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Articles Tagged Mastering

  • Monday, May 14, 2012
    recording
    Bobby Owsinski 05/14/12 08:00 AM,
    This article is provided by Bobby Owsinski.   On Friday I had the pleasure of sitting in on a meeting with three representatives from Apple at Oasis Mastering, as they briefed us on the latest info on the new “Mastered for iTunes” program. While there’s already some info on the program currently available, it was good to finally get the most up-to-date details directly from the source. Here’s the gist of the program. “Mastered for iTunes” at its most basic… View this story
    Filed in: RecordingFeatureBlogPollDigitalDigital Audio WorkstationsStudio

  • Thursday, May 10, 2012
    bob katz mastering
    Bob Katz 05/10/12 05:10 PM,
    This article is the second part in a series on decibels, excerpted from Bob Katz’s book Mastering Audio: The Art and The Science. The first part is available here, and be sure to check out all our videos featuring Bob Katz. We Won’t Get Fooled Again. Recording engineers rely heavily on their favorite meter, and this is not intended to change people’s favorite. But as practicing engineers, it is prudent to learn the defects and virtues of each meter we… View this story
    Filed in: RecordingFeaturePollStudy HallAnalogEducationMonitoringStudioSystemTechnicianAudio

  • Tuesday, February 28, 2012
    studio
    Rob Schlette 02/28/12 03:48 PM,
    This article is provided by the Pro Audio Files.   Some people want their music really loud, and there’s nothing wrong with that. If loudness is part of their aesthetic and the audience likes it, then I say let’s go for it. In order to deliver the most musically effective loudness, that goal must have been addressed in the mixing process, but not as directly as you might think. It’s important to remember that there are mix masters, and then… View this story
    Filed in: RecordingFeaturePollDigital Audio WorkstationsSoftwareStudio

  • Thursday, February 23, 2012
    apple itunes
    Bobby Owsinski 02/23/12 01:55 PM,
    This article is provided by Bobby Owsinski.   Mixing engineers, producers and mastering engineers have faced a dilemma for a number of years now. That is, “Should digital files intended for Internet distribution be mastered separately?” This has been a sore spot with many veteran mastering guys, some who believe a separate master is a must, while others feel that an MP3 or AAC file made from a well-made master is more than sufficient. It seems that Apple has finally… View this story
    Filed in: RecordingFeaturePollDigital Audio WorkstationsSoftwareStudio

  • Monday, December 26, 2011
    image
    John Scrip 12/26/11 10:16 AM,
    This article is provided by MASSIVE Mastering.   I’m going to try to keep this very “fool proof”. This was born out of the rantings of hundreds and hundreds of posts on a dozen or more audio forums exploding like a volcano recorded with lots of headroom. I hope to instill a basic understanding of why certain trends and common beliefs are just plain bad. And by the time you’re done reading, and perhaps doing a little experimentation based on… View this story
    Filed in: RecordingFeaturePollAnalogDigitalEducationEngineerMixerMonitoringSignalStudioSystemAudio

  • Thursday, November 10, 2011
    bob katz mastering
    Bob Katz 11/10/11 06:55 AM, 2 Comments
    This article is the first part in a series on decibels, excerpted from Bob Katz’s book Mastering Audio: The Art and The Science. So many of us take our meters for granted—after all, recording is simple: all you do is peak to 0 dB and never go over! But things only appear that simple until you discover that with the same material, one machine says that it peaks to -1 dB, another machine shows an OVER level, and yet your… View this story
    Filed in: RecordingFeatureStudy HallDigitalMeasurementMonitoringStudioAudio

  • Sunday, November 06, 2011
    recording
    PSW Staff 11/06/11 10:52 AM, 0 Comments
    As part of the official edition of “The Smile Sessions,” Capitol Records is issuing vinyl pressings comprised of three mono LPs, one stereo, and two 45rpm singles.  Long-time Brian Wilson recording engineer Mark Linett, who also served as co-producer on the project, was on hand in the cutting room at Bernie Grundman Mastering with co-producer Alan Boyd and mastering engineer Chris Bellman. A comprehensive reissue project containing out-takes, original takes, and an extensive historical booklet, the album is available as… View this story
    Filed in: RecordingNewsPollStudio

  • Wednesday, May 25, 2011
    image
    PSW Staff 05/25/11 10:12 AM, 1 Comment
    Record label New Ground Entertainment recently acquired eight JBL LSR2325P 5-inch powered studio monitors, four JBL LSR2310SP powered studio subwoofers and MSC1 Monitor System Controllers for its headquarters in Atlanta. The systems were installed in four rooms at New Ground Entertainment—two writers’ rooms and two production rooms, one of which doubles as a mix room. New Ground Entertainment was founded by 25-year industry veteran Ryck “Bigboy” Carter, a premier Atlanta based bassist that has worked with such industry greats as… View this story
    Filed in: RecordingNewsPollLoudspeakerMonitoringSignalStudioSystemAudio

  • image
    PSW Staff 05/25/11 07:00 AM, 0 Comments
    Eight-time Grammy Award-winning producer Rodney “Darkchild” Jerkins has selected two AR-51 tube microphones from Telefunken Elektroakustic for his “American Idol” productions. Jerkins, who has worked in the past with Michael Jackson, Lady Gaga and Britney Spears, is one of this year’s top producers working alongside the contestants throughout the season. “During my time on ‘Idol,’ I used the AR-51s,” stated Jerkins. “It helped being able to have one microphone to handle 20 different style of voices, with the ability of… View this story
    Filed in: RecordingNewsPollAnalogEngineerManufacturerMicrophoneSignalStudioSystemAudio

  • Tuesday, May 24, 2011
    image
    Joe Gilder 05/24/11 08:17 AM, 2 Comments
    This article is provided by Home Studio Corner.   I know it may be hard to believe, but I too used to believe this was true. I had simply never given it much thought. Maybe you’re in the same boat? The issue was, I made the mistake of confusing headroom with dynamic range. Put simply, when I looked at the master fader, if there was a lot of room between the loudest peak of my mix and 0 dBFS (clipping,… View this story
    Filed in: RecordingFeaturePollDigitalMeasurementMixerMonitoringSignalSoftwareStudioSystemAudio