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Bored with the norm ... any questions? Effects Pedals, Units & Accessories
Old 28th October 2018
  #961
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CharlesCola's Avatar
 

Verified Member
Quote:
Originally Posted by lucey View Post
It's not the mastering engineers job to judge the work, that's a fail. We need to provide equal effort and objective love for all the styles and qualities of music we work on.
Who is we? Is that the royal we as in you? Or you and your loyal army of fanboys that you're training up to decimate the principle of sound quality?

Quote:
Originally Posted by lucey View Post
A silly jibe? More like a sincere diatribe.
I can assure you that bitterness was not the motivation for my post - it's how much I detest the spread of misinformation. Besides, it was hardly a diatribe - it was a snarky one liner with an emoticon of a man smoking a cigar and wearing a hat that changes colour.

Quote:
Originally Posted by lucey View Post
I didn't mention that my now external 3 way passive crossovers are 100% new parts, tuned to the amp, which was upgraded with caps and other parts plus tubes by the same tech.
I'm sure it sounds now it has caps

Quote:
Originally Posted by lucey View Post
The target in my world is musicality enhancement
I think that's most people's target in this world too. But IMO musicality should be attributed to the musician not the mastering engineer - there's a whole other set of attributes that can be enhanced by the mastering engineer, relating more to psychoacoustics - with respect to the musician's musicality.

Quote:
Originally Posted by lucey View Post
and non fatiguing, enjoyable daily work environment that translates
As I said earlier - a transparent system is only fatiguing if the material you feed it is such, in which case that should be the first thing addressed in the mastering process to prevent fatigue. If your monitoring system masks elements that cause fatigue then you will not be able to hear them in order to efficiently remove them.

Quote:
Originally Posted by lucey View Post
Sounds great, keep up the good work! My work is in people's ears, hearts, radios and awards shelves. Again, I would like to hear this work. Soundcloud, Dropbox, anything??
Let's just say it's a labour of love, thank you for the encouragement.

It's amazing that your work is in peoples ears, hearts, radios and awards shelves - I understand how good that make some people feel.

It must make you very proud to be involved in projects that have won Grammy awards. Congratulations on your two nominations. Maybe you should pay more attention to your promotional material - much of it is misleading and states "7 Grammy's" etc... your more inexperienced potential clients will think you have won 7 Grammy Awards, a most extraordinary thing to accomplish - winning one Grammy award is an accolade - you have none. What you have been doing is false advertising and unscrupulous.

You really seem desperate to hear my mastering work yet I am confident that you've heard it. I know how mastering engineers like to visit each other's websites to compare their work and check their setups. I'd bet you still do that many times for every single person that joins this forum calling themselves a mastering engineer.

Back in 2013 I had colaudio.net in my signature and had just launched (please note that the website is now 5 years out of date and that "Emotion Conscious Mastering" was the subtitle in 2013). The site has been that same since 2013.

I haven't been able to get mastering work done because shortly after the website launch I destroyed the studio. I've been diagnosed with Bipolar Disorder and receiving lithium treatment. With it being my first mastering room I was still trying to optimize further. Whilst working through the night, trying raise a 60Hz null and maintaining a 3d image on Brian Ferry's Avalon, those old 802 SIII's were getting moved all over the place - they just weren't sounding or measuring right despite full crossover recap with hand matched original spec caps. I think I had missed a few doses of Lithium, so already being quite manic I eventually became completely psychotic. I destroyed the entire studio with a claw hammer, repeatedly striking until everything was rendered useless.

So I never got a chance to actually start working, but had already honed my skills.

On wayback machine you will see that the site has been the same since then. Living in a remote area and not knowing any musicians I was going to be relying on the internet which was would have not worked for me anyway - it was too impersonal and I didn't want to spend my entire life behind a computer screen searching for any piece of competent music to work on.

That site was made live with appropriate code for indexing on 30th May 2013. A few years before that, I posted many sites which were not coded for indexing so don't appear on wayback machine - they were full of naive, close to nonsensical "philosophies and concepts" regarding processing music. There is an iteration of your site on wayback machine many years back that has something remarkably similar - we must have been sharing some sources of inspiration back then - despite disagreeing so much now!

Quote:
Originally Posted by lucey View Post
You would show me measurements as to how good your work sounds? You're kidding right?
No I said I would show measurements which could help illustrate why the sound you would hear is so good (provided the system is fed good sounding material).

Quote:
Originally Posted by lucey View Post
The rest of us don't care about excellence, so that's good on you.
The rest of who exactly? Who are you speaking on behalf of?
If people don't pursue excellence then we get a sea of mediocrity and one of the most important art forms since the dawn of humanity is devalued, a sad parallel to the current condition of the planet.

Quote:
Originally Posted by lucey View Post
So you don't want to argue but your methods are appreciably better? lol
No you misinterpreted, I wasn't referring to my methods - I was speaking about methods in general - some methods produce better results than others.

Quote:
Originally Posted by lucey View Post
You really need to get real in your mind, there is a lot of subjugated emotion finding it's way into your logic board, before talking about the logic of your process.
I find this comment amusing, ironic and slightly offensive - all at the same time.

Quote:
Originally Posted by lucey View Post
Wish you the best. Have fun with your approach !
Same to you.

Last edited by CharlesCola; 31st October 2018 at 01:45 PM..
Old 29th October 2018
  #962
Here for the gear
 
busty_audio's Avatar
 

Hey Brian,

first of all i want to give many thanks for all this wisdom. it is rare enough for a guy like you to share so much stuff about their craft.

i think it's funny that this is a thread for questions and there are people arguing about a tested/proved method. your work speaks for itself.

now to my question, which 5 albums/ or singles would you give your apprentice ( if you have/had one) to study and what would you prompt him/her to pay attention at?

thanks for your time

peace
Old 29th October 2018
  #963
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Ben F's Avatar
 

Verified Member
Quote:
Originally Posted by CharlesCola View Post
Who is we? Is that the royal we as in you? Or you and your loyal army of fanboys that you're training up to decimate the principle of sound quality?


I can assure you that bitterness was not the motivation for my post - it's how much I detest the spread of misinformation. Besides, it was hardly a diatribe - it was a snarky one liner with an emoticon of a man smoking a cigar and wearing a hat that changes colour.


I'm sure it sounds now it has caps


I think that's most people's target in this world too. But IMO musicality should be attributed to the musician not the mastering engineer - there's a whole other set of attributes that can be enhanced by the mastering engineer, relating more to psychoacoustics - with respect to the musician's musicality.


As I said earlier - a transparent system is only fatiguing if the material you feed it is such, in which case that should be the first thing addressed in the mastering process to prevent fatigue. If your monitoring system masks elements that cause fatigue then you will not be able to hear them in order to efficiently remove them.



Let's just say it's a labour of love, thank you for the encouragement.

It's amazing that your work is in peoples ears, hearts, radios and awards shelves - I understand how good that make some people feel.

It must make you very proud to be involved in projects that have won Grammy awards. Congratulations on your two nominations. Maybe you should pay more attention to your promotional material - much of it is misleading and states "7 Grammy's" etc... your more inexperienced potential clients will think you have won 7 Grammy Awards, a most extraordinary thing to accomplish - winning one Grammy award is an accolade - you have none. What you have been doing is false advertising and unscrupulous.

You really seem desperate to hear my mastering work yet I am confident that you've heard it. I know how mastering engineers like to visit each other's websites to compare their work and check their setups. I'd bet you still do that many times for every single person that joins this forum calling themselves a mastering engineer.

Back in 2013 I had colaudio.net in my signature and had just launched (please note that the website is now 5 years out of date and that "Emotion Conscious Mastering" was the subtitle in 2013). The site has been that same since 2013.

I haven't been able to get mastering work done because shortly after the website launch I destroyed the studio. I've been diagnosed with Bipolar Disorder and receiving lithium treatment. With it being my first mastering room I was still trying to optimize even after launch. Whilst working through the night, trying raise a 60Hz null whilst maintaining a 3d image on Brian Ferry's Avalon, those old 802 SIII's were getting moved all over the place - they just weren't sounding or measuring right despite full crossover recap with hand matched original spec caps. I think I had missed a few doses of Lithium and during that process became manic, then there was a rapid onset of full blown psychosis following some symptoms of schizophrenia (a very clear vivid voice in my head telling where to move around the house and studio). I eventually entered full blown psychosis and destroyed the entire studio with a claw hammer, repeatedly striking until everything was rendered useless.

So I never got a chance to actually start working, but had already honed my skills.

On wayback machine you will see that the site has been the same since then. Living in a remote area and not knowing any musicians I was going to be relying on the internet which was would have not worked for me anyway - it was too impersonal and I didn't want to spend my entire life behind a computer screen searching for any piece of competent music to work on.

That site was made live with appropriate code for indexing on 30th May 2013. A few years before that, I posted many sites which were not coded for indexing so don't appear on wayback machine - they were full of naive, close to nonsensical "philosophies and concepts" regarding processing music. There is an iteration of your site on wayback machine many years back that has something remarkably similar - we must have been sharing some sources of inspiration back then - despite disagreeing so much now!


No I said I would show measurements which could help illustrate why the sound you would hear is so good (provided the system is fed good sounding material).


The rest of who exactly? Who are you speaking on behalf of?
If people don't pursue excellence then we get a sea of mediocrity and one of the most important art forms since the dawn of humanity is devalued, a sad parallel to the current condition of the planet.


No you misinterpreted, I wasn't referring to my methods - I was speaking about methods in general - some methods produce better results than others.


I find this comment amusing, ironic and slightly offensive - all at the same time.


Same to you.
Charles that’s a fascinating story.

Do you have a photo of the studio after you took at it with a claw hammer?
Old 29th October 2018
  #964
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Slug1's Avatar
The picture was originally posted. I think it was taken down.
Old 30th October 2018
  #965
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CharlesCola's Avatar
 

Verified Member
It's back up again - it's required as it's the only evidence that this occurred. I am in a very hostile situation here and it is ongoing. Apart from the 20-60 nursing staff I told that found out about it after I was admitted to Mental Hospital.

Last edited by CharlesCola; 30th October 2018 at 01:29 AM.. Reason: To add other sources evidence
Old 30th October 2018
  #966
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Ben F's Avatar
 

Verified Member
Quote:
Originally Posted by CharlesCola View Post
It's back up again - it's required as it's the only evidence that this occurred. I am in a very hostile situation here and it is ongoing. Apart from the 20-60 nursing staff I told that found out about it after I was admitted to Mental Hospital.
Sorry to hear that, I hope your mental health improves.
Old 30th October 2018
  #967
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jasonlivermore's Avatar
 

Hi Brian,

I noticed you have an SPL meter on your console. What SPL do you usually work at? Does it always stay the same, or do you have different volumes for different types of work? Thanks!

Jason
Old 4 weeks ago
  #968
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Verified Member
Quote:
Originally Posted by busty_audio View Post
Hey Brian,

first of all i want to give many thanks for all this wisdom. it is rare enough for a guy like you to share so much stuff about their craft.

i think it's funny that this is a thread for questions and there are people arguing about a tested/proved method. your work speaks for itself.

now to my question, which 5 albums/ or singles would you give your apprentice ( if you have/had one) to study and what would you prompt him/her to pay attention at?

thanks for your time

peace
Thanks for the kind words. My goal is to get past the banal to the musical.

Not sure I can answer your question ... it's more about knowing what I call "the fence" in your room. By fence I mean the edges of the Recorded History of Music, as it exists in your mind, as an XYZ sphere in front of your face.

X= frequency balance
Y= transient to compression balance
Z= harmonic distortion balance (types and amounts)

Once we know the fence, in our room, we can play inside the fence.

Maybe something needs to be moved very little, or maybe it is way off and needs to be moved a lot. The trick in mastering is knowing when to do not much and when and how to do a whole lot, usually on the same record. And knowing how to focus music.

By focus, I mean that things need to hit people with clarity on 3 fronts ...

Emotionally
Intellectually
Physically

... in a balance that is right for this artist and right for this moment in time. The artists moment and the moment for the audience.

I just did a Katy Perry single, a Christmas song for Greg Wells, and it was interesting as it needed to sound like her, but also have a warm and inviting timeless holiday vibe, which is a little different than her other records.

I'm remastering now a new mix of an old record for an artist I'm known for working with, and it's about respecting the original release, while also enhancing the new mixes and the new moment of the new release.

Respect and no respect. It's a tricky balance.

Quote:
Originally Posted by jasonlivermore View Post
Hi Brian,

I noticed you have an SPL meter on your console. What SPL do you usually work at? Does it always stay the same, or do you have different volumes for different types of work? Thanks!

Jason
At first I like to work at around 85-90 dbA, yet I work as fast as possible cursor skipping around. This keeps the ears and the mind fresh. We are the first audient, the test market, and we always need to be listening like it's the first time we have heard the music, and also like it's 20 years from now.

Once I am ready to print, I work at a lower level as a full song or record is printing, to feel the flow of the vocal, low end, high end, etc. We don't want homogeneous, that's based in perfectionism and is boring ... but it needs to flow.
Old 4 weeks ago
  #969
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busty_audio's Avatar
 

thanks Brian , your insight is much appreciated,

i really dig your musical approach and sincerety. i believe you are past the technical and cruising through the philosophical. music/sound is space and time.
so are we


have a nice week
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