Ambient mastering, whom would you choose to do it?

On 2010-03-14 05:14, xuam wrote:

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On 2010-03-02 20:37, andrew interchill wrote: re mau and vice versa - we paid for him to fly from Italy to London and attend the session because we wanted his ears and opinions in the room. He approved the master we went into production with. Now he feels it is too loud. if he felt so at the time then he did not do anything to correct it. if you read the article he posted the basic gist of it is that loud mastering with overcompression and loss of dynamic range is killing music. but that does not make such a catchy title. you are right that it is a really interesting article - and it underlines just how subjective a process this can be. not all mastering engineers will give the same result. indeed - if you're interested you can give the same track to different people and then compare the results and choose the one you prefer to go on and master your album.

cheers Andrew...alla salute...
oh well...yes...I went to the mastering studio...you payed my flight (tnx)...and it was all good in front of the monstrous massively expensive speakers of mr Blackman (who btw seemed to be bored and never smiled once during the all process...probably worried about some bills he needed to pay or some girlfriend who dumped him the night b4)...BUT:.....when I listen to the final result on some speakers affordable to the rest of human kind and finally did a A/B test with some time and patience (that you never have in a studio that cost 150£ an hour or more) or I played the album on bigger soundsystems...I realized that the mastering session was not so great...and if we want to get technical mr Blackman used a very slow release on the compressor that killed the attack of the transients...(sorry to be so techy)...and pushed too much the low end (because this is what he is famous for)....
I repeat it...mastering is killing music...very often it does that...and I prefer the umastered version of viceversa....raw..cheaper and more real...sorry bout that...
for those who are interested go and read this article by mr Monolake who didn't use any compression in the mastering of his last album "Silence":
http://www.monolake.de/interviews/mastering.html

I reckon that label managers are probably the most ignorant in the matter....they usually only care about the loudness and the glossyness.

On 2010-03-28 16:08, Luca@BlueHourSounds wrote:

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I reckon that label managers are probably the most ignorant in the matter....they usually only care about the loudness and the glossyness.

Agree with it!

I'm the example here.. but i'm trying my best to understand and learn.
So far i can say that there are plenty of artists
that need a better structure for their
music before sending anything to a studio.

Also, compilations are a different thing compared to albums..
To fit together more artists sometimes seems to be such a mission.

I had the luck to work, or to speak with people that is into this topic since years;
Moreno is one of them..
Many points of view, many results, and now i have a better vision of the whole issue.

I think that people like Master Margherita, with proper studio equipment, doesn't need much work
to release proper music.
Because artists like this knows how they want their music to sound like.

but many are following tips or friends suggestions that are not fitting with the music they do,
but maybe just with some MARGINAL RULES they read somewhere.

For this people studio has to do the interesting magic.. Aes Dana is a good one,
because he's flexible, even if he's signed as 'the deep and intense one'!

Label manager are ingnorant.. but they can improve!