Amicable Parting
Posted on | March 11, 2010 | No Comments
This NPR story about OK Go leaving EMI is interesting, if you have 6:42 to spare.
Different Types of Analog
Posted on | March 6, 2010 | No Comments
So — as you may have read — I have both the Cranesong H.E.D.D. and the Neve 5042 True Tape. And I realized, after a few months of use, that they represent two different “types” of analog.
The H.E.D.D. is a high-quality coloration box, and is basically very good at taking dimensionless digital recordings and making them sound better by filling in the gaps and rounding the edges. And you can mix-and-match the colors of Triode, Pentode, and Tape to get the vibe the recording needs. This is sort of the analog you imagine in your mind: warm and fuzzy.
The Neve is great for recordings that already sound good but need a certain type of tape character (7.5 or 15ips) to just give a more realism and impact. This is analog as it exists in reality…not always flattering but amazing for the non-linearity digital doesn’t have.
SDIF VI Volunteers Needed
Posted on | February 28, 2010 | No Comments
My friends at San Diego Indie Fest VI are looking for volunteers for the March 26 2010 event. Here are the specs:
San Diego IndieFest 6 offering FREE pass to anyone who volunteers for a 4 hour shift!
Do a 4 hour Shift and get a Pass to BOTH DAYS of the event and ALL 7 STAGES – Free!
There’s still openings for help with Artists, Ticket Booth, Stage Construction and Tear Down, Food Prep., Stage Management, Sound assistance, Lights, General Production, Recycling Police, Info Booth, Security, Hospitality…LOTS of stuff!
E-mail kristin@sayitrecords.com
with your name, number and any special skills you have.
San Diego IndieFest celebrates and supports independent music, film, art, business and THOUGHT.
We are passionate about using art to inspire and empower.
Thank You for your help,
~SDIF
A Note From the Hubris Dept.
Posted on | February 27, 2010 | No Comments
Experience is a funny thing. It can lead to a chip on your shoulder if you’re not careful. I was reminded on this recently while interacting with a potential client. After mentioning he was shopping around San Diego for mastering I cited my experience and reputation, saying if he wanted professional mastering I was pretty much the place to go.
After a few e-mails sessions back and forth I suggested he get some help re-mixing and explained that a continual back-and-forth of his mixes for my analysis was probably not the best use of time if he really wanted to address the issues. In the end, the musician decided to go with another mastering facility…most likely because of my opinions, perspectives, and attitude.
The interaction reminded me of two things:
- No mastering engineer is right for every client.
- A reputation is something others bestow on you…not the other way around.
Sometimes the work you don’t do can remind you of valuable lessons.
The Perils of Working OTB
Posted on | February 23, 2010 | No Comments
I’m working on mastering a single for a video right now and am coming across a sticky situation. The vocal has a lot of sibilance in a low range…5k-ish. That’s low for sibilance. So, the problem is that when I de-ess, it cuts into things like the hi-hat and air from the snare drum. Even using M/S processing it’s difficult b/c both those sounds occupy the center channel to a large degree.
I asked the recording engineer if he could re-mix with a de-esser on the vocal and he can’t because a lot of the work was done outside the box (OTB) and there isn’t enough time to go back and re-create it. So, I need to find an acceptable work-around.
I’ve heard mastering called The Art of Compromise, and this is a perfect example. However, it also exemplifies the perils of working OTB.
My suggestion is that people find the right mic and preamp for a singer and you’re 90% there. And if you’re going to use effects, use high-quality digital effects sparingly that can be backed out or adjusted if needed.
For everything that outboard gear can add, it can also be a problem to remove it/re-mix it and that leaves you with less choices and in need of more time.
400
Posted on | February 21, 2010 | No Comments
So, here we are: blog post #400. Wow. I started writing this blog about 2 years ago and, well, time has flown.
As far as I know, this is the only blog about professional audio post-production/ mastering that has this much steam behind it…so, if nothing else, that kind of spurs me on to write about my experiences in the pro-audio sphere.
Thanks for reading. Onward and upward…
It’s Good to Know What You’re Doing
Posted on | February 20, 2010 | No Comments
It’s important to have good gear…whether you’re recording, mixing, or mastering. My mantra has always been “get the best gear you can afford.” However, it’s also very important to know how to really use your gear. This was proven to me again, recently, when I began working with a new piece of equipment.
I picked up the Neve 5042 “True Tape” and, at first, thought I knew how to use it and wasn’t that impressed with what it did. “Nothing wrong with it”, I thought, “but I kind of expected more.” However, the problem didn’t lie in the gear but in my lack of experience with it.
After having it for a few months now I can honestly say it’s an amazing piece of equipment: powerful and flexible. But you have to know how to use it…which took me a bit of experimenting.
It also reminded me that one of the great things about audio production is that it’s a never-ending cycle of learning and re-discovery.
From the News Desk…
Posted on | February 17, 2010 | No Comments
Abbey Road Studios is for sale. Sad, but another reminder of how the world of music production is changing.
Give the People What They Want
Posted on | February 12, 2010 | No Comments
I was contacted by a local musician the other day. He had an album that was “mastered” (ahem) somewhere else in San Diego and he decided to re-mix and wanted to get it re-mastered.
I asked him to send a sample mix and I took a listen and heard some things I thought could be fixed in the mix. I advised him as such and told him if he could do this the master would turn out much better. Here was his response:
“Paul — Thanks so much for the feedback. This level of communication is exactly what I’m looking for that was lacking from the previous so-called ‘mastering’ studio. I’m absolutely more than willing to take any constructive criticism to get as perfect a mix to you as possible for you to work with (and to improve my mixing), and am rather excited to have you re-master my entire album.”
I’ve found over the years that artists want the same thing I want: to have their album sound great. So it’s worth the extra effort to work with them to get it right.
Windows Compatibility
Posted on | February 6, 2010 | No Comments
If you’re anything like me, you’re probably wondering when Microsoft will settle on a version of Windows. Just when I was feeling that audio software and hardware was fully on-board with Vista, they pulled the plug on it. Now we’ve got 7. I’m still on XP — as are most audio pros — but will no doubt move on the 7 with my next machine.
So how do you know if your software or hardware will work with 7? Here’s a great resource page by the people at Rain. They make Windows-based PCs modded for audio.
About This Blog
From Ohm to Om reflects the opinions of mastering engineer Paul Abbott, owner of San Diego's ZenMastering.
We welcome comments from readers...pro or con!
