Mastering Gear At Sigil Of Brass
Prior to the digital revolution, mastering had a very defined set of functions. You brought your finished mixes on tape to a mastering engineer, who would often bounce them to another tape through various signal processors designed to sweeten the sound. The tunes would then be assembled in the desired order, and acetate test pressings would be made to evaluate the final product prior to mass-producing albums. Mastering was rightly regarded as an arcane, mystifying art. Few musicians had access to the high-end, expensive tools needed to do mastering, nor did they have the experience of someone who had listened to thousands of recordings, and knew how to make them ready for the real world.
Today, the tools for quality mastering are finally within the financial and technical reach of anyone who’s serious about recording. But 95 percent of mastering is not in the tools — it’s in the ears. Unless you have the ears of a mastering engineer, you can’t expect any plug-in to provide them for you. Besides, much of the point of using a mastering engineer is to bring in an objective set of ears to make any needed changes prior to release.
So does this mean only experts should attempt to do mastering? No. Firstly, not all mastering situations require a professional’s touch. Maybe you have a live recording that you want to give to friends or sell at gigs. Sure, you can just duplicate the mixes, but a mastered ‘veneer’ will give your listeners a better experience. Or perhaps you’ve recorded several tunes and want to test how they flow together as an album. Talk to a mastering engineer at [email protected]. When you do, you’ll be able to talk about what you want in more educated terms, because you’re more familiar with the process, and you’ll have listened to your work with mastering in mind.
Desktop Audio Workstations
For Computer-Based Work
Logic Pro X, Mixbus 32C, Sonic Studio Sound Bar HD, HOFA.
For A Better Understanding Of The Audio
I rent a room at Creao Studio, Harrogate. The room is a cork-lined, 25m2 room that has a very warm yet neutral tone. There is little to get in the way of me sorting your mix out.
A natural sound, uncoloured and accurately defined, even at high sound pressure levels, allowing you to accurately pinpoint and analyse all aspects of your creative output whilst minimise listening fatigue.
So what makes the NF-1 series so different? For a start, Fostex started with a blank sheet of paper when designing the three crucial components of the NF-1/NF-1A and new NF-01A; the LF woofer unit, the HF tweeter unit and the enclosure.
Reference Quality Headphones
The audiophile HD 650 is the ultimate in open, dynamic headphone design. Developed from the award-winning HD 600, the HD 650s feature improved materials for even better sound reproduction. They captivate the listener with their expressiveness and emotion while maintaining absolute precision and lifelike reproduction.
For Total Control Of Your Mix
With the DAW Software that we use, we have complete control over the EQ’ing of your mix – we use a variety of premium Software Parametric EQ plugins to get the sound just right. To add to this, we use Harrison Mixbis 32C. Mixbus 32C has the same engine as the legendary Harrison consoles of the 1970’s.
To Add To You Mix
Collected Over Time
I have a heap of mastering plugins by – TC Electronic, Brainworx, Elysia & Izotope … to name but a few. These help polish the final mix into something that we are both proud of.