![]() ![]() upper mids and high end.what's hard about that? then the first harmonics of the bass and beginning of low end fundamentals of many things 120-200 range which flips into masking area 200-400. Ya got bottom.err the bass gtr and kick sit there. no clients present.people make things too complicated did 70 songs in october.and i mainly mix so it's a secondary thing.never took more than 15 minutes a song including the real time bounce.had 1 send back for correction. Lol the mastering JOKE is that it takes about 15 minutes to master a song.hence client present or not rate.client present was up to 4x's the cost because the mastering eng actually had to make believe he was doing something in front of the client Personall the best mastering i got was from bernie grundman.i like bob ludwig but he's a fiend for 3k which is an irritating freq to me and harkens to the AM radio loudness wars of the 60's /70's was he listening or JerkingOff?.levert album "coolin'" it already went into duplication and shows what idiots are behind the board and paying the bill.i wanna own my stuff right thru to duplication stage that the clocking was off so the master had a hollowed center and swimming sides. Tom was so good that when they fawked up my mastering of an x86 in NY.doug king.he confirmed empirically by matching my x86 to the "finished " product what i heard. the eq's weren't the same but we got damn skippy close after inner band compensation was accounted for by them.Tom was so good that he did, i don't know if it was firesign theater or some other comic album with "start on groove one it played one program.drop on 2 whole 'nuther program" that's some fine mastering skills the mix eng and maybe another person like me. then flip to second unit for song 2 and reset 1 for song 3 etc etcīy the 80's i was sitting at the desk eq'ing the raw masters with my pop. My pop always was pissed that they used Soundcraftsman home stereo octave graphics in the mastering chain that were hard to repeat on set ups let alone left right ****.remember there were 2 sets.1 eq for song 1. Like lawyers who don't feel like they're earning their keep if they don't regularly tell you not to do things.my father was a silent backer in Frankford Wayne Mastering.they opened a room in our bld with Scully and Neumann lathes in the late 60's early 70's But I do make a point of saying "don't feel like you have to make it sound obviously different just to justify the money they're spending on you." Because I know ME's feel like that sometimes. Not being you, I feel like it's actually beneficial to direct clients to a "known quantity" ME so they can get a Seal of Approval. We then used a guy in London who nailed it. What a waste of money that was, I did better ITB on the roughs. ![]() Unattended, they could have only been done in a hurry or by an intern. The Masters we received from a so called top ME that were as flat as pancakes. Can anyone put my mind at ease?Not in my experience I'm afraid. Obviously I hope it's not true, and I don't want to spread bad rumors if it isn't, but it makes me a little reluctant to trust them. Is there any truth to this? I really want to use them because their engineers have mastered some of my favorite records, but that would be a pretty shady business practice. ![]() However, an engineer at a recording studio I did a session at mentioned that they stay away from Sterling because, "Unless you pay extra for the attended session, you don't actually know who will be doing it." Implying that they might be palming off tracks to trainees/interns or something without telling the client, even if you're paying a premium for one of their extremely respected, award-winning engineers. I've been thinking I'll have Sterling Sound do it. ![]()
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