolled out of the way because it would cause reflections of the sound from the monitors and color the sound. this is why for mastering there is only the little table with -most important for the sound quality: the coffee mug ( analogically heated with a discrete coffee maker, not the one that comes with Live.

I'd like to correct some things here:

1) The Icon was not even used for routing/monitoring. The concept of that room is that it can be a great mixing room and a great mastering room. In Mastering Application the Icon not only is rolled away, also the Monitor Section of the ICON is not used, as this would be not enough acourate for Mastering. With the ICON rolled away one sits in the perfect place between the extremly acourate Strauss SE-MF-2 Speakers, and only a little monitor is in the way, but even that can be rolled away so that there is no reflection surface at all. There is a Absorber in the Floor to reduce that nasty reflecion too. But on Mixing Project we have great fun with the Icon. A lot of Filmmusic is mixed in that room, and for those projects the Icon is absolutly necessary. As the Acoustic is so pleasing we even have used that room for jazzrecordings aswell.

2) We did not go digitally from the Metric Halo that was conected to live to Protools. Infact from the Metric Halo we went to a EMM LABS DA Converter and did most of the Mastering analog. From my point of view I would also not say that only "small" changes were made:-) Robert gave me quite some freedom and I would say on some tunes it was a really nice and artistic work, this mastering! On the other hand the mixes were great already, so nothing we did in the mastering stage was to fix any mix problem. If there was anything in the mix that robert heard while in the mastering state he would have changed it directly in live. This was the case in one ore two songs only. Once we replaced one reverb by a reverb of our 960. I think it is very cool if one is able to still make small changes in the mixing while being in the mastering process. this is one advangtages of the new times, would not have been possible in the 80thys;-)
After doing some magic analog we went into Protools also with a EMM Ad Converter. In ProTools again we did some things, as there is a lot of stuff that are great to do digital. We set great value on the fact that the master was very dynamic, living and organic.

Sorry for the long post, but I felt I must correct those things as I am directly related.
Regards
Daniel
www.ideeundklang.com

[sakamoto]

Thanks Daniel for this post...Always good to know how people work in the final stage.
I wish you all the best for the future

[aof21]

thanks for contributing this and for the photos daniel!

[idee und klang]

Originally Posted by aof21

Thanks Daniel for this post...Always good to know how people work in the final stage.
I wish you all the best for the future

thanks for contributing this and for the photos daniel!

Thanks back. But the Fotos are not taken by me, but by Robert - (I was not aware that I looked so stupid in the camera when he shoot the pictures;-(

Daniel
www.ideeundklang.com