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Q. What is mastering? A. Mastering is the last step in the creative process and the first step in the manufacturing process. It is the point at which the different elements of a project come together. These days, when musicians and bands can record an album in their basement with little more than a Mac and a mic, the one step in the recording process that still remains essential is mastering. It separates a demo from a finished commercial product and is the last step in the creative process before your album goes to the manufacturer. Mastering is your final opportunity to make changes, before replication, that will affect the overall sound and dynamic of your record. The mastering process has three basics steps. In step one, using judicious equalization, compression, limiting, and stereo width adjustment, we adjust individual tracks so they flow seamlessly in an organic whole. Step two is sequencing, where we trim the tops and tails, create fades, and adjust spaces between tracks. The final step is the creation of the production master that will be sent to the factory for replication. Mastering is the final gentle push (or kick in the butt) your record needs to sound as great in the real world as it does in the studio. With almost twenty years of experience, our Grammy-nominated mastering engineer Mark Donahue has mastered literally thousands of records for internationally renowned artists, bands, and orchestras. His expertise ensures the final polish your album deserves.
Q. What is the difference between "I got a buddy who can master my record on his laptop" and having my record professionally mastered? A. Once you have finished mixing your album, there is no replacement for the experience and tools of a mastering engineer. While many people today have access to plug ins and workstations in their home studio, a typical mastering engineer sees 150 to 200 records per year in the same controlled environment of the mastering studio. Also, an intimate knowledge of the highly specialized tools in the mastering suite cannot be understated. Additionally, an extremely accurate, full range listening environment is the mastering engineer's sharpest tool. When it comes down to it, if you can't hear all the subtle information in a mix, all the gear in the world won't help you create a good master. The processing used by the mastering engineer is very simple: equalization, compression, limiting, and stereo width adjustment. While the processing may be simple, the tools the mastering engineer uses are highly specialized. They must be precise and resettable, and are of a higher quality and resolution than those found in mixing. At the end of the day, you get what you pay for in mastering. An inexperienced mastering engineer can, in fact, do more harm than good. An exceptional mastering engineer, however, can listen to your music and make an informed decision about what will ultimately raise your album to the next level.
Q. What formats can you master from, and which do you prefer? A. We accept the following formats: Analog: Digital:
We have worked with virtually every digital format that has existed in the last twenty years. If you have a tape for a machine that you no longer possess, we probably own or have access to the appropriate machine. Please contact us. In an ideal world you would record your mixes to the highest resolution format available. For analog this is _" 15ips with Dolby SR or 30ips without Noise Reduction. For digital this is 24 bit 88.2kHz through a good converter.
Q. What format will my master be in? A. The three most common formats for delivery of masters are CDR, DDP 8mm, and 1630 Umatic Tape. We recommend a 1630 to clients because it is created on a machine that can read after write during the recording process, thus making it possible to analyze and audition the master in the running time of the program. CDR and DDP masters can not be auditioned during the creation process and therefore require an additional step to audition for quality control. Please check with your manufacturing plant to make sure they can replicate directly from a 1630.
Q. What is a glass master? A. The term glass masters refers to a step in the manufacturing process which is done at the factory. The glass master is created from the production master you receive from the mastering studio.
Q. Can I bring in a CD as an example of a certain sound I am going for? A. If you have an album that you think represents the sonic qualities you are trying to achieve, we will take a listen and do our best to come as close to it as reasonably possible.
Q. How far in advance should I call to book time? A. If you call about two to three weeks in advance, you can usually get the day you want without a problem.
Q. Should I book time if my mixes arenŐt done? A. It's okay to book time beforehand, but make sure you allow enough time for the mixing to be completed. The most common reason for cancellation of a session is because the mixing was not finished.
Q. Do you require a deposit and is there a cancellation fee? A.
There is no deposit, however we take a credit card upon booking and
require a minimum of 24 hours notice for cancellation, otherwise one
hour of studio time will be charged to your card.
Q. Can I fix mixing issues in the mastering stages? A. There are certain mixing issues that cannot be addressed during the mastering stage. For the most part these are balance issues in the relationships between the individual elements of the mix. For example if the kick drum is 20db louder than the bass guitar, it is impossible to change one without affecting the other, because both instruments lie in the same frequency range. The changes that can be made are global, meaning they happen to the entire mix.
Q. Should I compress my mix prior to the mastering? A. Our suggestion is that if you are using a compressor on the stereo mix, it should be part of your monitoring chain and should always be there. This is because all the decisions you make in the mixing process will be affected by the program compression. We suggest that if you are not accustomed to using a compressor on the stereo mix, then you should not. Compression is the one thing that can not be undone in the mastering studio. If you have any questions at all you should print a version of this mix with and without compression.
Q. Do you have package pricing? A. Soundmirror does not offer package pricing. We bill on a half-hour basis only, plus materials.
Q. Do I leave with my master on the same day? A. If the session is complete and fully paid for, you are free to take your master. Soundmirror reserves the right to hold onto all masters until invoices are settled.
Q. What forms of payment are acceptable? A. All mastering work is C.O.D. We accept Cash, Visa and MasterCard. All checks will require the masters to be held at Soundmirror until the check clears.
Q. What time do sessions start and are you open on weekends? A. Sessions start promptly at 10 AM, otherwise there is a 4-hour minimum. Weekends and nights (after 5 PM) are billed at a higher rate.
Q. Do I have to be there for the session? A. While all clients are encouraged to attend, no one is required to be at the mastering session. If the end result does not meet your approval we are happy to make changes, but this time is billable.
Q. Will Mark Donahue be mastering my record? A. Mark masters all the records at Soundmirror, averaging over 150 a year.
Q. What is the difference between a manufactured CD and a CDR? A. A CDR is made one at a time, just like on your home computer. Manufactured CD's are replicated from a stamper to insure they are all identical.
Q. What is your policy on sampled material? A. If you are using samples on your record, we urge you get them cleared. Most manufacturing plants will refuse to replicate masters that contain illegal use of copyrighted material.
Q. Can you transfer things onto CD? A. We transfer from most analog formats onto CD or other digital mediums as requested. Keep in mind all things are transferred in real time. A good way to estimate studio time for transfers is to multiply the total running time by 1.5.
Q. Do you do restoration and forensic work? A. Soundmirror is equipped with all the latest no-noise technology. We can restore playback to virtually any source created in the last 50 years, including court transcription tapes. Soundmirror has been involved in digital restoration since the mid-eighties, and has worked on projects for clients such as Harvard-Radcliffe, the Boston Symphony Orchestra, the Suffolk County District Attorney, and the Kennedy Library.
Q. What kind of gear do you use? A. Soundmirror uses only the finest in analog and digital equipment. Analog playback is from Studer and Ampex with custom Aria Electronics. Analog processing includes equipment from API, Summit, Neumann, NTP, Millennia, and custom in-house designed equipment. Digital processing is from Weiss, TC Electronics, Lexicon, Pacific Microsonics, and Waves. Workstations are chosen based on the project and they include Sonic Solutions HD, Pyramix DSD, Nuendo, and Sony Sonoma.
Q. Can I come in for a tour? A. Soundmirror is constantly hosting clients for sessions and for this reason we can not accommodate tours for mastering.
Q. Where is the best place to park? A. There is two-hour parking in front of our building on the corner of Green and Cheshire Street. All other parking in the area is residential. If you park in a residential area you will receive a $35 ticket from the City of Boston. The easiest way to get here is via the Orange Line at Green Street. We are two blocks up on the left at the corner of Green and Cheshire Street.
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