Posts Tagged ‘Mastering’
Our good friend George Cochrane just finished his remix of Le Vice’s “2 O’clock”. The track was mixed by John (SQ) and mastered by Jeremy (SQ):
2 O’clock (George Cochrane Remix):
Right Click Here to Download (Save Link As)
Here is a preview of three songs off the new OJO record “Ocean View Estate” which is releasing tomorrow (July 13, 2010). The record was mixed by John (SQ) and mastered by Jeremy (SQ).
La Bolsa Blanca:
Three Rooms/Bubble Wrap:
Facing West:
The following are three tracks from Lazertag’s August 10, 2020 release “A Minor Loss of Fidelity”. Jeremy (SQ) co-produced, tracked, mixed, and mastered this great record.
Strange Glow:
Buildings Of A Former Century:
The Cold And The Silence:
So you’ve finished tracking and mixing your record and are now ready for mastering. The following is an article supplied by Mike Wells on preparing your content (i.e., final mixes) for mastering. While some of it may seem like common sense, it serves as a good check list and will help ensure that your mastering experience goes smoothly. You can find this article, as well as other great articles on mastering at Mike Wells website: www.mikewellsmastering.com.
- John
GENERAL NOTES:
Delivering Media:
You may deliver your digital files (.WAV, .AIF, etc…) via FTP transfer. Upon confirmation of booking your session, you will be provided with login/password information.
If you are mailing your media (any media type) and using the US Postal Service, you are strongly encouraged you to purchase Delivery Confirmation. The additional $0.50 is worth $500.00 in headaches when you don’t know where your package is and the USPS isn’t helping. Other carriers (UPS, FedEX, etc..) have tracking numbers by default. Please email the carrier type used and tracking number when you submit materials via the mail to avoid delivery problems.
Digital Processing:
In general, there are a number of tools available to you in your DAW that you should avoid using on your audio prior to mastering. Therefore, please do NOT use the following on your tracks after you have mixed them:
• Limiting / Maximization / Compression
• Normalization
• Fade-Ins or Fade-Outs
• Equalization
Track Sequencing:
You don’t need to have your tracks in the proper sequence prior to mastering. The proper track sequence will be created in the mastering workstation at the time of your session. It is, however, a very good idea to have an idea of what order you want the tracks in or a few versions of track order.
If you would like cross-fades to occur between any adjoining tracks in the sequence, I recommend creating an example of the crossfades, track sequence, and track ID’s as you would like them as an Audio CD. This will greatly aid in the sequence step of the mastering process.
Labeling:
“The More The Merrier” is the thing to remember here. The more specific your documentation is, the smoother your session will go. If you are submitting multiple mixes of the same track, please note the differences on your media. For example: Track 3 “A New Day” (Vocal +1dB).
ANALOG TAPES:
If you are providing your mixes to mastering on analog tape, please follow these guidelines:
• Print alignment tones on your tape for 30 seconds/per tone at 0dBu (1kHz, 10kHz, 15kHz, and 100Hz) at the beginning of each reel.
• Keep tapes tail-out to prevent print-through.
• Include the following information on each tape box label:
— Artist
— Release
— Contact information (Name, Phone number)
— Song titles included on reel
— Times per song
— Tape Speed
— Record level for 0dBu in nw/M
— Record eq (CCIR or NAB)
— Stereo or Mono
— Any notes you would like to add about the tapes
DAT MEDIA:
Follow these guidelines when submitting DAT tapes for mastering:
• Always send in a Digital Copy of your original DAT, and keep your original
Create a track ID marker at the beginning of each track on your source DAT
• If you haven’t mixed yet, it’s a good idea to start recording after the first 2-3 minutes on the DAT, to avoid any bad tape at the head of the cartridge.
• Print a 1kHz tone at 0dBu as it reads on your mixing desk. You will notice a difference in value on your DAT machine (depending on the make/model).
• If you will be mixing to DAT, I recommend using (or renting) a high-quality A/D converter to interface with the DAT machine, rather than using the converters built with the machine.
• Include the following information on each DAT tape label:
— Artist
— Release
— Contact information (Name, Phone number)
— Song titles included on cartridge
— Start times of each track
— Approximate length of each track
— Sample Rate (44.1 or 48)
— Bit Depth (16 or 24)
CD-R /DVD-R /DVD+R MEDIA:
Follow these guidelines when submitting removable disc media for mastering:
• ISO 9660, Hybrid, or Joliet formats are required. If you are on a PC one of these will come by default (most likely Joliet). If you are on a MAC, you will need to find the option in your CD Burning software to specify ISO 9660 or Hybrid (Mac & PC compatible). In software such as Toast this setting is in the Options dialog.
• Put your media in a case, avoid paper sleeves or no case/sleeve at all.
• Include the following information on each J-Card label:
— Artist
— Release
— Contact information (Name, Phone number)
— Song titles included on the media
— Sample Rate (16 – 192)
— Bit Depth (16 – 32)
— File Format used (.WAV, .AIF, .BWF, .SD2, etc…)
— Stereo or Dual-Mono
CD AUDIO:
CD Audio is the least-attractive option for submitting your mixes to mastering. For example, if you have been working in a 24-bit format (ProTools, etc..), then creating an Audio CD to submit to mastering is incurring a bit reduction that can be avoided.
ALESIS MASTERLINK:
If you are mixing to an Alesis Masterlink, please use or rent a high-quality A/D converter to use in front of the Masterlink, rather than its internal converters. Once you have your mixes in the masterlink, please name the tracks as specifically as you can using 8 characters and create a CD24 disc of your mixes. Why 8 characters? The CD 24 format is basically the ISO 9660 format, and this format will only create a filename with 8 characters. Therefore, if your track is called “A New Day” and it is the Vocal +1dB version, an example would be “NEWVOX_1″, etc…
OTHER DIGITAL/OPTICAL FORMATS:
If you would like to send in a hard-disc, or media from another external digital recorder, please follow these guidelines:
• Create a backup of your original media, and send the BACKUP
• Please advice in advance what format/media you are sending in. You will be advised if a rental is necessary.
• If the device supports export to a 2-track digital format like .WAV, etc… that may be a preferable route for you, simply provide the .WAV files/etc… on a CD-R or DVD+/-R.
This document is Copyright 2010, Mike Wells Mastering except where otherwise noted. It has been reproduced with permission from Mike Wells and may not otherwise be reproduced in any manner without the permission of the copyright owner.
Yesterday we got our masters back for the debut self titled Le Vice record (releasing February 16, 2010). As this marks the first project that I have both engineered and co-produced here at Studio SQ, I thought I’d take a little time to share some things about the band and the process of this record.
As our good friend Mike Wells put it, “how can you not like this music”. While many people would define the Le Vice sound as pop, r&b, or hip hop, I view them as first 80′s electro, disco, and funk – which is supported by a backing theme of pop, r&b, and hip hop. In simpler words, this is shake your ass music:
- SHY GUY:
- UH HUH:
- WHY FIGHT:
So far I’ve found that this record is appealing to just about everyone I’ve played it for. While it is being highly regarded by the local hip hop and r&b community, it is finding even greater success with the SF hipster scene and alt. pop enthusiasts. As cheesy as it is to say, I do think that there is something for everybody on this record.
The Band:
Le Vice is made up of four extremely talented musicians:
- Alex Lee (Vocals)
- Sean “Stilly” Stillenger (Bass & Keys)
- Renzo Staiano (Guitar)
- Darrin Thomas (Drums)
Alex (A.Lee) has been a successful hip hop artist for a number of years. In her new role as front woman for Le Vice she has broken free of the traditional “hip hop” role. Now a seasoned vocalist, she is delivering soulful melodies that are reminiscent of the disco age and early 80′s. Combine that with her powerful pop sound and rootsy hip hop swagger, and you’ve got A.Lee of Le Vice.
I first started working with “Stilly” back in 2007 on the debut Drone Hooligan record (indie folk/rock). He is a precise yet expressive session bass player (electric & upright). Originally schooled in jazz, r&b, and classic composition (romantic and post romantic) he eventually found his way into the punk/post punk scene. As one of the main songwriters for Le Vice, this diversity is ever present throughout the record.
Renzo simply rips on guitar. He is a Berkeley school of music graduate with a masters in ethnomusicology from UC Santa Cruz. As a professional touring musician in both Boston and California, he is well versed in many styles including affro peruvian, classical, son, jazz, funk, rock, metal, and more. In Le Vice, he brings that essential Quincy Jones guitar sound that makes even the most self conscious individual want to get down.
Darren is a solid, heavy handed, good old fashioned hip hop and soul drummer. He came from a musical family (both his father and uncle were musicians) and therefore first started playing drums at the age of 7. As teenager he found his way into gospel music and played regularly at his church. Later he attended the University of Nevada on a music scholarship and was the center snare of the drum line in the school’s marching band.
There are also a number of other talented musicians that made truly significant contributions to the record:
- Will Bates (drums)
- Travis Carter a.k.a. “Dj Traps” (turntables)
- John Bomarito (keys)
The Process
The band was formed in early 2009 and we first started working on this record back in May. As a newly formed band, a lot of their attention was focused on adding “live” instruments to a handful of A.Lee’s original hip hop works. But with such influential members the band quickly found its own unique sound. Therefore in October we took a fresh new approach to the recordings and began adding all new original Le Vice music. This record marks the success of that effort.
From a production point of view, I am proud to say that this record is 100% Studio SQ. Every instrument used came from our collection of in house gear. Some notable sounds that you will find on the record include Mini Moog, Prophet 08 Synthesizer (big part of their sound), Juno 106, custom Gretsch rosewood drum kit, 1976 Fender Precision Bass, 1981 Rickenbacker Bass, modified Fender Showman bass amp, custom Tweed Delux amp, Jeremy’s custom guitar amps, a handful of classic guitars and amps, and more.
My partner in crime for tracking this record is my business partner and good buddy Jeremy Rosenblum. Jeremy knows something about everything it seems, but in my opinion his most significant contribution to this project was with the key selection and guitar tonality. Jeremy knows our synth collection inside and out and was easily able to translate the needs of the band into the essential synthesized sound that you hear all throughout the record. In fact, many times he would simply ask “what are you looking for”, think about it, pull out a synth, and tweak a patch – to which everybody’s wide eyed response would be a unanimous “YES”. Its also important to recognize that one of Jeremy’s custom guitar amps is featured all over this record (as well as a few others modified by him).
As for my role, I focused on tracking, all mixing, editing, production advice, production direction and some structural composition. From a mix perspective, I relied on a balance between vocal presence and vocal layering. There is also a bit of vocal delay throughout the record – it turns out that both Alex and I have an itchy trigger finger when it comes to delays. Also this is a synth heavy record so the keys take center stage in the mix on many occasion. The guitars tend to sit in the pocket but do break out here and there. The bass is forward and midrangy. The drums are punchy when they need to be and subtle when they don’t. All in all it is pretty straight forward.
On another note I’d like to thank Stilly for being my mixing cohort. All of the band contributed to the mix process, but Stilly tended to be the one who was there everyday and worked with me into the wee hours… long live Glasses!
Again, this debut record by Le Vice is releasing on February 16, 2010. Feel free to visit the Le Vice website at www.levicemusic.com for links and future news on the band/record.
- John
Recently, a client asked us about the significance of ISRC Codes and digital distribution. After some discussion, I found myself reference the following article written by our good friend and colleague Mike Wells (Mike Wells Mastering). Please note that the article has been reproduced for this blog with permission from Mike. It, along with other great articles on mastering, can be found on his website at www.mikewellsmastering.com.
- John
—
“ISRC” stands for: International Standard Recording Code
What are they? What do they look like?:
Think of ISRC codes as a “barcode-per-track” or a “serial-number-per-track”. ISRC codes are unique codes that allow the copyright owner (artist, band, label, etc…) the ability to track sales and public performances of individual songs. Furthermore, you will find that digital distributors (CD Baby, IODA, The Orchard, etc…) will not be able to distribute your music to digital music stores (iTunes, eMusic, Rhapsody, etc…) without them.
The ISRC format consists of 4 codes:
1) Country Code
2) Registrant Code
3) Year Of Reference Code
4) Designation Code
Example:
US-Z03-99-32476
How can I get them?
ISRC codes can only be generated by an ISRC Agent, which are appointed by the IFPI/RIAA. You can apply to become an agent by filling-out the ISRC Application Form available at the IFPI website.
Additionally, some mastering facilities (including Mike Wells Mastering), most labels, and most digital distributors (CD Baby, IODA, etc.) can generate the codes for you.
Can Mike Wells Mastering generate ISRC codes for me if I’m an independent?
Yes, just request them when booking your session.
Where do I find them in my music?:
ISRC codes, when encoded into a CD, appear in the table of contents (TOC) which is within the Lead-In portion of the CD where track markers, CD-Text, etc… are stored.
Audio programs (Sequoia, etc.) and CD Diagnostics programs (Plextor Plextools, etc.) that can read CD TOC information can show you the ISRC codes contained within a CD.
What about MP3 and other digital asset formats?:
Digital music files (MP3, etc.) use a tagging format called ID3 (http://www.id3.org/) to label each files with information like Artist, Track Title, Album Art, etc…
At this time, support for the ISRC code as a tag has not been standardized. However, many tagger applications either have an ISRC field you can populate (assuming you have ISRC codes that have been generated for your release), or have the ability to create a field and call it “ISRC”.
Within the digital distribution marketplace (IODA, The Orchard, etc.), each digital distributor tracks your release information (called “metadata”) within their proprietary system.
Hopefully we will see a standardized tag format for ISRC appear in the future as the industry continues to move exclusively into the digital realm.
Who is the owner of the ISRC codes?
Agents generate the codes; the “owner of the recording” owns the codes. If you are the owner of the recording (band, artist, label, etc.), then you are the owner of the codes even if another party (such as a mastering house or replication house) generates them for you.
When should I apply the codes?
It is best to apply the codes in the mastering stage, as the codes then become embedded in the masters TOC (Table of Contents), and are replicated with the product during manufacturing. This allows the codes to be picked-up when encoding into digital distribution assets such as MP3/AAC/etc. and guarantees the widest possible coverage of the codes as they map to the songs.
Uniqueness in the marketplace:
It is worth mentioning, that it is possible for codes to be re-generated by other parties. For example: You have a local band record with you, you send them to a mastering house that generates ISRC codes for the tracks and embeds them in the master. The band then replicates the product themselves and sets-up an account with a digital distributor (CD-Baby, etc.). It is now the bands responsibility to inform the digital distributor that their product already has ISRC codes, and these codes should be carried along per-track into the digital distributors’ model of encoding and submitting songs to digital retailers (iTunes, etc.), as the band is the “owner” of the codes, and per the specification, there should be only 1 code per-song (remixes and other special circumstances aside, see the ISRC Handbook for more details).
Additional Information:
ISRC Homepage at the RIAA: http://www.ifpi.org/content/section_resources/isrc.html
ISRC FAQ: http://www.ifpi.org/content/section_resources/isrc_handbook.html
ISRC Agent Application: http://76.74.24.142/F7901D48-88C3-3020-4EDD-641E60985ADB.doc
ISRC Handbook: http://www.ifpi.org/content/library/isrc_handbook_2003.pdf
RIAA FAQ on ISRC:
http://www.riaa.com/whatwedo.php?content_selector=whatwedo_is_r_c_codes
This document is Copyright 2008, Mike Wells Mastering except where otherwise noted. It has been reproduced with permission from Mike Wells and may not otherwise be reproduced in any manner without the permission of the copyright owner. Last updated 02/2008.
Mike Wells of Mike Wells Mastering has been working with Leo’s Pro Audio (Berkeley California) to provide a number of audio related seminars called the “Audio Outreach Series”. Earlier this year I had the pleasure to sit on a panel of Studio Owners and discussed “How to be an effective Intern”. Later, my partner Jeremy Rosenblum (co-owner and technical guru) gave a demonstration with Mike on the world of soldering covering tips, tools, techniques, safety and troubleshooting.
Needless to say, both Mike and Leos are providing a tremendously valuable service to the audio recording community. The series itself has covered everything from mastering techniques to A/D converter calibration. So far all of the seminars have been filled with eager audio enthusiasts, working professionals, Berkeley Professors, and even the occasional antagonist!
If you are interested in attending future seminars within this series, check in with Mike’s website (www.mikewellsmastering.com) or the Leo’s Pro Audio website (www.leosaudio.com).
- John
Mike Wells, John Flores, and Jeremy Rosenblum @ Leo's Pro Audio
Welcome to Studio SQ’s first blog post!
We recently have launched our new website at http://studio.com. As part of this new project, we’ve created this blog to keep you informed on the San Francisco recording community.
The city of San Francisco (and the greater bay area) has had a diverse recording history. However, over the years the “industry” side of things appeared to have headed south to Los Angeles (and other markets). The reality is the industry has never left and currently San Francisco has an extremely talented recording infrastructure of professional artists, engineers, mastering gurus, producers, publicists, managers, music directors, composers, etc.
The main focus for this blog is to reinforce this bay area recording community. No doubt we will be posting interesting articles about Studio SQ projects and activities. But we are also dedicated to posting articles by the key industry professionals that keep this city moving forward.
Here are some of the topics we will be discussing:
- DIY audio projects
- Industry Activities
- Recording Techniques
- Mastering
- Publicism
- Marketing
- Gear Modifications
- Interviews
- Disc and Vinyl Manufacturing
- Etc.