Louis Hone:
> Now if an expert does not hear the difference on a tv,
> then he/she should not call themselves an expert.
> The public is much smarter than you think.
>
> If your statement was true, then why would a
> musician/singer/band pay money to have their recording
> mastered by you knowing that Joe Smith won't know
> the difference?
Instead of voicing off the usual mantra about how great I am and how many
disks I have mastered I will let one of the most well known mastering voices
in America tell us as he sees it.
Glenn Meadows formerly of Masterfonics in Nashville nowadays associated with
Mayfield Mastering in Nashville, http://mayfieldmastering.com/
Needless to say I agree with Mr Meadows handsdown.
Mastering engineer Glenn Meadows:
Subject:Re: [ProAud] ANALOG VERSUS DIGITAL BASS MANAGEMENT
Date:Mon, 26 Jul 2010 10:02:19 -0500
From: Glenn Meadows <[log in to unmask]>
Reply-To:[log in to unmask]
To:[log in to unmask]
References: 1 , 2 , 3 , 4 , 5 , 6
The reality is that there are really only 3 classes of people to please
in a specific order.
Formost, #1, Producer/Artist If you don't satisfy them, no matter WHAT
they really want, chances are, you won't be doing much more work for them.
Second, #2, The Record label. In some instances, they are equal, or
sometimes more important than the Producer/Artist, but typically, if the
producer/artist is happy, they'll be happy as well.
Third, and least, #3, the buying public. I learned many years ago, that
they are the LEAST important from a business standpoint (crass, but it's
the real reality). The vast majority of the buying public do NOT
respond purchase wise, to 1 db more/less of bass, or any other portion
of the spectrum. The buying public reacts to a different driver, the
SONG/MUSIC.... If they like the song, in most cases, they sonic quality
has no bearing on the fact if it's a hit or not.
It took _ME_ a long time to come to that realization. While I'll push
back on over compression/limiting, etc., the reality is that it's _NOT_
my music, and if/when my name is associated with the product, it's
typically one of the last lines in the credits.
While people here, and others within the engineering community will
approve/disapprove of the work based on the techincal merits, VERY few
in the buying arena will know, care, as they won't even know who
mastered the project until after they've bought it. (Can't see the
credits until they open the package).
It's always a challenge to balance the desires for "great audio" vs
commercial needs, the business realities, at least for me, dictate that
the needs of the commercial side for most of what I do drive the
decision tree.
It's rare that I get the project where the audio coming in the door is
even _IN_ a condition that will allow me to attempt to achieve both
great sound, and commercial competitive balance.
Glenn
http://www.nashvillemusicpros.com/profile/Glennmeadows
---------------
It is very easy to get caught up in all the technical details and polish the
turd endlessly in an effort to shine personally but if I use all the
buzzwords in front of normal people no one will understand a single word and
what that have to do with the music.
If you are pleased by your work and you get paid in the end thatīs very nice
but thatīs enough in my opinon.
> The public is much smarter than you think.
How can they know anything about the music buisness unless heīs working in
it?
Just bring all your wonderful toys to the next dinner and ask normal people
about them and all youīll get is all blank eyes for sure.
Just my own +50 years experience of course.
YMMV for sure.
--
Best regards,
Goran Finnberg
The Mastering Room AB
Goteborg
Sweden
E-mail: [log in to unmask]
Learn from the mistakes of others, you can never live long enough to
make them all yourself. - John Luther
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