On 31 Jan 2007, at 18:45, Todd Sines wrote:
well, the compilations mastered were then loaded in and checked at
the pressing plant before going to GMCD. but yeah, that's basically
it.
Crikey
this wasn't the case for the Fabric mix.
Did they send it away to have all the good bits taken
well, the compilations mastered were then loaded in and checked at the
pressing plant before going to GMCD. but yeah, that's basically it.
this wasn't the case for the Fabric mix.
+odd
--
Martin Dust wrote:
On 31 Jan 2007, at 16:42, Todd Sines wrote:
I use unstretched WAVs + AIFs, so it nev
On 31 Jan 2007, at 16:42, Todd Sines wrote:
I use unstretched WAVs + AIFs, so it never gets run through Live's
Warping engine. It's basically working as a VST / AU wrapper. I
could be doing it with Peak or Sound Forge but I don't. A lot
easier to keep track of 20 songs on a compilation CD
On 1/31/07, punkdISCO <[EMAIL PROTECTED]> wrote:
Sometimes its technical, sometimes its just "here are 3 clips from A, B and
C".
well a technical comparison is really all that matters. either
something is exactly the same digitally or its not. whatever the
limitations of your ears are is irrel
Hi Tom
"how are they compared? it seems like RMSE (root mean square error) would
compare them well, and even a small difference can amount to great error"
Sometimes its technical, sometimes its just "here are 3 clips from A, B and
C".
"i personally dont care which is better, so all im interested
"lol, Live is absolutely inappropriate for mastering tracks."
It might not be the normal choice but there are no reasons why it can't be
used.
"Unless you are using unstretched WAVs, your output from live is going to
sound degraded."
For sure. ANY stretching algorithms will have an effect of th
in the multiple "studies" i've read, they're typically
compared by phase inverting one of the tracks and
mixing them. in every case that i've read about,
they've summed to silence, which means the tracks are
identical.
i actually feel like i can hear what Martin's talking
about, so I keep looking
On 1/31/07, punkdISCO <[EMAIL PROTECTED]> wrote:
1) WAV file imported into DAW_A
2) WAV then processed using some hi end pluggin
3) track bounced to a new WAV
This is repeated in Live and other DAWs and then the bounced versions are
compared.
how are they compared? it seems like RMSE (root me
ot;punkdISCO" <[EMAIL PROTECTED]>
Cc: <313@hyperreal.org>
Sent: Wednesday, January 31, 2007 10:35 AM
Subject: Re: (313) Carl Craig :: The Workout
On 31 Jan 2007, at 15:18, punkdISCO wrote:
"You pre-master in Live? Crikey the sound engine in their makes things
sound
;313@hyperreal.org>
Sent: Wednesday, January 31, 2007 10:35 AM
Subject: Re: (313) Carl Craig :: The Workout
On 31 Jan 2007, at 15:18, punkdISCO wrote:
"You pre-master in Live? Crikey the sound engine in their makes things
sound as flat as a pancake...Off with your ears ;)"
Thi
Hi again
"Disagree, I can hear the difference in our studio - it's massive enough for
anyone to spot, which is why we wire Live through a desk before the sound
goes anywhere but I'd never use it to master anything in a million years.
Each to their own I guess..."
It is interesting that you say an
On 31 Jan 2007, at 15:18, punkdISCO wrote:
"You pre-master in Live? Crikey the sound engine in their makes things
sound as flat as a pancake...Off with your ears ;)"
This one comes up all the time despite the numerous tests that
people have
setup over the years. The fact is that the interna
"You pre-master in Live? Crikey the sound engine in their makes things
sound as flat as a pancake...Off with your ears ;)"
This one comes up all the time despite the numerous tests that people have
setup over the years. The fact is that the internal sound engine in Live is
no less superior to a
s so I can't speak for
those.)
I could also cite the mp3s and FLACs from bleep.com as apparently being
reproduced from more tastefully-compressed masters than the norm, it
seems to me.
Ken
-Original Message-
From: punkdISCO [mailto:[EMAIL PROTECTED]
Sent: 30 January 2007 18:29
To: 313@h
I also do some compilation CD mastering and import all of the CD
tracks
into Live, use a multi-band compressor on it all, match the levels
from
song to song and normalize it. Haven't had a complaint yet.
now, as for getting on the microphone and adding to all of the tracks
your own MC'ing..
t;
> -Original Message-
> From: Todd Sines [mailto:[EMAIL PROTECTED]
> Sent: 30 January 2007 17:29
> To: 313@hyperreal.org
> Subject: Re: (313) Carl Craig :: The Workout
>
> He probably engineered it himself though...
> Mastering is usually handled
>
> b
uld not be passed as fit for release by
CC? He's not alone amongst recording artists for being a stickler, but
it's clear that he is one.)
K
-Original Message-
From: Todd Sines [mailto:[EMAIL PROTECTED]
Sent: 30 January 2007 17:29
To: 313@hyperreal.org
Subject: Re: (313) Carl Cra
Maybe we all need switchable phono stages.
On Jan 30, 2007, at 15:55, robin wrote:
I think the almost epidemic concern about the state of today's
mastering
comes from the fact that we don't have a choice. You can't
simply say
"'don't listen to it" otherwise you would not listen to anythin
I think the almost epidemic concern about the state of today's
mastering
comes from the fact that we don't have a choice. You can't simply
say
"'don't listen to it" otherwise you would not listen to anything
produced in
the last decade. Sure, in your example you got the originals but for
. Basically.
k-money
-Original Message-
From: Jamil Ali [mailto:[EMAIL PROTECTED]
Sent: Tuesday, January 30, 2007 2:55 PM
To: 313@hyperreal.org
Cc: kent williams; Thomas D. Cox, Jr.
Subject: Re: (313) Carl Craig :: The Workout
From the prairie cat FAQ:
http://www.prairiecatmastering.com/qna.html
On 30 Jan 2007, at 19:54, Jamil Ali wrote:
From the prairie cat FAQ:
http://www.prairiecatmastering.com/qna.html
Sounds relevant, though I don't really get it..
This may help explain a little more...
http://www.youtube.com/watch?v=UYf4u-oEqhI
From the prairie cat FAQ:
http://www.prairiecatmastering.com/qna.html
Q: Why do my import records sound louder?
A: The standard for mastering vinyl in certain European countries is
different than what we have in America. One big difference is that these
"import" records have a zero level setti
Ron Murphy does a pretty good job of doing just enough when he cuts
that there is still some dynamics left. The Prairie Cat guy (who did
a lot of 430 West records) is the same way. They both cut really
well-balanced records. There's plenty of limiting and compression
involved, they just don't
On 1/30/07, kent williams <[EMAIL PROTECTED]> wrote:
The problem with tracks like the Theo is that they will basically be a
massive kick with not much around it. Either you play it so the
kicks match the level of other tracks, in which case the 'music'
besides the kick will really quiet, or you
The vast majority of the listening public wouldn't notice a thing,
believe me
Rob Taylor
VT Librarian
x8599
Hatch Desk x1088
VT Library Users' Guide
-Original Message-
From: punkdISCO [mailto:[EMAIL PROTECTED]
Sent: 30 January 2007 18:59
To: 313@hyperreal.org
Subject: RE:
The problem with tracks like the Theo is that they will basically be a
massive kick with not much around it. Either you play it so the
kicks match the level of other tracks, in which case the 'music'
besides the kick will really quiet, or you push the level, so that the
limiter on the sound syst
Hi Tom
"listen to NCS mastering jobs on many records out of detroit, its not the
case on those... its definitely more of a problem with euro/UK records."
I was not aware of this and its good to know that some people are brave
enough to say 'screw you'..
See you,
Paul
London
www.punkdisco.co
On 1/30/07, punkdISCO <[EMAIL PROTECTED]> wrote:
I think the almost epidemic concern about the state of today's mastering
comes from the fact that we don't have a choice. You can't simply say
"'don't listen to it" otherwise you would not listen to anything produced in
the last decade. Sure, in
Hi Gil
"If it sounds bad enough, don't listen to it" etc
I think the almost epidemic concern about the state of today's mastering
comes from the fact that we don't have a choice. You can't simply say
"'don't listen to it" otherwise you would not listen to anything produced in
the last decade. S
On 1/30/07, Gil Yaker <[EMAIL PROTECTED]> wrote:
Jeeze, why debate?
If it sounds bad enough, don't listen to it. Personally I think most
remastered reissues sound like crap.
Take the Inner Life & Jocelyn Brown anthology on salsoul uk. They eff'd up
all the mixes by remastering it for today's sy
On 1/30/07, punkdISCO <[EMAIL PROTECTED]> wrote:
At the danger of over simplifying things, DJs are probably the biggest
single culprits for the loss of dynamics in today's music. Its DJs who
don't play the quieter tracks. Its DJs that will play a heavily compressed
(loud) track on the club's P
Jeeze, why debate?
If it sounds bad enough, don't listen to it. Personally I think most
remastered reissues sound like crap.
Take the Inner Life & Jocelyn Brown anthology on salsoul uk. They eff'd up
all the mixes by remastering it for today's systems (and CDs) that can take
more highs and lows t
"look at early theo parrish records in a wav editor. the peaks of the kicks
will be hitting at 0 and the rest will be at -25dB or some ridiculous
nonsense like that"
At the danger of over simplifying things, DJs are probably the biggest
single culprits for the loss of dynamics in today's music. I
On 1/30/07, punkdISCO <[EMAIL PROTECTED]> wrote:
Its only artists on the fringes that would ever dare not to compress the
hell out of their tracks.
look at early theo parrish records in a wav editor. the peaks of the
kicks will be hitting at 0 and the rest will be at -25dB or some
ridiculous n
"I opened it in Sound Forge to have a look. At least 50% of the mix must
have been in the red when it was recorded."
..just to repeat what a few people have said - this almost certainly will
not be clipping, just heavy compressing. As a test, open up any commercial
recording in SoundForge and it
Library Users' Guide
-Original Message-
From: Williams, Graham [mailto:[EMAIL PROTECTED]
Sent: 30 January 2007 17:14
To: Robert Taylor; 313@hyperreal.org
Subject: RE: (313) Carl Craig :: The Workout
I think after all my years of clubbing I don't have "musician's
sensitive
He probably engineered it himself though... Mastering is usually handled
by the label to give it a second listen with fresh ears.
I engineered the Death in Vegas mix for Richard Fearless for Fabric.
Levels were adjusted by me and then adjusted again by the mastering
facility that Fabric uses.
Agreed.
In any case, Carl Craig didn't master this so it's a silly reason not to
buy his mixes.
sday, January 30, 2007 5:01 PM
To: Williams, Graham; 313@hyperreal.org
Subject: RE: (313) Carl Craig :: The Workout
I have it and love it but never notice these things as I don't have a
musician's sensitive ears
Rob Taylor
VT Librarian
x8599
Hatch Desk x1088
VT Library Users' Gui
In any case, Carl Craig didn't master this so it's a silly reason not
to buy his mixes.
On Jan 30, 2007, at 11:57, robin wrote:
Is it not just really squashed with a compressor rather than clipped?
The two situations look the same in a wave editor (still doesn't
help the sound quality iss
Is it not just really squashed with a compressor rather than clipped?
The two situations look the same in a wave editor (still doesn't help
the sound quality issue though, I hate "squashed" mastering).
Kent? :)
robin...
Williams, Graham wrote:
I recently bought "The Workout" mix cd, I have
I have it and love it but never notice these things as I don't have a
musician's sensitive ears
Rob Taylor
VT Librarian
x8599
Hatch Desk x1088
VT Library Users' Guide
-Original Message-
From: Williams, Graham [mailto:[EMAIL PROTECTED]
Sent: 30 January 2007 16:59
To: 313@hyperreal.org
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