Re: Mastering EA was French Touch


Subject: Re: Mastering EA was French Touch
From: Kevin Austin (kevin.austin@videotron.ca)
Date: Sat Oct 29 2005 - 23:58:55 EDT


This is part of a discussion that has taken place in many arts.

If one writes a book, there will be an editor, but imagine an editor
for a composer ... "Dear Harry. Your Symphonic Dance Sketches is
good, but needs some work. The third dance is clearly too long and
the contra-bassoon part may be better put into the tuba and two soli
double-basses."

Color correction in printing is a standard technique and I have seen
articles where colors have been shifted far away from the originals,
as they look "better" that way.

I think there are also a couple of discussions going on here, and the
topic under discussion may not apply to works which are digital in
synthesis, although Dominique may disagree.

What if there is a (say) DX-7 piece that used the sounds directly
from the DX-7 without any spectral processing or reverb, or an analog
piece devoid of processing, does the 'mastering' process improve the
signals that have come straight from the tone generators?

Best

Kevin

At 01:50 -0400 2005/10/29, Louis Dufort wrote:
> >
>> 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...
>>
>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.
>
>Best
>
>louis



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