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Combover Mastering

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  1. Can't tell but the console looks like a Trident Series80 B. The monitors look like Cornwalls in the pic but maybe Heresy's. Hard to determine the size.
  2. So.. The 2 pie digital releases will be available this week on iTunes etc. I'm excited for these guys! About to start ep number four as well! I'll post when they're ready. we are also going to release the first two albums digitally! Later we we are talking about doing an all analog and releasing to vinyl and cassette only release with no computers involved. That one will be called 5 and would have to be ordered like the olden days. Matt Whatley Combover Mastering
  3. Accurate room and monitoring are 100% key to great translation across the board. Then it's experience, skill, and many X-factors. Yes as mastering guys or gals we have to make sure it translates on any system skillfully and well. It would be ideal to go to anyone's given room and car and do an eq process, dsp, etc. to every song in their library and Tweak everything individually to their listening situation...... it's not possible though.
  4. I actually agree on the above which is why I'm open to do a completely non-limited, yet still mastered otherwise version of the 2 Kinds of Pie "Houdini" album. I think it would be a lot of fun. I agree that high end systems would benefit from it. it's just not always doable (clients, market etc.) but when the schedule frees up, I'll do it. I think it'd be great for this group and others like it. A fun experiment. Won't be market changing but a whole lot of fun. Matt Whatley Combover Mastering
  5. Right Michael! I agree with all your thoughts on the matter! Yeah yeah, you work with me but put like a savant. I'd like to add. Yes, loudness and limiting is part of mastering a commercial track but does not always have to be destructive. One must take great care and caution doing this. This brings me back to dtel's question. Yes we would remaster the hi-rez version with no limiter and it would be much lower loudness and have a bit better dynamic range. I would want the energy of the tracks to remain the same as the original master though because that's how the artist wanted it. May use a compressor conservatively at -2db gain reduction for a little bit of glue. There is so much more to mastering than EQ. Sometimes you need to work the EQ in mid side rather than left right. Sometimes compression is required for glue. Sometimes you lift side info for better width. Sometimes you EQ particular frequencies in the middle for better depth. Sometimes you compress the sides to bring out the room. Sometimes the mix may have a de-ess issue, and a very finely tuned de-esser is needed. I'm just saying mastering IS NOT just about volume or loudness. If the industry ever changes. I won't use the damn limiter. hahaha! For the record, we do not use a limiter on classical and hard jazz tracks. Matt Whatley Combover Mastering
  6. Dwilawyer, Thanks for the compliments and Good point. Yes the monitors and the room one is working in is most important. These monitors are incredibly flat, in fact I believe Roy measured them anechoic flat all the way down to 27hz. 27hz-22khz and ruler flat is unheard of out of a nearfield. Mastering is a special art and normally I would prefer not to master something I tracked and mixed because I feel a new ear is important at that stage. However, in this case the artists insisted because Mastering is the true "Forte" at Combover so we took a 3 week break from the project to reset our hearing, then mastered using the gear mentioned in my last post. While indeed the album was recorded and mixed very well, the mindset has to be very different on the mastering side because the mix is the mix no matter who I get it from, so rather than thinking in terms of balance and creative ideas and does it sound great, i think in terms of depth and space and does is sound like a finished record. Hard to describe in words but here is a link to some mixed vs mastered a/b's that will better describe what I'm trying to say. All are good mixes from various studios but compared to the mastered files we finished at Combover the gap is huge. https://www.dropbox.com/sh/m1fg357t2cdynqn/AACuDh8I02FeHFFbHWjWBF_Ea?dl=0 Regarding compression in mastering. Only used to control hard transients and things that may get a bit out of control. One must never kill the dynamic range by over compression. Dynamics are very important to me. Yes indeed, some mastering engineers do make the mistake of over compressing. Matt Whatley Combover Mastering www.combovermastering.com
  7. Bruce, Lynx Aurora (BUT THE NEW ONE) get the blue one and it's configurable. Start with 8 and move up if you need. FYI, the Lynx Hilo sounds as good as the Hapi in mastering scenarios In my opinion and the new aurora is based around the Hilo.
  8. Hey fellow Klipschers! Glad everyone is digging! Regarding hi-res. The highest we have right now on this album is CD quality 16 bit / 44.1 because that is what the client paid for on the mastering side. Seeing that there is a need though we may go back later and do a remaster at 24 bit / 88.2. Seems like a cool thing for groups like this one. The process was a blast. We recorded digitally in Logic Pro X at 24/88.2 but with an all tube front end and very high end mics. All line devices were tube as well. Key pieces of gear for this project were. conversion: merging technologies hapi Mics: geffel um192 tube condensers modded by Frank Lavala. line gear: Hendy analog stage mic pres: Hendy Picasso's (all Vocals and guitars and several other things) mastering stage: Hendy Michelangelo eq and Hendy pollock compressor. Manley Massive Passive EQ, etc. wonderful musicians and friends (David Novey and Jim Toler) and the best assistant engineer in the world, Michael Delgado. And plenty of beer. Matt Whatley Combover Mastering
  9. Here is a smart phone formatted video we put together for fun of one of the singles. Something for while you wait on the CD's to arrive. Enjoy on your Klipsch cans or buds! https://www.dropbox.com/s/1tesslj8u6pazeu/PIE CREEPY VID 2.mp4?dl=0 Matt Whatley Combover Mastering
  10. Fun smart phone formatted video for one of the singles. Enjoy on your Klipsch cans or buds! https://www.dropbox.com/s/1tesslj8u6pazeu/PIE CREEPY VID 2.mp4?dl=0 Matt Whatley Combover Mastering
  11. ATTN dtel Yes Temptation is a great track from their first album. Combover mastered that album as well and also the 'but don't eat them' album. Houdini is the album they just released that we did all three phases (recorded, mixed and mastered). https://store.cdbaby.com/cd/2kindsofpie Matt Whatley Combover Mastering
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