Transition, London - Experiences?

[chopstickkk]

I'm getting my first release on vinyl in the coming month mastered. My label head got his release done at Transition in London. Who seem to be putting out a lot of similar and (to my inexperienced ears) nice sounding masters of a similar vain i.e. Club/Electronica/Bassy Dubstep/Digital Mystiks etc.

Has anybody experiences here?

I know you all seem to rate Nils handiwork at the Exchange for club music but I'm not sure we'd be able to afford the Exchange/Heathmans.

Or is Transition not much cheaper?!

For example, roughly how much do all these studios charge for say, a 2-track 5 min each side 12" master?


Cheers.

[Paul Gold]

Jason posts here under "Fat Larry". A mutual acquaintance who I respect speaks very highly of him.

[Thermionic]

Originally Posted by chopstickkk

For example, roughly how much do all these studios charge for say, a 2-track 5 min each side 12" master?

As with any mastering house, you have a few ways of approaching this situation. It all boils down to one thing: how much work will your project need?

If you have a mix that’s nicely balanced, without any properties that create headaches for the ME (firstly: your sonic expectations - secondly: concerns such as excessive HF – cutterheads don’t like that!), you might get just as good a cut in a one-hour ‘cookie cutter’ session, and an extended afternoon session could yield minor improvement, but for much more outlay.

However, on the other hand…if you really need some issues sorted out, a cookie cutter would be a compromise (isn’t everything in life?)

Nilz has cut a few projects for me over the years.

You have 3 ways to do it:

a) Book an hour – aka ‘cookie cutter’ - and do the best you can in that hour. If your 2 tracks are well-balanced and don't need much corrective work, this will be ok. As with mixing and tracking, commitment is an issue... As you probably know, having the option of doing a million overdubs without loss hasn’t given us better music than 30 years ago! If it sounds good after 20 minutes - it sounds good - and another 2 hours may not yield dividends.

b) Book half a day / day and experiment with a multitude of techniques to optimise the recording. You cut plenty of test lacquers and generally umm and ahh until you're happy - not cheap and a rare booking in today's day and age.

c) Book an unattended cut. This can go either way (I've yet to 'back' an Exchange cut, but we're talking about all firms here). If the project is balanced and generally ok - I find unattended cuts aren't a bad thing, as the ME doesn't have to put up with me asking questions about cutter amp topologies (labels cottoned onto this and started getting things cut behind my back...). With someone as good as Nilz, leaving him to his own devices usually yields dividends as - I assume - he fits it in when he can, and has more time to think of chain / processing (he could check it out in the morning, chew over what needs doing, and cut it later).

Mandy Parnell (ex-Exchange) has a great client portfolio and she doesn't charge Exchange rates btw - put her into Google for a link.

Anything between £120 and £250 p/hour is normal, with lacquers / post-processing copies etc costing extra.

My apologies for the long post - this isn't an easy one to answer.

Justin

edit - before I forget - bear in mind that, even if major corrective work is needed, you'll be better off with the ME using his or her Massenburg or Sontec for it. Whatever you do, don't try and save time by 'pre-mastering' in a non-mastering studio.

Paul - I'm a bit concerned about your STDs - have you tried antibiotics?

[Paul Gold]

Originally Posted by Thermionic

Paul - I'm a bit concerned about your STDs - have you tried antibiotics?

No need, I don't have any. I'm not a slut, just a voyeur.

[chopstickkk]

Originally Posted by Thermionic

My apologies for the long post - this isn't an easy one to answer.

Justin

Ah cheers, no problem bout the long answer it was very very informative thanks Justin!

Originally Posted by Thermionic

edit - before I forget - bear in mind that, even if major corrective work is needed, you'll be better off with the ME using his or her Massenburg or Sontec for it. Whatever you do, don't try and save time by 'pre-mastering' in a non-mastering studio.

I've got an uncompressed/unlimited/plenty of headroom 24bit file for both tracks.

But I've also done my own cd master which involved Kjaerhus plugin compression and limiting. But also more importantly for me, the tracks were run through a small bit of tube effect and stereo enhancement provided by my Focusrite Platinum Penta.

Is it okay/standard practice to bring this cd as something of a reference?

should I bring 2 sets of files, one set untouched and one set tube/stereo processed by the Penta (but of course not comped/limited/eq'd)?

[Fat larry]

Chopstick,
I tried to pm you but could not,So drop me an email or give me a call, All of our details are on our website.
Transition Mastering Studios

Anything between £120 and £250 p/hour is normal, with lacquers / post-processing copies etc costing extra.

If that's the case then i need to put our prices up

[Thermionic]

Originally Posted by chopstickkk

should I bring 2 sets of files, one set untouched and one set tube/stereo processed by the Penta (but of course not comped/limited/eq'd)?

The concern is that, even if your own outboard has a tone you like, you won't (correct me if I'm wrong) be processing the music in a room that's as acoustically-correct as a typical mastering room. Not only that, but the ME will have the kind of tools the Penta wants to emulate, i.e. a real variable-mu compressor or Class A FET compressor etc.

One suggestion would be to play the ME your processed version as a guide, and ask them to emulate it in their room, with their gear, from the raw master.

A mastering suite should have exceptional acoustics and outboard - that's the whole point of a mastering facility, and it's why you pay them!

Good luck and congrats on your first vinyl release


Justin

edit - if you want value for money, a tip is to make sure (most MEs will do this as standard) to get a high-res CD from the chain of the master as it hits the cutterhead. This gives you 2 things: firstly a reference for what went to the lacquer (invaluable if you have any issues); secondly, it potentially gives you a CD master, made from the MEs expensive outboard. Don't tell the ME I told you to get 2 masters for one!

[chopstickkk]

Cheers Jason, that about swings it for me. I think I'll be into you as soon as my label head sorts out his Uk distribution plan (it's an Irish based label) which will hopefully be before the month is out. He just needs to know the budget etc.

Originally Posted by Thermionic

The concern is that, even if your own outboard has a tone you like, you won't (correct me if I'm wrong) be processing the music in a room that's as acoustically-correct as a typical mastering room. Not only that, but the ME will have the kind of tools the Penta wants to emulate, i.e. a real variable-mu compressor or Class A FET compressor etc.

No you're entirely right, my monitors and room are faaaaarr from perfect so I made sure to keep an uncompressed/unlimited edit.

One suggestion would be to play the ME your processed version as a guide, and ask them to emulate it in their room, with their gear, from the raw master.

That's cool. I was just wondering if it was okay to offer a rough guide cd or whatnot. Looking forward to it really thanks all for the answers!

John.