Hi Quentin :) I was thinking of you :D. I never heard a recording you did, but I'm really sure that you do very good classic recordings, because you wrote some really good comments about electronics and because you some time ago, have chosen Rachmanikov to demonstrate me something. Aaargh, I'm a kind of musical hardliner and I'm more familiar with Schönberg or Schubert (and rock-pop), but less with REAL classical music.
Quentin Harley wrote: > Ralf Mardorf wrote: >> Daniel James wrote: >> >>> For sure :-) Have you read the Bob Katz book on mastering? >>> >> >> If it's the one I guess that it is and I'm really sure that it is the >> one I know, than it's not very useful for homerecording or even >> professional "pop music" recording. I don't have the link, but I know >> that it is somewhere available in the net. As far as I remember, he >> refers to oldish jazz and classic. But I might be wrong. >> > > Common misconception. > > It is what we all are SUPPOSED to be doing, but commercial music tend > to run with the loudness war. The "loudness war" is something I don't like ... especially for digital recordings we need to include an undefined headroom, that depends to the source we are mastering and I'm not a friend of Dolby, excepted of Dolby C for homerecording on analogue tape and I don't like any exciters. Sometimes I tend to leave the cinema, because a rail ride sounds more like an atomic explosion. > I master music, and follow the way Bob proposed with a few of my own > tricks. 1. You use some of your tricks ;). 2. You, as far as I know, prefer to do classic recordings :). I guess you have much, much more knowledge about classic music, than I have got :( ... ;) ... :). > Music I master turn out to be K14 even before I check it on the jkmeter. What means K14? > You lose a LOT of punch and clarity by compressing the music too much. Hehe ;) ... that is true and there are some "tricks" to use an EQ instead of a compressor, but there is a lot of actual pop music, that goes a complete different way. I guess I prefer your way, but maybe it's unusual for modern pop music ;). If I have a job for people with very, very ... very expensive equipment, I do the master very, very ... very different to masterings I do at home, with very cheap equipment. This is all I wanted to straighten out. Anyway, I only skim parts of Katz's book and it might be good for everyone, but it might be also good to keep in mind, what a musician wants to have as result of a mastering. ... Does Katz refer to cheap near field monitors etc.? I'm not fine with good "professional" hints for what in Germany is called "serious music", for people that do "pop music" recordings with home equipment. Cheers, Ralf _______________________________________________ 64studio-users mailing list [email protected] http://lists.64studio.com/mailman/listinfo/64studio-users
