Re: Mastering EA was French Touch


Subject: Re: Mastering EA was French Touch
From: Dominique Bassal (dominique.bassal@videotron.ca)
Date: Sat Oct 29 2005 - 08:37:03 EDT


Le 05-10-29, à 01:50, Louis Dufort a écrit :

> That's exactly why I'm very suspicious concerning mastering EA works...
> Mastering should always be about enhancing, not correcting. But in
> the real
> this is not the case. In Pop music mastering is very important due to
> the
> fact that the standard is very well known even by the public. But I
> really
> think that EA composers should have last hands on their works, this is
> what
> makes it poetic for better or for worse.

I invite you to come to the studio (Montreal, Plateau/Mile-End area)
and to listen through complete 10-15 min EA pieces in the state they
arrive here, at a listening level (85-90 db) that I will have
demontrated to you before, with a wide range of pop, classical and jazz
recordings, that it brings a generally pleasant listening experience. A
huge majority of the people that did this (EA students and teachers,
composers, record company managers, sound engineers, audio technicians,
"regular" music lovers) reported :

- that a good proportion of them are unbearably loud (clipping is all
over the place);
- that treble and high mids are highly exagerated, causing actual ear
suffering;
- that dynamics are brutal and resonant. They are received as
agressions, not impressive surges of energy;
- that booming generally comes along with any bass manifestation;

The whole experience is considered as highly unpleasant. The composers,
in particular, hearing their piece for the first time in a "flat"
environment, sincerely want to have those problems corrected, and to
learn how to avoid this kind of results in the future, precisely so
that their next mastering session can be about enhancing, not
correcting.

Best

- -

Dominique Bassal



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