Which is why everything below 100HZ needs to be monophonic! A cutting engineer can't fix that without putting your music through a crossover and messing with the bass phase while checking a goniometer. They really hate that shit.
On Wed, Oct 21, 2009 at 10:10 AM, Dan Brenner <brenner....@gmail.com> wrote: > very good points about mastering for vinyl. > for my money, i'm just happy if the engineer can do it so the needle doesn't > skip the groove =) > > On Wed, Oct 21, 2009 at 10:59 AM, kent williams <chaircrus...@gmail.com> > wrote: >> >> Actually, mastering is kind of a big deal for labels that are actual >> businesses, and they will pay good money to get the right sound for a >> release. >> >> Anyone who is out there doing their own thing without benefit of the >> commercial music industry master their own stuff, because that extra >> few hundred dollars is a lot of money when you're not making any money >> from your music. >> >> And if something is pressed to vinyl, then the guy cutting the record >> is by definition doing a mastering job. If they just run a track >> unmodified into the lathe the results are usually awful. Mastering >> for vinyl is even more of an art than digital mastering, because you >> have to consider the physical limitations of vinyl as a medium for >> sound reproduction. A good cutting engineer can make a decently >> produced track sound holographically immense on record. >> >> >> On Wed, Oct 21, 2009 at 9:39 AM, Clint Anderson <cli...@gmail.com> wrote: >> > another baseless assumption i have is that more idm producers tend to >> > master >> > their own work for just that reason >> > >> >> --------------------------------------------------------------------- >> To unsubscribe, e-mail: idm-unsubscr...@hyperreal.org >> For additional commands, e-mail: idm-h...@hyperreal.org >> > > > > -- > > http://www.100dbs.com > http://www.drumattix.com > >
