Subject: Re: French Touch
From: Dominique Bassal (email@example.com)
Date: Sat Oct 29 2005 - 00:35:54 EDT
Le 05-10-28, à 23:43, Kevin Austin a écrit :
> I think the comparison is not a good one. The machines may have been
> the same or similar, but those who have worked in studios know that
> the pop medium has almost always had far greater 'capital', read
> "people and equipment" available.
The multiplication of staff and equipment was not able, in the early
60's, to make a significant difference in the final sound quality,
because of the inherent limitations of the recording systems
(bandwidth, headroom, distorsion, etc.), and even more so because of
the poor development of monitoring systems, everywhere. Big studios
could make radical mistakes and ruin entire albums. Mastering engineers
routinely had to return tapes to the mixing room because they were
impossible to cut to vinyl. A very well known album, a Québec
"classic", recorded in a very respected studio, had to go 14 times
(analog copy, with hiss and distorsion adding up...) through the same 4
band parametric in the mastering studio just to reach the "acceptable"
level where it was launched.
Today, if you listen to the Weiss/Bob Katz "Mastering Examples" CD, you
find that the pop mixes are already very impressing in their "before"
state, and that mastering is really little touches of refinement here
Very different from my experience of EA mastering, where a majority of
the pieces still arrive to me in a very hectic state, and where I have
to make severe corrections before I can make them at least bearable...
This archive was generated by hypermail 2b27 : Sat Dec 22 2007 - 01:46:13 EST