Sent: Friday, March 01, 2002 5:02 AM
To: Drum & Bass Arena Discussion List
Subject: [dnb-prod] Re: CDs v Vinyl
---Agreed.I use to check my mixes thru a number of different sources, but as you rightfully point out, you get to know using you own source what sounds like what on other systems. I find nine times out of ten my mix sounds the same now through my system, headphones, car speakers and friends systems. When I first started it used to do my nut right in when I played it on other systems and it sounded nothing like my own studio version.PeaceMartyn-----Original Message-----"Jones, Martyn" wrote:
From: Matthias Nolte [mailto:[EMAIL PROTECTED]]
Sent: Friday, March 01, 2002 09:50
To: Drum & Bass Arena Discussion List
Subject: [dnb-prod] Re: CDs v Vinyl
but I have noticed by ear the difference I get to my traxs when burnt to CD, especially bottom end. Those nice warm subs DO sound different.Each to there own, but if I created everything in the digital domain, I too would be arguing your point.
Peace
Martyn
That�s the never ending discussion....
Putting the same tune on vinyl and on CD
gives You two different sounds.During the cutting process the original frequency-spectrum of the track is changed.
(btw. does anybody know what�s actually changed??)
Burnung CDs od recording DATs just have the original spectrum.
So if a producer has a clear idea how his track should sound he
first gets it right in his studio (premastering).The final mastering then depends on the media you�ll use.
For the same "sound experience" in the club you should end up with
mainly two Master CDs. One for vinyl and one for CD release.
And don�t forget the Radio-mixes, car-Stereo-mixes, bathroom-mixes....... ; )Mat/Vertecs
---I think the many masters idea is on the right track but not quite correct. I'm looking back in my archives to find the Chris Hawkes post about Audio Engineers guide to Vinyl Mastering that was like from a year back or so. It was also known as Why those highs don't sound the same, or something to the effect. It's the most informative resource to vinyl mastering, and unfortunetly I have no clue what archive disk its on. I think Chris Hawkes is still on the list, and would be able to repost it or give some insight.. Although I doubt he still checks the list... (who knows)
The tracks you have that are burned to CD are no way different then the .wavs or .aiffs or whatever you had your computer master. I guess the only variant would be if your using a CD-R that is standalone and using its own internal AD converters. As for Vinyl mastering it is a whole different process which is cutting a reference laquer to make plates and stampers. Everyone has their tunes mastered for Vinyl (if they're making 12") because it's actually a different process. It involves cutting laquers to make plates and stampers. It DOES involve mastering elements like getting your master to plate as loud and over the standard reference levels, and it is most definitly art in it'self that is completly separate from making a good studio master, or having someone master for CD duplication. I'm going to look for that post to repaste.. It's very old though....
As for Martyn, you're doing everything exactly right if your masters sound good on most sources. That's the problem that everyone faces and is misleading to some people. For example, I have Powered Event 20/20's and they are a bit bottom heavy and they lie a bit when you think your running an even mix. I find that if I don't A & B them to another set of monitors(like Monitor Ones) I sometimes have a final mix that sounds great in the studio but lacks(or is consumed with) Low-End out of the box. After the past couple years I've learned to compensate for it, though when I mix at someone elses studio I feel lost because my ear is trained to the 20/20's. It's all preference..
Even though I think that this conversation strays far away from the Vinyl and CD for DJ application conversation.
Brian
www.forcerecordings.com
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