Professional Sound - August 2017 - Page 40

(L-R) Lacquer Channel Cutting Engineer Kevin Park; Senior Mastering Engineer Noah Mintz; Senior Mastering Engineer Phil Demetro & Studio Manager/Mastering Engineer Maeghan Ritchat. PS: On that note, are there any other current technologies or trends in audio mastering or audio production in general that are signifi- cantly impacting your profession? NM: Plug-ins are changing mastering for better and for worse. Plug-ins are getting better. The UAD plugs sound very close to the analog gear they are emulating. They are still missing some- thing. I don’t think they can emulate the sound of the actual power of analog equipment. Every studio has different power. The same piece of gear can sound different in different rooms; all UAD Pultecs sound the same in all studios. PS: Overall, do you find music creators today more or less in tune with the impor- tance of professional mastering when it comes to a formal release than they gener- ally were, say, five years ago? What do you think contributes to that? NM: I think mastering is much more misunder- stood than it ever was. It used to be a “black art” in which people didn’t know what we would do; they would just send in mixes and it would come back sounding better. Now, there is so much information out there that everyone knows something about mastering but much of it is false information. People’s expectations from mastering can be way beyond what mastering can or should do. Good mastering is evident unto itself of its value. PS: As you said, vinyl is still a popular com- modity for music releases while digital downloads and streaming are now the dominant method of consumption, mean- ing creators often want different masters specific to these platforms. Maybe it’s not so cut-and-dry, but is this something that ultimately benefits the professional mas- tering industry? 40 PROFESSIONAL SOUND NM: Vinyl records can sound great. The prob- lem is that rarely do p ѕȁ͕Ʌѕ)ȁ٥尸]Ё́хɐЁݔЁɔ)ɑ́ɔͼݔ܁ѡЁ٥封ѕȁ)ɕѕɕѱ丁䁵ѕɥՑ)ȁݽѠѡȁͅЁ́ѡ̰ЁݥѠ)ͼɕɑ́ͼ)ѡ͕ٕ́ѕɥ̰ѡ)ѕѼɽ٥ѡͅѕȁȁ٥封ѡ)ѡ䁑ȁх$܁ѡ͔́ݔ)Ѐյ́ݕѱ䁙ɽͥ)Ց̰ɔѡѡɔѡ)ͅѕȁ́ѡхٕͥ]ݽɬ)ݥѠЁ͔Ёӊé͡ѡЁѡѥ)́Ё݅ɔѡЁݥѠѱɄݽɬЁѡ)ѕɥхѡ䁍ٔՍѕȴ)ͽչ٥封ɕɐ)Qձɥ䁽٥封ͥ́ѡЁ)յ́݅ЁͽѡͥѡЁͽչ)ɕЁѡɕ%ӊéЁ݅́ѕȴ)ͽչЁЁх䁡́ѡѕѥѼ)QɗéЁͽѡЁ)ͥѡЁЁݥѠɅѕѡ)ѡ䁅ɔՅ她ЁQӊe)Ё݅́ѡ͔)AL!́ѡձɥ䁽ɕ͕ȴ)٥ٕ́Ʌхյѥ)ѕȁݽɭ܁ȁٕɅɅѥ)䁽ѡȁ݅)94QɅѡЁɕ́ѡ)ѡɕ͕٥́ɔЁݕȁеɅєѡ)ѡЁɅѥAݡ̰݅̀)ݡٕ役ѡͥՉդ)ѽͱ䁅ɕ݅́Ё՝Յ䁙)ͥ9́ЁѡՅ䁽)ɕɕ͔ӊéɕ$ѡՅ)́՝ՔѼЁѼ䁙)ɕѼЁȁеɅє̸)]ЁٕeЁمՕѡՅ䁽Ց)ݔٔ٥9ݽձѼY!L)ٕѡ٥́ݕɔɕ)Qɔɔхɑ́ȁɕݡ)ݗeɔѕɥݔ݅́ٔѡЁ)]ٔͽ݅ɔѡЁݔ͔ɕѥ)ѼՑѥ܁Ёݥͽչѡمɥ)ɕљɵ̸%ЁͻeЁѕЁ)ѕɥͥ́ЁЁ%Ёͽչ́)Mѥ䰁ݔѼͽѡ)ѡѕɥѼɔЁͻeи]eɔ)݅́ѡЁ܁ѡՑݥ)ѕЁɕ٥尰Ʌȁٕ)͕єݡȁѕȁȁݽ͔́))AL=ɕѕєݡЁݽձԁͅ)́ѡЁѼȁȁ1Օ) éɕձȁɅѥ́ݕ)ͅ䰁ѡɕ啅́)94ݕɥѡЁѱ䰁$ݽձͅ䁥ӊe)͕ɥ丁ٕ܁啅́)ݕɔյ̸9܁ݔЁɔÁѡ)յ̸Qɗé́䁙ȁѥ́ͼѡɗe)́䁙ȁՑ̸]eɔɕ䁉䃊Lͥ)ѡݗeٕٔȁЁȁ́Ё)͔ɔݕȁͽ̰)ɔ她̸$ٕ役ɔ)Ё1Օȁ Lѡɔɔ̃Lɔͼ)ՍѼѼݡЁݔٔ$̴ٔ)ѕɥLͼՍͼѡЁ$eЁٔ͡ЁѡЁ$)ݽeЁѼɕѥɔѥѡЀذ)啅̸'eɔѡЁЁݡѡѥ̸)ȁܰ'eЁ$ЁѼݽɬ)ٕͥ呅丁=ѡͥ͵)ݥ́͡ݔЁɔQͥ)Ցȁ́፥ѕѼЁ)ٕ䁵ɹѼȁݡЁ܁ͥ$ЁѼ)ݽɬ%ӊéЁӊé ɥѵٕ́)ɹݡ$չѡ͔݅؁̻