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myths in mastering audio Effects Pedals, Units & Accessories
Old 1st April 2010
  #31
No. 106
Mastering engineers are in general a modest bunch and not at all like the SNL technical support guy. MOOOOVE!
Old 1st April 2010
  #32
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Quote:
Originally Posted by kasprouch View Post
No 103: ALL mastering engineers are innocent when it comes to Loudness Wars - they are only making their clients happy.


hahahhahahahahah!!!!!

thumbsup
Old 1st April 2010
  #33
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That high pass filtering (or any processing) should be applied purely for digital headroom (loudness) reasons.
Old 1st April 2010
  #34
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#1000 "I've recorded and mastered stuff and you make out like it's soooo hard to learn audio. Maybe your just afraid of losing work. You shouldn't be so negative."

Facebook group response by 20 year old to my comment about a simplistic mastering with T-Racks video (Obvious plug for the software). All I said was "It's like watching a How to play golf video. It won't make you Tiger Woods. Maybe a few years practice and real world experience are needed too.

P.S. If his mastering is anything like his spelling then my future is pretty secure.
Old 1st April 2010
  #35
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#121. Good room treatment makes all mixes sound less boomy.

#122. The more expensive the converters are the better the mix will sound.

#123. You can always blaim the mp3 conversion for being the source of bad sounding masters.

#124. A well equipped ME with years of experience always makes better mastering job, by default.

#125. Outboard gears always sound better than the plug emulation.

#126. Pro ME's always gives the correct answers.

Old 1st April 2010
  #36
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That the master sounded way better in the mastering room than on the consumer system later on.
Old 2nd April 2010
  #37
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"..already on my way, honey! "
Old 2nd April 2010
  #38
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...Super loud/hot masters MUST sound bad...
Old 3rd April 2010
  #39
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There is a direct causal relationship between what a waveform looks like and how it sounds, specifically, if it looks like a mars bar then it will sound bad and someone must be blamed immediately.
Old 3rd April 2010
  #40
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Always master a track to be louder and brighter than when it came in the door!
Old 3rd April 2010
  #41
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No 131

If you take your music to a professional facility to be mastered, it will sound better.
Old 6th April 2010
  #42
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# 69 Big multi-room mastering houses turn out better
work than small independents.
Old 6th April 2010
  #43
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Mastering Myths

Rule #11
That any mastering engineer can master a vinyl single without a lathe.
Old 7th April 2010
  #44
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Quote:
Originally Posted by Jerry Tubb View Post
Always master a track to be louder and brighter than when it came in the door!
hehhehheh
...or just use waveburner...
it will do it for you - read 'inexpensive mastering'
Old 7th April 2010
  #45
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Quote:
Originally Posted by Mark A. Bassett View Post
There is a direct causal relationship between what a waveform looks like and how it sounds, specifically, if it looks like a mars bar then it will sound bad and someone must be blamed immediately.
Can you name one single "Mars Bar" song that would not have sounded better as a "pipe cleaner" (anybody got a better metaphor for a straight line with fuzzy spikes sticking out? ). I know that's a loaded question since we don't have access to the "before" for the comparison, but still.
Old 8th April 2010
  #46
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#127. Dithering is the most complex and important part in the whole mastering process.

#128. If a mastering engineer is exposed to sunshine he melts.

#129. Manley Vari-Mu mastering edition, can control sound on a neutrino level.


Old 8th April 2010
  #47
Shy
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Quote:
Originally Posted by Bob Yordan View Post
#129. Manley Vari-Mu mastering edition, can control sound on a neutrino level.
Everyone knows it can't. Only the SLAM! mastering version does that.
Old 8th April 2010
  #48
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A mastering suite with $50K fit out is worth more per hour than a $1M mix room. Mainly because the ME's talents are rarer and more in demand than the mix engineer of similar caliber... heh ... that one always cracks me up
Old 8th April 2010
  #49
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24-96 Mastering's Avatar
Quote:
Originally Posted by princeplanet View Post
A mastering suite with $50K fit out is worth more per hour than a $1M mix room. Mainly because the ME's talents are rarer and more in demand than the mix engineer of similar caliber... heh ... that one always cracks me up
I don't think anyone really suggests that. In my experience, rates in mastering studios are traditionally higher (when the investment is comparable!) because a mastering studio needs 300 clients per year and a mix suite needs only 50 or so. The result is more auxilliary work per client, i.e. either less dense booking or more external effort / cost to keep it dense. IF you can actually manage to attract that many clients.
It's a pretty basic economic thing: The cheaper the product you're selling per unit (per album / client / job), the higher the margin on it must be to achieve sustainability.

Not saying that's all it is or that it's true for all instances, but this is the biggest general factor, I believe.
Old 9th April 2010
  #50
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Quote:
Originally Posted by daverose View Post
Is it true you can only hear dither at 83db?


badda bing!!
Old 10th April 2010
  #51
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lucey's Avatar
 

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#001 Limiting is always a net negative.
Old 10th April 2010
  #52
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Quote:
Originally Posted by princeplanet View Post
A mastering suite with $50K fit out is worth more per hour than a $1M mix room. Mainly because the ME's talents are rarer and more in demand than the mix engineer of similar caliber... heh ... that one always cracks me up
That's quite an elaborate fantasy world you're living in.

Maybe you'd feel better if you raised your rates a little.

Go ahead man, you deserve it.

[insert smiley face emoticon here]
Old 10th April 2010
  #53
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Quote:
Originally Posted by princeplanet View Post
A mastering suite with $50K fit out is worth more per hour than a $1M mix room. Mainly because the ME's talents are rarer and more in demand than the mix engineer of similar caliber... heh ... that one always cracks me up
147.276)The mastering room comes with an operator. The mixer gets paid separately.


126.873) To keep a mastering room booked you need more than one project a day every day. It's common for one client to book a mix room for a week.

387.561)Always tie your shoes.
Old 10th April 2010
  #54
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Quote:
Originally Posted by princeplanet View Post
A mastering suite with $50K fit out is worth more per hour than a $1M mix room. Mainly because the ME's talents are rarer and more in demand than the mix engineer of similar caliber... heh ... that one always cracks me up
Based on first-hand experience with a facility that includes an SSL mix room designed by a famous guy, and a mastering suite, I can tell you that you can build a top-flight, traditional mix room with a large-format console for less than a million if you're crafty, but there's no way to build a proper mastering room of comparable quality for anywhere near as low as $50k. Granted, it's less than the mix room, but it still ain't cheap. Apart from that, what Paul (and others) said.
Old 10th April 2010
  #55
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Paul Gold's Avatar
 

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Quote:
Originally Posted by SafeandSound View Post
Are you sure? some Neve's have a bunch of 5532's in them,
Like an 8068. Piece of crap. I don't think either Jay or Princeplanet was talking about ghetto acoustics.

Quote:
If anyone puts even $50,000.00 into a mastering studio right now it would be a bad move IMO.
Speak for yourself. If you are busy it pays to have a nice place.
Old 10th April 2010
  #56
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24-96 Mastering's Avatar
Quote:
Originally Posted by SafeandSound View Post
Are you sure? A little think brings up.....

1 hardware comp $4,000.00 K
1 hardware EQ (if required even) $4,000.00
DAW $2,000.00
Native DSP $ 2,000.00
ADDA $2,000 - $5,000
Monitors $ 6,000.00
Plenty left over for acoustics if DIY

and if you go second hand too and locate the sleeper kit, knock 40/50pct off.

If anyone puts even $50,000.00 into a mastering studio right now it would be a bad move IMO.

Remember SSL's and some Neve's have a bunch of 5532's in them, what is the "quality", the "quality" is the end result,
half the "high end" gear that has tubes and transfomers has a few DIP8 opamps in the signal path too for S/N ratio's sake.
That will do just fine if you're starting out or if you're doing it part time on the side or if you have a very specific clientele / "thing you do". If you're doing mastering for a wide range of clients / project types / formats / purposes, all day, every day, over years or decades, a lot more is needed. Well, not necessarily needed, but very clearly beneficial (in actual, practical as well as objective business terms). There's a lot of things missing from that list...

That's not to say you couldn't have a mastering room for $50k, but there are good reasons why, given you have the choice, you probably wouldn't want to.
Old 10th April 2010
  #57
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Quote:
Originally Posted by SafeandSound View Post
the mastering coming out of my place is second to none
Myth #5532
Old 10th April 2010
  #58
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Do I need to put smiley faces next to everything ; )

Myth # 1272
Those that know they're not the "best" are probably closer to being the "best" than those that think they are; )

...I don't know what that means, but I like it ; )
Old 10th April 2010
  #59
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Quote:
Originally Posted by SafeandSound View Post
it's just that there is a lot of other gear that uses them too but as a brand gets slated.
Because they can sound good or bad. It's not the part. It's the design. I too am in a nice sounding ghetto acoustics room. I don't brag about it though.
Old 10th April 2010
  #60
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I too can do supercalafragalisticexpialadocius work in my ghetto acoustics room. It is not as easy or pleasant as working in a well designed room. Would billing per month be an appropriate measure of ability?
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