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Articles Tagged Mastering

  • Tuesday, February 05, 2013
    image
    PSW Staff 02/05/13 10:32 AM,
    Piper Payne is an accomplished mastering engineer, recording engineer, and audio archivist who is currently working out of Michael Romanowski’s mastering studios in San Francisco, California. While working on a graduate studies certificate from the Unviersity of Stavenger in Norway, she became a member of the beta team for Metric Halo’s flagship ULN-8 interface, and it has remained an irreplaceable fixture in both her recording and mastering work ever since. An audio evangelist, Payne has turned other professionals on to… View this story
    Filed in: RecordingNewsEngineerStudioTechnician

  • Wednesday, January 16, 2013
    recording
    Rob Schlette 01/16/13 05:49 PM,
    This article is provided by the Pro Audio Files.   There are a lot of different ways to conceptualize ‘dynamics’ when we begin to think about a contemporary recording project. Some of them are powerful, and some of them are pointless. This article points out a few useful techniques for addressing dynamics during mixing, with mastering in mind. Let’s start by considering dynamics at the largest most ‘zoomed out’ level. The fundamental question is whether it is musically appropriate for… View this story
    Filed in: RecordingFeatureBlogStudy HallConsolesDigital Audio WorkstationsEngineerMixerStudio

  • Monday, July 09, 2012
    recording
    Robert Archer 07/09/12 08:56 AM,
    People who work behind the scenes in the music business rarely receive public adulation. But Bob Ludwig, owner of Gateway Mastering & DVD in Portland, Maine, is a legitimate star in the world of music production, considered by many to be the best mastering engineer in the world. Ludwig’s career spans more than 40 years and some of the all-time biggest records, including AC/DC’s “Back in Black,” Rush’s “Moving Pictures,” and Journey’s “Escape.” Ludwig has also worked with Led Zeppelin,… View this story
    Filed in: RecordingFeatureBlogOpinionBusinessDigital Audio WorkstationsStudioAudio

  • 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
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    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