Subject: Re: Mastering EA was French Touch
From: Jan L. (firstname.lastname@example.org)
Date: Sat Oct 29 2005 - 10:01:40 EDT
The only reason I can think of for EA mastering is the basic reason
for mastering in general. And that is to compensate for limitations
in the distribution chain to the consumer. Make sure that as much as
possible of the composers intentions remain when the end listener
listens to the recording.
In the old days record-cutting equipment for vinyl would easily cut
unplayable records and so on.
Today it may be mostly to adapt the recording to the effects of the
various lossy compression formats - and to use the best compression
Problems, like people normalizing to 0dBFS or slamming levels when
tracking, is almost impossible to resolve when mastering.
29 okt 2005 kl. 07.50 skrev Louis Dufort:
>> 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
>> to make severe corrections before I can make them at least
> That's exactly why I'm very suspicious concerning mastering EA
> 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.
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