Top binary signals and mastering chemistry

I was engineering some projects for them at the time and wound up mastering those projects as well. Once I mastered a few things for Caroline Records, the head of production at the time asked me if I wanted to do this for other projects that were on the label. Initially, I said no! But Ialso found a lot of satisfaction helping indie labels and bands compete against the majors. It's knowing how to listen. Knowing if something sounds really good and not to touch it.

Knowing how to add something, subtle or drastic, that will help, and not take away from other aspects. High quality gear and interconnects sure help.

A huge factor is how a mastering engineer relates to his speakers in his room, how well he knows his room. Also, making sure that every piece of equipment or every process you add is carefully chosen, so that you know that that piece of equipment, even just plugging it in, isn't going to hurt the overall sound.

It's often more that I am trying to get a greater result by accumulating subtleties. Every time you add a process, you risk degrading the signal. And, all through the process, you have to keep a subjective perspective. Well, for me, it's been helpful that I've handled many of the other portions of the recording chain — tracking, mixing, producing, playing, writing — so that when I hear a track, I first and foremost listen to the classic parts of mastering — EQ and compression — but at the same time I'm also keeping in mind mixing and production aspects.

It's usually not the best time to be changing an arrangement of a song, but sometimes bands want a song to have a different feel or sound, but technically, they couldn't achieve it, so we'll try a thing or two.

Sometimes the band may take multiple versions home and call us after they've sat with it for a few days. Pick a form at and get to work. Don't get hung up in the technology, and certainly don't get hung up on which format is going to be best to bring to a mastering session.

Certainly, it's best to consult your mastering engineer, and plan out what formats they would prefer. I still feel that analog is better though. It seems more "malleable". You can do more to it without changing the original intent. Also part of the "pick a format and get to work" idea is not abusing the format. Meaning that I'm always amazed at how much more potential there is The rest of this article is only available with an archive subscription or by purchasing back issue For an upcoming year's free subscription, and our current issue on PDF Master of Mastering by Nicolay Ketterer If someone has mastered 8, to 9, albums to date — many of them rock and pop DNA — they are probably doing something right.

As a mastering engineer, Steve Hoffman has worked on many classic recordings, but very few of them would be considered standard CD or LP releases.

The sonic quality was incredible! We have a well-established advanced technology base, and you'll be taught by experts in audio, multimedia, computing, psychology and music. This unique mix of disciplines means our course is truly comprehensive, linking technological and creative perspectives. The origin, propagation and reception of sound — Wave nature of sound — Reflections, defraction - Amplitude —frequency and phase — Simple and complex waves - Octave, harmonics, tones and semi tones —Musical sounds and noise — White Noise and Pink Noise - Human ear — Psychoacoustics and Psycho Acoustical effects - Perception of loudness, pitch and direction —Ear training.

Various stages of production: Recording — editing - mixing and mastering — Studio equipments: Voltage - current - power — Ohms law — Series and parallel networks — Electronic components — Resistors — capacitors — inductors - transistors - vaccum tubes. Logarithms — Linear and logarithmic scale of frequency — Decibels - Decibels for measuring signals — Different types of audio meters — Decibels for measuring acoustic properties — Weighing networks — Noise flow: Dynamic microphones — Principles of operation — Condenser microphones — Electret condenser microphones and ribbon microphones — Microphone sensitivity and polar patterns — Mic pre-amplifiers — Phantom power — Microphone techniques: Close micing — Ambient micing — Accented micing — Stereo micing techniques: Mic Stands, shockmounts, windshields, pop filters.

Signal flow and functional blocks - IO section: Submasters, matrix and master fader — aux-masters — pre and post fader settings — solo — Monitor section: Types and properties — Analog tape recorder: Principle of operation — Audio quality and tape saturation — Monitoring modes: Input monitoring, auto input monitoring. Compressors — expanders — limiters and gates — Effects Processors: Reverberation units — delay — phasers and flangers.

Computer configuration and specifications — Introduction to Pro-tools — TDM systems and host based systems - Recording, editing and mixing in Pro-tools — Time codes and synchronization: Different types of drivers and specifications — Loud speaker cabinets — Infinite baffle and vented speakers — Two way and three way configurations — Cross over networks — Active speakers — Different types of amplifiers — Power rating and impedence matching —Modes of operation: Stereo, parallel and bridge.