Re: Mastering EA was French Touch


Subject: Re: Mastering EA was French Touch
From: Pierre Alexandre Tremblay (tremblap@gmail.com)
Date: Sun Oct 30 2005 - 03:31:14 EST


> 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?

OK, here lies the problem. A DX7 piece is not a piece. It is a
poietic concept and constrain. What you actually hear is the result.
And if the sound is muddy in the mid-bass, and that provides, like
psycho-acoustics tell us, a masking effect which does not serve the
piece.

Except if it does.

But the point is, a pre-mastering engineer will listen to it, with its
artistic judgement and scientific knowledge, with the approval of the
artist and in a listening environment that is way, way better than the
composer's, and he will propose enhancement or corrections to the
actual sound.

Because who cares if it is a DX-7 piece anyway. Pre-mastering is the
art of compromise, not of radical conceptual pompous work of art. It
is your head in your dream, but with your feet on earth. It is about
bringing the best sonic listening experience, to help the listener
focus on what is important: the music.

pa

--
Pierre Alexandre Tremblay
Lecturer in Computer Composition
University of Huddersfield
Queensgate Campus
Huddersfield
England HD1 3DH

(t) +44 (0) 1484 47 36 08 (f) +44 (0) 1484 47 26 56



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