Hey all -
Nothing to write home about for some of you, I'm sure, but I'm heading off to Airshow Mastering today to get a track of one of my clients mastered. I'm gonna sit in on this one just for the shear sake of learning and watching.
I'm so excited, I can't hardly contain it!
(I know, I have issues...)
J.
Comments
Michael Fossenkemper wrote: don't forget to bring your camera. t
Michael Fossenkemper wrote: don't forget to bring your camera. take pics and post them. Tell him I said it was ok.
Hehe...
Sorry - I had already gotten back by the time I read this. It's a shame. Although, it might have been difficult. The springfield studio (Charlie's) is pitched as being a small mastering suite. Small it is. I have a 14mm lens, but I think it would have had difficulty in that room.
This ain't a bad thing though - the room sounded great. His monitors complimented it perfectly (the beautiful and amazing Meyer HD-1s.)
Brothers, let me tell you - if you ever want to hear a GOOD EQ - don't even think about sh*tty plug-ins - I don't care WHO makes them. You have GOT to hear the Weiss EQ-1 Dyn!!!!!! Holy Crap on a Cracker this thing is sweet. I don't know how to describe its Mojo. It works and it works well, but you would never know it since it doesn't alter the sound (other than where you want it to). The only thing I can say is, if you've ever used an EQ, you have been lied to (okay, that's a bit over the top, but seriously...) It's amazing to hear nothing effected at all except the frequency(ies) that you intend to adjust.
I'd heard the regular EQ-1 Mk2 before and been impressed, but in the hands of the real deal, it's an amazing weapon. I'm jealous of you dudes out there that have one or more of these lying around!
Charlie didn't have to do too much to the mix (which I guess is a small compliment to me, perhaps...). He and I agreed that the voice was buried (unfortunately at the request of the producer), but he was easily able to bring it out.
I only saw him use the Weiss and the Manley Vari-Mu - he was mastering using Sonic, which is where he accomplished the fade-ins, fade-outs, and minor level adjustment in one spot.
It was a 1-track session, so it was over in about 30 minutes. He then took the time to shoot the breeze with me for a bit and offer constructive criticism on a few mixes I had with me on Flash Drive.
In all, the session was a blast and I seriously look forward to bringing the remainder of my projects to him!
I like to think of myself as an amatuer mastering engineer, or a mastering engineer apprentice. Therefore, it was a real treat for me to sit in on a session and simply watch and soak it all up. For all you other budding ME's out there, spend the money and the time to get to a pro near you. It's very well worth it.
One side note - I found it interesting that Charlie hardly referred to his meters other than to check for digital overs. I guess he's accustomed enough to the sound that he knows when he's got enough volume/amplitude without having to check the dummy scopes.
Okay - book report over.
I'll detail the next session I have which will be for a female soloist on her entire album.
Then I'll take the camera.
J. 8-)
audiowkstation wrote: Yes. Mastering is money well spent. Gettin
audiowkstation wrote: Yes. Mastering is money well spent. Getting people to realize this is another thing entirely when you have so many people attempting to do their own mastering. Mastering is a dedicated function. Props to Charlie for doing you a good job!
Fortunately, it's not lost on me. Unfortunately, it's lost on many of my clients.
I get frustrated when I do my best on a mix and then they say they don't want it mastered or worse yet - they want the guy up the road (who uses a finalizer express and a behringer compressor and hacked copy of SoundForge) to do it for them. Then, when I hear my hard work played back, it's now just a mashed up bunch of crap equivalent to a square wave!!! AAARRRGGGHHHH.
It's that reason I've started to get into mastering myself. A couple of years ago, I get fed up with the local guys who really suck and decided to start practicing my skills. Of course, I have one golden rule - I will NOT master my own mixing work.
I'm actually in the process of ammending my contracts so that if someone wants get a track mastered, they must go through one of a select few mastering houses. Of course, this portion can be omitted if the client raises a stink about it, but I feel in general, it will only make the work better in the end. (Even if I have to slightly discount my rates to accomodate for the extra charge in mastering - though I won't readily advertise this!)
On that note, I am in the process of placing the wording in my contracts now. Are there any of you guys out there (specifically Bill, Mike F, Joe L, and others) who would be willing to send me a current press packet/promo sheet so that I can include information in my contracts? If you send it via PDF, I can print it on a color laser printer.
Please feel free to load it with details and rates (and the ubiquitous "rates subject to change without notice...")
Thanks guys!
Jeremy
audiowkstation wrote: I'll put something together. I got this re
audiowkstation wrote: I'll put something together. I got this rediculously long video project going on right now..so I need to keep at it until I am at a good break point. 7.1 surround and rendering is time consuming.
Hey Bill
What's the advantage of 7.1 over 5.1 ? two more side surrounds,
or is it just a film thing ?
I did several 5.1 DVD projects this week... we're taking a few days off.
Happy Holidays, Christmas, Kwanzaa, etc. and Cheers my brother.
BTW all you newbies out there should listen to Bill... he's a real pro who cares about quality, and knows his craft !
Happy Happy Jerry! Thank you for the kind words! Jerry is a very
Happy Happy Jerry! Thank you for the kind words! Jerry is a very serious mastering engineer...hey...we even use the same brand/model amp! :)
7.1
The sides..and the clients wishes..that is about it. Film Spec. and gaming.
Now..my thoughts..(if you are interested..grab a cup of coffee)
On the personal side..I really believe we all would be in a "better boat" if the industry would have "looked at" a 6.2 myself. I have disspelled the notion of the "scientific fact" of unidirectionallity below 100hz..as shown in this room anyway. I admit, many variables as to where directional bass "really ends" Phase is the biggy.
You would have a pair of subs (at or about
As our friend Mick says.."You can't always get...what you want"
Certain film playback does 7.1 or they derive it from 5.1 and the gaming industry has adopted 7.1 (not that I do very many..just a few gaming soundtracks).
What I do is to render four mono tracks from the main L/R, eq them, do a R-L "difference signal" mix between the L main/difference Right Main/Differenmce mixdown between the 2L 2R and fold them into the sides. The "cookie cutter" sides as the industry sees it..simply has not enough "steering effects" for me..and this gives some antiphase between front right, side left and front left, side right. Clients are pleased..this is all that matters. I also include an extra rear center..so really I am delivering a 9 track.
Also..if you look carefully at the specifications for 7.1 ..we have some "latitude" with those side speakers..and I use it!
Frankly..the only advantages I hear and believe in are:
-Better image steering in larger rooms.
-More bottom end allowed in the front mains (less "Q type" sound effects derived, more actual steering instead of virtual and helps the single sub situation)
-The sellers of equipment, 2 more amp channels/speakers.
Like the new Corvettes, each new model will go a little faster. I think they are in the 190mph range now? (A full 115mph higher than the highest US speed limit)
Some playback systems I have seen are advertised 8.1..when in fact, they mono the sides and the centers, F/R are also mono..which makes them actually..6.1's but not 5.1EX or "real 6.1
I know Jerry, it is all so confusing these days..especially for the consumer.
And props to Bill for giving so much advice on the forums! I'm
And props to Bill for giving so much advice on the forums! I'm definitely wanting to sit in on a pro mastering session after hearing so many recommendations to do so. $75 for a song (well, for an hour)? That's not so bad. I know rates go up for more experienced MEs, but I had always assumed a pro job was out of my price range. Might make a good X-mas present to my band!
Well, I'd still be going into the session with the intent of lea
Well, I'd still be going into the session with the intent of learning tricks I might be able to apply myself... If, after seeing what their equipment and ears can do, and after trying to do it myself, my own masters don't come close, I'd probably cave in.
Is 30-minutes per song an average time for a good master? (I remember that audiowkstation did that demo master for me in 15 minutes...) Can I really expect to spend just $75 for a song?
headchem wrote: And props to Bill for giving so much advice on t
headchem wrote: And props to Bill for giving so much advice on the forums! I'm definitely wanting to sit in on a pro mastering session after hearing so many recommendations to do so. $75 for a song (well, for an hour)? That's not so bad. I know rates go up for more experienced MEs, but I had always assumed a pro job was out of my price range. Might make a good X-mas present to my band!
Well it's normally $120/ hr and $15 for the output on disc. He charged me .5 hours and the disc.
J
Half an hour is about what it takes to do one song. if you are d
Half an hour is about what it takes to do one song. if you are doing a whole project, the time averages a bit lower once you find the key to the mixes.
As far as surround, 5.1 sounds great well done. 7.1 sounds better in a large theater, but only due to the size of the space. But it's hard enough to get people to get a 2 channel system sounding good, much less a surround system. I've done my fair share of surround projects and I have to say that the majority of them are a bit of a disappointment. I don't think it's a format that works well for music. for movies it works because you have a captive audience that sits in one place. For music, it's mostly ear buds, and homes. Not many people sit in one place and listen to an album. I know I don't unless i'm working on it.
Bill, what are you using to monitor 7.1? amps, monitors, system, interfaces?
Michael Fossenkemper wrote: Not many people sit in one place an
Michael Fossenkemper wrote: Not many people sit in one place and listen to an album.
I still do. It's one of my simple pleasures in life that I'll be sure to pass on to my son so that he can pass it on to his children and so on. I feel it's a great stress reliever and a good chance to sit and quietly reflect.
Of course, Mahler 3, Brahms 1, Beethoven 7, etc. and a good glass of 97 Napa Cabernet go along way in making this a positive experience. 8-)
J.
Bill, what are you using to monitor 7.1? amps, monitors, system,
Bill, what are you using to monitor 7.1? amps, monitors, system, interfaces?
-Monitors
Seven (7) enclosures, QWTP using Mitsubishi Diatone 610A drivers (Asian Market)
http://page.freett.com/knisi/diatone1.htm
http://diatone.mee.co.jp/index.html
-LFE
Yamaha YST-SW315 Powered Subwoofer (servo techn.)
http://ostg.pricegrabber.com/search_getprod.php/masterid=846214
-Amplifiers
Four (4) Yamaha MX-S90 (70W/Side, Asian Market)
-Line drivers
Four (4) Bottlehead Fourplay (up to 20V output headroom, 90dB S/N, Kits.)
-Program
Nuendo 3.2 *(Still considering a control surface)
-A/D D/A Marian ADCON (2 units for 96K)
Note:
This system is totally separate from the mastering facility.
OMG!!!!!!! What a small FRIGGIN world Bill!!! I just noticed t
OMG!!!!!!!
What a small FRIGGIN world Bill!!!
I just noticed that one of your clients was ATU! (Hal Cooper) I went to college at ATU and studied music. I don't get along with Hal one bit, but I did go there.
I studied horn under Gary Barrow and one semester under Andy Anders. Also, I cut my recording teeth under Ken Futterer! (Ken's a great guy, but his recording setup needs a bit of an update! His daughter is a KILLER horn player too!)
Too Funny! It truly is a small world.
J.
PS - if you talk to Hal and mention my name, you might just get thrown out of his office!
HOLY CRAP ON A CRACKER!!!! It gets better!!!! You worked on a
HOLY CRAP ON A CRACKER!!!!
It gets better!!!!
You worked on a project for Cabot HS Bands!!!! I frikkin went to high school there! Joe Trusty was my HS band director!! Did you work with him or Mark Tenney? (They have like 8 or 9 band directors at Cabot. One of them is my best friend in the world - God father of my son, college room-mate and fellow classmate at both Cabot HS and ATU!!)
Okay, just getting a little too excited now...
I see Alma on the list too...my friend is the BD out there...
I'm guessing you do know Ken Futterer - he's the dude that records all of these bands.
Very Cool!
J.
I wish you were there when I did the program in 1999. I had a bl
I wish you were there when I did the program in 1999. I had a blast! I love ATU. The attitude was great, Andy A is a great dude. Andy "insisted" on me doing the recording/production..of course..I was stepping all over Kens toes..but my production was needed to "get him up to speed" so to speak. I do like Ken..and his Wife quite a bit. They are very cool by me..and Ken was really accomodating..whatever I needed. My techniqes were very "strange" to him. For the record, I am "about" Kens age. Hal loved it (he really did) when I put my foot down around there a few times.
I elbowed my way into that job..being independent, my then Wife was a graduate of ATU. Introduced me to Hal, I beat out Bruce Leak..and got the job for the 99 season. I want to do the 06 season..going to give them a call about that..if I have the time. ken was doing it then..and Bruce was one of the nationwide recording engineers, I smoked him pretty bad in demo material and recording techniques. It is a shame too..Bruce gets around 15K to do a production (I am not cheap either)
Yes, old Hal! You know what? He got a kick out of scaring the piss out of students. Of course..the position I was in, we were on the same level..and he'd better have not gotten cocky with me..no joke, we got along really good. You must remember, Hal is from the old school (hell of a good bass player too) and to get"the level of performance" out of his students, he has to (in his mind..and others) keep a tight griip on everyone and make you respect him.
Quite honestly, if you have ever taught High school, Intermediate school or Collegent level music programs..you will appreciate Hal more than ever. Band directors "should" have total authority and demand 100% respect and attention. I had some rough ones through school and honestly..I mean for real..the entire "attitude" is there for the benefit to "learn it" and USE it when you have your own students. Some kids..and even College level students are knuckleheads..and you have to let them know who is in control. It is too bad you have not really met the "real Hal" and you will..hopefully. He is not an asshole..he is teaching "assholitity" and you must learn it..learn to deal with it..learn to give it out..when the need arises.
I know we are using up RO's bandwidth writing about private matters but if anyone else can use this knowledge, it is good.
I will give you another example. In business, you must be able to stand on the extreme firm of ground. If you have a session and things are going crappy, someone (namely you) has to step in and stamp OUT the BS..and get things back on track..without ruining the vibe. this takes experience. I have sessions where I make it very clear..if "no one is in control, then I am the one in control..and this is how it is..or see ya". You can be firm..and even demanding..and not come across as a total asshole. Hal..needed to display that interaction of "king asshole" because..what if you got stuck with a high school band in Conway? (hehehe)
Alma. Did you ever meet Louann Grimmett? Double reeds, at Uof A now? She was one of the B/D's at Alma. Hell of a school that one. Full motor coaches for the band :) I lived in Alma for a few years. I kind of miss that area but we got a divorce in 01 (amicable as possible) and she can teach quite a bit how the politics of the Arkansas school systems work. Needless to say, she could not hang with the BS that was going on and moved on to higher ground with music education. Some of the crap she had to put up with basically had a few things to do with our parting..but that is how the ball bounces. Music education has 2 sides:
Business.
Passion.
The two have a hard time working together..but it must be done. How? Ask Hal!
More later..
:)
It's ok Jeremy; in this business, we're all used to odd stares f
It's ok Jeremy; in this business, we're all used to odd stares from people and whispering behind our backs. :twisted: I'm often told I'm "easily amused".
I'd love to hear all about you experience, indeed.