by oasismastering | Nov 7, 2013 | Resource Links
Mastering for Vinyl
LPs are staging a big comeback, which means there’s a lot to know before you send your music off for pressing.
By Scott Dorsey
There’s something of a small renaissance in LP production these days, and we’re starting to see a lot of people in small studios producing material for issue on LP for the first time.
It’s not just in one sector of the industry, either. The guys producing dance music for DJ use have never really given up on vinyl because their customers like the ability to mix and scratch the stuff, but the techno music explosion has also brought in a lot of people intending to cut vinyl. There is an increasing amount of jazz being released on vinyl, and a number of small audiophile labels cropping up that release primarily on vinyl.
This is a bit of a problem, though, for people who want to get into this growth. LPs aren’t like CDs at all, in that a lot of manipulation has to be done to fit your material onto the disc. So there are a lot of things to watch out for that most folks who haven’t mixed for LP release might find a bit odd.
How LPs are made
Now, this stuff is actually more important than you think. When you release on CD, you don’t need to know a thing about the pressing process, because you know that the bits that get sent out to the plant will be the same bits on the disc you release.
This is not at all the case with LPs, and you need to involve yourself in the process a lot more. You also need to know how things work, because the probabilities of something going wrong are great, and you will need to talk with the manufacturing people and understand what they are saying. So a lot of this stuff may sound completely irrelevant, but it’s important in understanding some of the limitations of the medium. READ MORE
by oasismastering | Nov 7, 2013 | Resource Links
From Bobby Owsinski’s “The Big Picture-Music Production Blog”
8 Tips For Mixing For Mastering
While so many engineers now attempt to master their own mixes with mixed results (pardon the pun), just about every major label and large indie still sends their mixes to a pro mastering facility. Regardless of if you decide to master yourself or use a mastering engineer, here are some tips from
The Mixing Engineer’s Handbook to help you get the most out of your mastering session.
1. Don’t over-EQ when mixing. In general, mastering engineers can do a better job for you if your mix is on the dull side rather than too bright. Likewise, better to be light on the bottom end than have too much.
2. Don’t over-compress when mixing. You might as well not even master if you’ve squashed it too much already. Hypercompression deprives the mastering engineer of one of his major abilities to help your project. Squash it for your friends and squash it for your clients, but leave some dynamics for your mastering engineer.
3. Come prepared. Make sure all documentation and sequencing is complete before you get there. You’ll make it easier on yourself and your mastering person if everything is well documented, and you’ll save yourself some money too. Be sure to include shipping instructions and record company identification numbers, and if your songs reside on hard disc as files, make sure that each file is properly ID’d for easy identification (especially if you’re not there during the session).
Read more: http://bobbyowsinski.blogspot.com/2012/10/8-tips-for-mixing-for-mastering.html#ixzz2jv4N6BTw
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