New single (BIY) and pre-order of "What's That Sound" album on Friday, June 16th.
06-25-2017, 11:32 PM, (This post was last modified: 06-26-2017, 01:14 AM by john.)
RE: New single (BIY) and pre-order of "What's That Sound" album on Friday, J...
Comment and reply from the Miles Davis restoration project thread on Blakemore's FB:

Quote:Hugh Sparks Ever get nervous holding those antique, irreplaceable tapes in your hands?
Like · 1 · February 8, 2016

Quote:Paul R. Blakemore Yes! I had a horrifying experience with a 1970's era Chick Corea master. Despite baking twice, when I tried to play it 3-4 inch strips of oxide fell off into a pile around the heads! It was bad tape stock. Nothing I could do but watch in horror!
Like · February 9, 2016

(06-25-2017, 10:19 PM)Miguel Wrote:
Quote:I took great pains to optimize both the physical condition of the tapes and machine calibration for playback of each song. In addition, advanced digital restoration software tools were used to minimize noise, imperfections due to deterioration of the tape oxide, and overall sound quality.

Working on Haley's stuff he was probably like, "Tape? But why?"

OTOH his BIY post ends with ...
Quote:Great songs, great performances, and a great recording if I do say so myself! Enjoy! Universal Audio

He liked it. I would think there is a digital master since a lot of the media it will be played on ultimately is digital. It sounds like the tape he used for Haley's album hasn't been made for years and who knows how long it's self life will be.

The Universal Audio is a link to that FB page which is full of vintage and analog stuff.

Quote:...I now do about 60 percent of the mastering for nine different active labels. I generally do 120 to 130 projects a year, every year. It’s been really busy...

But he doesn't talk about them on FB very often.

Quote:At this point, the guys that I really admire and that I want to model my career after are the guys who have done it for a really long time. Guys like Al Schmitt, Doug Sax, Bob Ludwig, Bill Schnee, all the great engineers who have decades of experience and are still working. I really admire those guys, and that’s what I really want to do too. I’d like to keep working for another 20 years if possible.

Quote:Do you produce different masters for different markets?

Yeah. Pretty much every project will have at a minimum three different masters. There’ll be a CD master that has the core songs of the record. Then there’ll be a ‘mastered for iTunes’ version, which usually has one or more bonus tracks in addition to the core songs that were on the CD. And as of late there will also be an ‘HD Tracks’ version, which will either be at 88.2 kHz/24 bit, or 96 kHz/24 bit.

Most of the work that I do starts as either 96/24 or 88.2/24. Because I do so many projects, I have to be very efficient. I’ll do all the mastering work at the highest resolution and I’ll end up with a essentially a mother file, which is 96 or 88.2, 32-bit floating point.
That high-resolution file is used for whatever additional adjustments are needed to produce the standard CD, the ‘Mastered for iTunes’ version, the ‘HD Tracks version’, and often a vinyl version.
So, there’re a lot of different masters for each project.
So, multiple masters

Quote:How about vinyl records? Do you work in that realm?
Yes, recently, in the past couple of years, there’s also been a big resurgence in vinyl releases.
I don’t have a lathe here, so I don’t do any lacquer cutting. We send out our lacquer cutting to one of several different people. But I’ve found that you really do have to prepare the audio files that you send to the lacquer mastering engineer, you have to prepare them very differently than you do the CD master.
“[The Precision Limiter] is … the most transparent digital limiter I’ve ever encountered. It’s really great for doing any kind of music that’s primarily performed on acoustical instruments. You can do big changes to the dynamic range without really altering the timbre of the instruments or the essential character of the mix.”
It does add another layer of complexity that’s been a bit of a lost art. I don’t think most younger engineers really have a history with vinyl.
There has to be additional high frequency control, otherwise it’s really not going to cut well. While some lacquer engineers will take care of that themselves, I’ve found that others aren’t particularly careful with it. So, I usually try to get the files into a condition that if the lacquer-cutting guy doesn’t do anything, they’ll transfer to the vinyl OK.
And that brings up another UAD plug-in that I use a lot, which is the Precision De-Esser. If you use it in its high pass mode with slow release, it’s a very effective high frequency limiter for preparing digital audio masters for lacquer cutting. I always use it when I’m preparing sound files for lacquer cutting.
Also, you really can’t have as much bass on an LP record as you can on digital formats, because it just takes up too much real estate on the surface of the record and makes the grooves too large and violent. The Precision Multiband compressor is really useful for controlling the low end, taming it down to make it more lacquer friendly.

Quote:But things like determining relative volumes between songs — all that stuff’s done completely by ear. It always amazes me that increments as small as tenths of a dB are clearly noticeable when determining relative volumes.
06-26-2017, 12:03 PM,
RE: New single (BIY) and pre-order of "What's That Sound" album on Friday, J...
Quote:They tracked this to 24 track, two-inch analog at Sunset in LA where many of the original songs were recorded.

Sunset Sound has a "Studer A-827 24-track (additional charges apply)."

Quote:Introduced in 1989... The A827 has become the most sought after multitrack for music recording in the USA

03-19-2018, 10:21 AM,
RE: New single (BIY) and pre-order of "What's That Sound" album on Friday, J...
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Incense & peppermints
#bts #onset #musicvid #babyitsyou #whatsthatsound #keepinitclassy #throwback by: @__________han

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