viernes, 8 de junio de 2012


Open any pro audio magazine and you're likely to read about the difference between analog and digital mastering. In my own work, I hear various comments on the topic. Some clients ask if I can apply analog processing. Others are very concerned that the entire signal chain remain digital. What are these people looking for, and why do they think it can only be delivered in a specific platform?  

As with many discussions, a lot of the opinions are fueled by misinformation. Claims of digital being "cold" or "sterile" are just as unfounded as analog being inherently "warm" or "life-like." To be sure, each platform has its unique capabilities and characteristics, but they're not what most people believe them to be. Let's take a closer look.

Analog -- It's All About Resolution  

viernes, 27 de abril de 2012

The Difference between You and a Pro

If we really break it down, a mastering pro usually has three things over what you do at
The gear. A real pro mastering house has many things available that you probably
won’t find in a simple home or small studio DAW room, such as high-end A/D and
D/A converters, a great-sounding listening environment, and an exceptional monitoring

lunes, 23 de abril de 2012

Why Master Anyway?

Mastering should be considered the final step in the creative process, since this is the last
chance to polish and fix a project. A project that has been mastered simply sounds better
if done well.  (That’s the key phrase, of course.) It sounds complete, polished, and
finished. The project that might have sounded like a demo before now sounds like a
‘‘record.’’ Here’s why:

miércoles, 18 de abril de 2012

Mixing with Mastering in Mind 2 ( BY BOBBY OWSINSKI )

Watch your fades. If you trim the heads and tails of your track too tightly, you might
discover that you’ve trimmed a reverb trail or an essential attack or breath. Leave a
little room and perfect it in mastering, where you will probably hear things better.

Document everything. You’ll make it easier on yourself and your mastering person
if everything is well documented, and you’ll save yourself some money too. The
documentation expected includes any flaws, digital errors, distortion, bad edits,
fades, shipping instructions, and record company identification numbers. If your
songs reside on hard disk as files, make sure that each file is properly IDed for easy
identification (especially if you’re not going to be at the mastering session).

lunes, 16 de abril de 2012

Mixing with Mastering in Mind 1 (BY BOBBY OWSINSKI)

Regardless of whether you master your final mixes yourself or take them to a mastering engineer, things will go a lot faster if you prepare for mastering ahead of time. Nothing is as exasperating to all involved as not knowing which mix is the correct one or forgetting the file name. Here are some tips to get you ‘‘mastering ready.’’