gregorio
Headphoneus Supremus
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- Feb 14, 2008
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Quote:
Unfortunately, it's not that simple. Compression is not just a tool for making something very loud, it has positioning consequences as well. So, compression is added on a per channel basis during mixing and then a mastering compressor or limiter is usually applied during mastering. Don't fall into the trap of thinking you just click a few buttons on a computer to get a good master. Mastering is an art, and compression is just one of the tools employed by the mastering engineer. A good mastering engineer is like a master cabinet maker; the tools used by a cabinet maker are not really important, it's the skill of the cabinet maker which makes the difference. In other words, just using compression after the mastering engineer has finished is like giving a beginner a chisel and asking them to complete a Chippendale! A top class mastering engineer (like any master crafts person) is very expensive!! So in answer to your question: "how long does the compression process take durning mastering ?" - Probably an hour or so for a beginner but for a mastering engineer it may take many days to precisely apply just the right amount and type of compression throughout all the tracks on an album. Making a great album is a very expensive, collaborative process that requires a number of highly skilled and experienced professionals coming together at the top of their game.
It has not been uncommon in the past to create different versions. It used to be common to create what was known as a radio edit. A highly compressed version was given to radio stations for broadcast. Despite all the speculation, this is mainly where the loudness wars started, on the radio. It wasn't originally caused by the iPod generation but much earlier in the '90s when the labels discovered that a large percentage of music listening was happening in cars over the radio. The dynamic range of music on the radio was reduced (compressed) to allow car drivers and passengers to hear both the loud and quiet sections of the music even above the horrendous noise floor of road noise, engines, weather, etc. The record companies then realised that those highly compressed recordings sold better because people thought they sounded better, which they did, on a car radio. This all makes sense so far, but what happened next is that consumers wanted to buy the radio mix rather than the dynamic mix, then iPods came along and the rest is history.
G
Originally Posted by Meliboeus /img/forum/go_quote.gif I wonder why the labels don't jsut make a good mastering and put it on cd\dvd\wathever, then " compressed the hell out of it " and distribute it via itunes etc., i doubt it will cost very much more ( how long does the compression process take durning mastering ? ). And after all is for casual shuffled listening on an ipod that it makes sense to be louder than everyone else, a compressed track will probably sound even better on very low quality equipment. Two versions for two different targets of use. |
Unfortunately, it's not that simple. Compression is not just a tool for making something very loud, it has positioning consequences as well. So, compression is added on a per channel basis during mixing and then a mastering compressor or limiter is usually applied during mastering. Don't fall into the trap of thinking you just click a few buttons on a computer to get a good master. Mastering is an art, and compression is just one of the tools employed by the mastering engineer. A good mastering engineer is like a master cabinet maker; the tools used by a cabinet maker are not really important, it's the skill of the cabinet maker which makes the difference. In other words, just using compression after the mastering engineer has finished is like giving a beginner a chisel and asking them to complete a Chippendale! A top class mastering engineer (like any master crafts person) is very expensive!! So in answer to your question: "how long does the compression process take durning mastering ?" - Probably an hour or so for a beginner but for a mastering engineer it may take many days to precisely apply just the right amount and type of compression throughout all the tracks on an album. Making a great album is a very expensive, collaborative process that requires a number of highly skilled and experienced professionals coming together at the top of their game.
It has not been uncommon in the past to create different versions. It used to be common to create what was known as a radio edit. A highly compressed version was given to radio stations for broadcast. Despite all the speculation, this is mainly where the loudness wars started, on the radio. It wasn't originally caused by the iPod generation but much earlier in the '90s when the labels discovered that a large percentage of music listening was happening in cars over the radio. The dynamic range of music on the radio was reduced (compressed) to allow car drivers and passengers to hear both the loud and quiet sections of the music even above the horrendous noise floor of road noise, engines, weather, etc. The record companies then realised that those highly compressed recordings sold better because people thought they sounded better, which they did, on a car radio. This all makes sense so far, but what happened next is that consumers wanted to buy the radio mix rather than the dynamic mix, then iPods came along and the rest is history.
G