alright,
so, what's a good mastering price? obviously, like anything, they run the
spectrum, but can you get a decent job for $100 or so?
the only time i really notice-notice good mixing is when an album sounds
similar on a shitty boom-box with one speaker working, a nice car stereo,
and average headphones.
i've only ever 'mastered' my own stuff on headhpones. the $20 sony ones.
seems to work alright, for what it is. would love to get something mastered
someday though.
any recommendations on open-minded budget master-mastereres?
nat
http://www.littlefurythings.net
quoted 69 lines From: Andrew Duke Cognition Audioworks <andrewduke@cognitionaudioworks.com>
>From: Andrew Duke Cognition Audioworks <andrewduke@cognitionaudioworks.com>
>To: idm@hyperreal.org
>Subject: [idm] on mastering Re: [idm] do you master?
>Date: Fri, 17 Mar 2006 22:24:15 -0400
>
>emulsion wrote:
>
>>I firmly believe that thinking you're capable of mastering just because
>>you're a good producer is a BIG mistake. There's a reason those guys get
>>the big bucks and it's not just their crazy gear.
>
>I agree 100%.
>I get asked quite often to master for people and I always turn every
>request down because I know someone else who specializes in that
>can do a much better job than producer-me. Plainly put, I'm not a
>masterer.
>The importance of a well-done mastering job cannot be overstated.
>I can only speak from personal experience because only I can know
>what my material sounds like when sent off to be mastered in comparison
>to hearing what the mastered version sounds like. Ditto for other
>artists. As consumers, we can't listen to a mastered version of something
>we've bought and know what kind of magic happened between what
>we hear and what was sent to be mastered because we don't get to
>hear the unmastered version and do an a/b comparison. I was recently
>wowed:
>when I got the Mark "Vapourspace" Gage-mastered master of my
>forthcoming album on Phthalo (pressed in the next couple of weeks),
>I was so in awe at what he did with it, I wrote him an effusive thank you
>email. He brought things out in the tracks that took things to another
>level. They're my songs, so I should know them pretty darn intimately, and
>yet he's
>made me listen to them in a whole different light with his mastering job.
>The only
>album of mine that has impressed me this much at hearing the difference
>between
>what I submitted for mastering and the mastered version was hearing my
>Tim Spurway-mastered Highest Common Denominator album on Piehead. Greg can
>correct me if I'm wrong, but Tim mastered most if not all of the Piehead
>stuff. For me, Tim, like Mark, took what I thought was my best work at the
>time
>and took things to another level.
>
>If you can, I would always recommend mastering by someone else rather
>than yourself. Sure, make what you submit for mastering sound as good
>as you possibly can, but don't think that someone else's fresh ears can't
>make your work sound even better. Your job as a producer is to produce
>the best music you can. A masterer's job is to objectively take what
>you've
>produced and make it sound as good as it possibly can.
>
>My CDN $0.02.
>Have a good weekend, everybody.
>Andrew
>
>--
>Andrew Duke
>scoring/sound design/source
>http://andrew-duke.com
>http://myspace.com/andrewduke
>Cognition Audioworks label
>[Andrew Duke, Foal, Clinker, Granny'Ark]
>http://cognitionaudioworks.com
>
>
>
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