my master will go on vinyl

Mike Rivers writes:

Back in the vinyl days, people mixed in the control room to get
what they wanted it to sound like. There was none of
this "we don't have great monitors so we'll let the
mastering engineer tune out our mistakes" that's so common
today. We would sometimes send along instructions to adjust the
level of a song up or down, and sometimes overall reverb was added
at mastering because they were the ones who could afford the good
reverb units or had the good live echo chambers.

True, and still my attitude toward most projects that have
gone elsewhere for mastering. I might ask the mastering guy to tighten up a fade a bit, especially when mixing to 16 bit dat back in the day, and at what point I'd like to be faded
out by, and where should be good starting point for fades.
OTher than that, what I wanted to do was have the mastering
guy prep the mixes for the run of compact disks, sequencing, etc.
MOre than once I"ve sent a client's work to somebody and put in bold type on the instructions, especially if it was going where I couldn't be there for mastering session "don't step
on it!"

Even if the project leaves with a good mix, we expect
different things from mastering than we used to, most of
which aren't really commensurate with disk cutting. I think that's
why Scott is suggesting that as long as you have a
mix that sounds good on an accurate system, you should just turn it
over to the mastering engineer to cut it and make it sound as close
to what you gave him as possible.

Good advice from MIke and scott for Alex this thread.

I've had to tell more than one mastering guy "no no no,
don't try to make it louder dammit!"

IT's a tough concept to sell to some of these guys. IF it
was mixed in a good room then I was damned sure it sounded
like I and the client wanted it to.




Regards,
Richard
.... Remote audio in the southland: See www.gatasound.com
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