Tech Thoughts: My Preferred Mastering Chain (VST)
Pretty much all of the processors I use for my ersatz mastering jobs these days.
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Erlanger Programm: Level Practices
How hot should a master be? And what does that make as a requirement for the mix? Some thoughts for the current album, also put in personal historic context. Includes references to R128 and K-System
Read more "Erlanger Programm: Level Practices"Mixing and Mastering: Why not try to turn something down?
Working on the last stretch of “oscillator theory”, I was once again reminded of an old audio engineering mastering: to make something apparently louder, it’s often best to turn something else down.
Read more "Mixing and Mastering: Why not try to turn something down?"The Budget Mastering Tools
I’m doing a simple mastering job – for my “oscillator theory” album. And for that, I need tools.
Read more "The Budget Mastering Tools"Eclectic Blah: On Mastering
Thomas DiMuzio, chief mastering engineer at gench, talks about mastering the Eclectic Blah album – the challenges, the process employed, and of course adds some gear porn!
Read more "Eclectic Blah: On Mastering"Eclectic Blah – The Mastering Decision
Mastering has been outsourced! Read how I came to make this decision to employ DiMuzio’s services.
Read more "Eclectic Blah – The Mastering Decision"Quality Gates (and Eclectic Blah)
Yesterday, I had to officially accept that the happy Status 5 was approved a little early. Interestingly, this was not an issue with the Edit&Mix results, nor was it with the Layout lane (which is swimming along nicely and in perfect schedule sync), but the mastering part. This process thing requires that for milestone 5, […]
Read more "Quality Gates (and Eclectic Blah)"“Expanding Audio Orthodoxy” – can’t we remain orthodox for the right reasons?
A response to Steve Lawson’s interesting post “Expanding Audio Orthodoxy – Recording, Mixing, Mastering”.
Read more "“Expanding Audio Orthodoxy” – can’t we remain orthodox for the right reasons?"The Track Gap in the 21st Century – sequencing your albums right today
The digital download of a package of audio files has become the most relevant format for distribution of music albums – if not for the big players, then certainly for the independent artist (including this author). However, how does the track spacing – the track gaps – work in this format? Is it like in the olden days, that once you had a great master, it was ensured that everyone listened to the album the same way you intended it? I decided to find out.
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