Mastering information

Manufacturers, engineers, and scientists have worked for decades to broaden the capabilities of audio equipment. Audio consumers have yearned for the highest quality playback. The factors that determine audio fidelity have been stretched and optimized to bring consumer audio into realms of realism and fidelity never experienced before. The ability to record, manipulate, and deliver nearly perfect audio to end listeners has been achieved. Yet in these times of audio perfection deliberate damaging processes degrade the consumer audio experience. This paper demonstrates that the pursuit of loudness and the reduction of file sizes undermine the quality of consumer audio.

Audio systems and distribution methods in use today are capable of creating and delivering the highest fidelity ever available, yet little of what is conveyed to end listeners approaches the ideals of high fidelity.

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We get a lot of questions about what an online mastering studio is and how it operates. We have a physical brick and mortar, purpose built, mastering studio. All we do is mastering. We don’t have equipment for mixing, we don’t have microphones, and we don’t have equipment for recording. We have an audiophile listening environment that has been carefully tuned to be able to know what is going on with your music and your masters. 

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There has never been a better time in history to participate in online music mastering. Because of the speed of today’s Internet and today’s networks, the ability to upload your music files to an online mastering facility has created a revolution in the music mastering industry.

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Should I Send MP3 Files Out for Mastering?

In a word: no.

The MP3 format is a data compression scheme used to remove the data from an audio file that scientists have decided that you can’t hear. Data compression comes from computer science is not the same kind of compression that we use to reduce dynamic range in audio.

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Should I Master My Own Music?

While it is true that there has never been higher quality audio tools available for a lower cost at any time in history, this does not mean that every last person who can open a software box is an experienced audio or mastering engineer.

Sometimes it may seem an attractive option when a friend of yours offers to master your mixes for a very low cost. It may be even a more attractive option when you think you can master your own project for nothing.

 

 

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Luke Gilfeather from TheMasteringStudio.com was recently interviewed by an online audio journal.  Please find the interview below.

1. Tell me how you start. What is the first thing you listen for when you get a record to master?

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Louder is Not Better

We at TheMasteringStudio.com have been in the mastering business for many years. We have been delivering world-class masters to hundreds and hundreds of customers from all over the world. We have earned and developed many wonderful relationships with artists, producers, musicians, bands, and record labels from all over the world. We have developed a repeat business client base that indicates to us that we are exceeding customer expectations.

A subject and desire that often comes up from customers is to make their music sound louder.

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When mixing a project that is going to be mastered, we at TheMasteringStudio.com are currently recommending that you aim for about -4dBFS on the meters of your two mix. 

The reason for this is twofold. First of all, not all peak meters actually show all of the overs. One must have specific oversampling meters to show every last digital clip. Audio programs such as Pro Tools and Logic do not use oversampling meters simply because of the resources it would take for your processor. When you pretend that -4 dB is the top of your meters it is a safety mechanism to ensure that even though the meters might not be showing every last over, you’re still not going into distortion.

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