GETTING OUT
February 2005
End game. This is where you wave your project goodbye in the full bloom of knowing that when you see it again it’ll be all grown up.
88. Why mastering loves presets.
When mastering with a digital audio editor, if possible, save the setup you use (plug-ins, levels, etc.) as a preset. Then if the client wants to make some changes, you can make a few tweaks rather than having to start over from scratch.
89.Always think 24 bits.
Save your final mastered versions in 24-bit resolution, even if the target playback medium is a standard 16-bit CD. Then apply dithering to the 24-bit file to create the best-sounding 16-bit file.
THE GOLDEN YEARS
John and JJ Golden are the pere et fils dynamic duo of adventurous Left Coast mastering. Yeah yeah, Bernie Grundman’s good but for bands like CALEXICO, PRIMUS and SONIC YOUTH, Golden’s is the choice for making the most of mastering. But they’re FED up. And to that their 8-point...
MAKE YOUR MASTERING GUY HAPPY GUIDE
90.Make a mock up.
A mock-up CD-R of the correct sequence of the finished product will save us time and you money.
91.Label everything.
92. Compression? Nooo.
People will want to know if they should give us a mix with or without compression. And mixers are under pressure to make the mix sound competitive with a mastered version of something and so they compress. Don’t. When we say “compression” we mean bus compression over the whole mix that when once done can never be undone. Give us one without. And one with if you can’t help yourself.
93. Leave mixes unfaded.
And if needs be, include an example of a fade you do like because if the mixes have the ends faded out when we bring up the volume, the fade is shot and we have to refade.
94.Call ahead.
A minimum of two weeks.
95. Don’t send in your mixes if you know they have problems.
Avoid the “fix it in the mastering” phase.
96. Less IS More.
You want more detail out of your mix? Try not having four layers of guitars there.
97. Choose formats. Carefully.
GOD SPEED YOU BLACK EMPEROR mixed to half-inch after they had recorded to analog 24-track. But it had major problems with tape hiss. It was louder than the music. They should have mixed down to digital format or recorded it digitally. We had to use various forms of EQ to get rid of the hiss. If you want that tape saturation sound, well, we have tape machines in the studio and we can do that.
98. Maximize your tax deductions.
If you’re running your home studio as a business, file a Schedule C, and have clients come in from time to time, be on the lookout for additional deductions. For example, if your studio has a bathroom and you have to replace the hot water heater in your house, then the percentage you claim for the studio can also apply to the hot water heater. Same with a lawnmowing service if you’re trying to keep your house (and studio) looking nice. Caution: Consult with a qualified accountant or attorney before taking any deductions to ensure that they apply to your situation.
99. Disclaimers are a good thing.
If you’re like many studios, you archive the work of your clients as well as provide them with backups. But make sure you give them a form letter stating that this is done as a convenience, that you don’t guarantee your archives will always be accessible, and that it is ultimately the client’s responsibility to ensure that all backups are functional and to create additional safety backups.
100. “The key to home recording is marijuana,”
LES CLAYPOOL states unequivocally, then waffles a bit. “Actually, experimentation is the real key. Of course, you can and will make mistakes, but you learn from ‘em. Just go for it!”
End game. This is where you wave your project goodbye in the full bloom of knowing that when you see it again it’ll be all grown up.
88. Why mastering loves presets.
When mastering with a digital audio editor, if possible, save the setup you use (plug-ins, levels, etc.) as a preset. Then if the client wants to make some changes, you can make a few tweaks rather than having to start over from scratch.
89.Always think 24 bits.
Save your final mastered versions in 24-bit resolution, even if the target playback medium is a standard 16-bit CD. Then apply dithering to the 24-bit file to create the best-sounding 16-bit file.
THE GOLDEN YEARS
John and JJ Golden are the pere et fils dynamic duo of adventurous Left Coast mastering. Yeah yeah, Bernie Grundman’s good but for bands like CALEXICO, PRIMUS and SONIC YOUTH, Golden’s is the choice for making the most of mastering. But they’re FED up. And to that their 8-point...
MAKE YOUR MASTERING GUY HAPPY GUIDE
90.Make a mock up.
A mock-up CD-R of the correct sequence of the finished product will save us time and you money.
91.Label everything.
92. Compression? Nooo.
People will want to know if they should give us a mix with or without compression. And mixers are under pressure to make the mix sound competitive with a mastered version of something and so they compress. Don’t. When we say “compression” we mean bus compression over the whole mix that when once done can never be undone. Give us one without. And one with if you can’t help yourself.
93. Leave mixes unfaded.
And if needs be, include an example of a fade you do like because if the mixes have the ends faded out when we bring up the volume, the fade is shot and we have to refade.
94.Call ahead.
A minimum of two weeks.
95. Don’t send in your mixes if you know they have problems.
Avoid the “fix it in the mastering” phase.
96. Less IS More.
You want more detail out of your mix? Try not having four layers of guitars there.
97. Choose formats. Carefully.
GOD SPEED YOU BLACK EMPEROR mixed to half-inch after they had recorded to analog 24-track. But it had major problems with tape hiss. It was louder than the music. They should have mixed down to digital format or recorded it digitally. We had to use various forms of EQ to get rid of the hiss. If you want that tape saturation sound, well, we have tape machines in the studio and we can do that.
98. Maximize your tax deductions.
If you’re running your home studio as a business, file a Schedule C, and have clients come in from time to time, be on the lookout for additional deductions. For example, if your studio has a bathroom and you have to replace the hot water heater in your house, then the percentage you claim for the studio can also apply to the hot water heater. Same with a lawnmowing service if you’re trying to keep your house (and studio) looking nice. Caution: Consult with a qualified accountant or attorney before taking any deductions to ensure that they apply to your situation.
99. Disclaimers are a good thing.
If you’re like many studios, you archive the work of your clients as well as provide them with backups. But make sure you give them a form letter stating that this is done as a convenience, that you don’t guarantee your archives will always be accessible, and that it is ultimately the client’s responsibility to ensure that all backups are functional and to create additional safety backups.
100. “The key to home recording is marijuana,”
LES CLAYPOOL states unequivocally, then waffles a bit. “Actually, experimentation is the real key. Of course, you can and will make mistakes, but you learn from ‘em. Just go for it!”
posted by The Becakers at 8:23 AM
0 Comments:
Post a Comment
<< Home