I wanted to add something not so new, but not often discussed in the online dialogue regarding Mastering. Our job role as mastering engineers extend beyond the importance of dynamic control and tonal changes, but to the dialogue and rapport, we build with our clients through communications, the ability to quality control any unwanted elements that have slipped through onto the mix and also understanding and appreciating the musical nuances of different productions.
A question that has come up a lot is why you should mix your sub frequencies or low end in mono. I thought I'd answer this in a quick video summarising the reasons both acoustically and in relationship to speakers why we should consider keeping our sub frequencies in the centre of the stereo field.
Advice on how important communication is with some examples and actionable methods/advice people can employ for their creative services.
Let's talk cajon audio! In this conversation we cover boundary microphones, mixing multiple cajon mics and getting the best results from your performance and recordings.
Having been on both ends of the stick, working with local artists and labels here in Melbourne, Australia as well as artists and labels interstate and internationally, I thought it would be a great to create some dialogue about my experiences working on attended and unattended sessions.
#1 Timeliness & Punctuality
#3 Create Thinking/Problem Solving
So many horror stories of artists, producers and engineers expectations not being met when it comes to mastering, I thought I'd put a nail in the coffin on 3 things you should be expecting from a professional mastering service! If you're mastering service isn't providing you these 3 things at the very minimum it might be time to jump ship!
Amongst a sea of noisy information, and everyone jumping out trying to get their voice heard, it can be hard to find the gold. The following three people are true thought leaders, not noise but constructive professionals with great discussion to always offer. For all you engineers, producers or artists looking to broaden your horizons, I strongly suggest following these three people and taking in some valuable information.
I would assert that processing integral to the creative side of "producing" your record be printed wet on mix stems to be printed on
In the circumstance where it's not part of the creative aspect of the production but more an aspect of a faux or rough mix, I'll request dry stems or dry and wet ones of particular stems which are affected for more creative reasons.
That was an explanation of how I work, but everyone is different, this all comes down to communication and dialogue.
Mix Stems: Wet💧 or Dry☀️?, When & Why!
As a mastering engineer, I listen to a lot of mixes, day in day out. There are a lot of people doing some great work, and others not fulfilling their potential and F****** their mix due to misdirection, misinformation or bad habits. I want to connect the dots on the common issues I see across the board, and make sure you don't fall into or can get yourself out of any rabbit holes that can F*** your mix.