Re: French Touch, mastering and Ea studies

Subject: Re: French Touch, mastering and Ea studies
From: Kevin Austin (
Date: Sat Oct 29 2005 - 00:59:47 EDT

Dominique makes the point well, and his dedication to bringing this
area of technical weakness is gaining significant respect.

The difficulties are many layered. Ea is taught in many places from
Communication Studies departments (where the content is more
important than the technical excellence), to sound for performance
artists or 'mediatic' artists, to recording programs, to
electroacoustic music composition programs.

There are different degrees of interest in the 'correcting' of poor
sound, but there may be a number of things that can be done to assist
those trying to improve their situation.

One of these is to have a list of 'basic issues' that can be brought
to administrators as being 'international norms', and I propose to
start such a list (in point form) and invite others to add to the

(1) Robust listening facilities

(2) Up-to-date computer hardware and software

(3) A dedicated and integrated ear-training program, 3 - 4 years

(4) Basic studies in psychoacoustics

(5) Basic study of acoustics

(6) Creative activity

(7) A knowledge of the history and repertoire

(8) Basic knowledge of the ear into the cochlea

(9) National and international communications channels

(10) Archival resources

(11) Public presentations, and a robust sound system for multi-channel concerts






At 00:35 -0400 2005/10/29, Dominique Bassal wrote:
>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 and there.
>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
>- -
>Dominique Bassal

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