Getting That “Analog” Sound, part 2
Posted on | September 21, 2008 | No Comments
If you read part 1, you know that I had to jump through a bunch of hoops to get the sound a client was after. And although I felt that each iteration I did had its own merits, the client had a specific texture in mind.
What’s interesting is that all of the processors I used were of the same “platform”, but some sounded thin and cold to the client and others sounded fat and warm. What it proves (and I’ve always known…but client-validation is the acid test) is that it’s not what you use, but how you use it. Or, going out and buying gear doesn’t an audio engineer make.
The right tool for the job is the most important aspect of success. And, listening to your client’s feedback (and not getting frustrated after the fifth iteration) is a crucial part of what makes a successful mastering engineer. Attention to detail can’t be purchased!
Also, (to dovetail on another earlier post), having a good selection of compressors and limiters is important because no single piece of gear covers all situations.
In 2008, getting an “analog sound” is sort of like making an episode of That ’70s Show. Modern tools manipulated to render a vintage vibe.
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From Ohm to Om reflects the opinions of mastering engineer Paul Abbott, owner of San Diego's ZenMastering.
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