Selecting a mastering studio.

[Keegan]

I'm currently working on tracking in my basement, and I intend to do the mixes here as well, but when that is all done, I'd like to have it mastered by a pro. This is going to be small budget short run project.

When I'm shopping around though, what kind of questions should I be asking besides rates, experience and gear?

And for any mastering engineers out there, when someone brings in a project like this what kind of things you like to see, or not see done to it already before you get your hands on it.

[hapbeat]

try Jon Cohrs at speenlessmastering.com - he's a great guy, fabulous ears, and you won't find anyone more accomodating or affordable (no, it's not me!) I believe he has a profile here at tape op, as he does some work with Larry.

[cgarges]

I'd say get some recommendations from people you trust about who they like. That will be far more valuable than calling up and asking if they've got a Variable MU.

Some places will do a sample of a song for free, but this almost seems silly as mastering is a process that affects the flow and outcome of the feel of an entire project. It's hard to make a judgement based on one song.

If you cold-call someone, tell them as much information as possible about your project and be blunt about how much you can afford to spend and how soon you need to have the project done. Most mastering guys I know will appreciate this.

The worst mastering job I ever heard done on my work was done by a relatively expensive guy with great gear and an impressive client list. The guy was a major ass when I called to see about a revision. In the end, the clients went with the guy I recommended and were very happy. They never did get their money back from the big-name guy.

Do you want to attend the session?

Feel free to PM me for some recommendations.

Chris Garges
Charllotte, NC

[MASSIVE Mastering]

As far as done and not done - The mix should be done. Get it sounding as good as you can.

A big "don't" is overcompression and limiting - A couple dB of compression across the buss, if the mix is "asking" for it, is fine. Compressing for the sake of sheer volume is a big no-no, as is any sort of brickwall limiting.

If you're in 24-bit digital, there's really no reason that you should worry about high levels in your mix files - Quite the contrary - You should have your files PEAK at -6dB or so. Most mastering studios will use analog outboard gear somewhere in the chain, and the distortion that occurs in hot files going through D/A converters is well documented. Keep it open and airy so the guy (or gal) has some room to work.

Label your mixes in the order that they'll wind up on the finished product - "01 Song One" - "02 Song Two" - This avoids a lot of mistakes in sequencing with tracks that might get jumbled up otherwise. It also lets the engineer listen quickly to the flow of the project, which can greatly influence the direction he/she goes in.

[Keegan]

I really did hope to avoid cold calling people, just because that is time consuming and generally un productive. I've also learned enough reading posts here and magazine articles not to be impressed by a list of gear also. I'll have to ask around locally, and hopefully get some client samples.

I was hoping to attend the session mostly as an observer to learn.

I was planning on mixing to 1/4" 2 track, now I know the studios ability to deal with this just depends on what machines they have around, but is there anything to be aware with this. If they don't have a tape machine I suppose I can rent a DAT or something. This is really just a detail that I'd have to work out after selecting a studio.

I have a problem with the brickwall limiting...I have no intention of doing it myself, and since my style of music is finger style acoustic guitar I'ld like to retain as much dynamic range as possible. I would hate to loose some of the more subtle aspects of the sound. I will leave it to the professional to make the call when it comes to final compression and limiting.

[MASSIVE Mastering]

If the studio doesn't have analog two-track, don't bother with a DAT machine - Just mix to 24-bit PCM data (wav, aiff, etc.) and run them to a disc.

[Keegan]

Pardon the ignorance, but how would I do that?

I'm tracking to an ADAT, and the only two track I have is my Tascam 22-2. I'm assuming to get the audio to some digital format I would need some digital recorder, be it a PC or whatever. Now given that the ADAT is a digital machine, are there any shortcuts?

[antilog]

nah, you need a 2-track device. that said, i would be a little skeptical of a mastering house that doesn't have a 1/4" 2-track deck.

[kcrusher]

I can strongly recommend Trevor at Mastermind Productions (www.mastermindproductions.net). He's the awesomest and has great indie rates.

[Keegan]

I haven't contacted mastermind, but when I looked at the website the only rate I could find was like $200/hr. Is that common for mastering, it seemed very high to me? They are actually local for me, so it would very easy for me to attend the session there. That is why I looked initially, but I thought they would be too expensive. I should call and geta more detailed quote.

[logancircle]

I would check out DRT Mastering www.drtmastering.com Their ME is David Torrey, and he uses all analog gear (except obviously his digital playback device), old vaccum-tube joints and analog eqs and all. Check it out: we did our 11 song CD for $575 using the Basic Mastering package with rush delivery.

c

[@?,*???&?]

In your own CD library, there must be at least one disc that sounds something like the style of music you create. Who mastered that disc(s)? Start there, forget the cold calls. On that line of thought, who mastered a disc that you thought had impact this year? Most of the gear stuff is online on various websites as well as discographies. You won't speak to the mastering engineer on the phone anyway at most places, you'll get reception as they'll be busy with paying clients.

[radiantbrian]

I haven't contacted mastermind, but when I looked at the website the only rate I could find was like $200/hr. Is that common for mastering, it seemed very high to me?

guys like that will always cut you a break if you tell them your situaion (small run, self-financed, etc.). plus mastering doesn't take more than a few hours unless you are doing some really complex sequences, aren't prepared properly (test tones, etc.), or come in with a box full of tangled, cat-chewed tape.

that said, be prepared to pay at least $400-500. it's really worth it though.

[bigtoe]

"The worst mastering job I ever heard done on my work was done by a relatively expensive guy with great gear and an impressive client list. The guy was a major ass when I called to see about a revision."

same here.

a second for mastermind. it is the coolest and indie is way under his normal rates. try to attend and hear his monitoring which is really sick - you'll learn a lot about your tracking and mixing!

Mike

[Keegan]

Since I am relatively new to this, being able to attend the session is something I really want to do. Mastermind is close to home so that works out. I'll just have to work something out with them regarding the cost, this is going to be a short run/self financed venture.