All frequency points have been carefully selected through years of experience and feedback from some of the most notable engineers around the world. This kind of circuit has not yet been achieved in any other equalizer. To increase the interval, turn the knob clockwise. All connection cables were provided by AudioQuest. You can get the same result by using the sum and difference principle to cancel stuff out. Bypass of each band and constant Q of the left side can be controlled by the right side in Link mode. All five bands can each be activated or deactivated and you got the possibility for every single band to separately switch between Constant Q and Proportional Q.
The processors were then available for readjustment to suit the next track. We tend to perceive these attributes in terms of an increased suppleness and transparency, with perceptibly improved, silky highs and warm and punchy basses. Selectable Frequencies Each channel provides five frequency bands, all fully parametric and independently selectable. Especially the mid bands are more harmonious for working on program material. During the mastering of another track called Dreaming By Gaslight, Ray commented that there was some bass flying around which needed to be dealt with in some way.
Thanks to the detented potentiometers, a precise recall is very easy to realize. I don't use the program for processing, I just need a good editor that sounds clean and is fast to use. At Dominion Mastering our primary concern is client satisfaction. I am not hearing anything holding it back in any way. I can get my analog chain to behave with exactly the right signal to noise ratio that works for my system.
All trademarks are the property of their respective holders. All frequencies are set with 12-position switches. I had compiled a short list of albums which I thought had vaguely the same palate of instruments, or at least a similar arrangement density as my own tracks. This gives you the possibility to perform small corrections, as common in Mastering or higher amplitudes in Proportional-Q mode. Our Mastering Engineers Multi-Grammy winning and nominated engineer, Erick Labson graduated magna cum laude from San Francisco State University, where he earned his B.
. It features the same amount of boost and cut frequencies, though the choice of frequencies is altered and the Q-factor is more musically adjusted for each selectable frequency. Because of that, the vocal sounded a bit sweet in comparison, so bringing out the middle helped take it in the same direction. The importance of a well-mastered recording cannot be overstated. Ray began by roughly topping and tailing each song fairly closely so that there were no random noises interfering with our judgement, and by placing a nominal gap of a few seconds between each one. It features stereo and dual-mono operation as well as five separate bands per channel.
Orders billed to PayPal, other digital wallets e. Obviously, mastering engineers get as much experience of dealing with manufacturers as anyone, so I asked Ray for some tips or notes of caution. The Hara mode is quite transparent and more like an ordinary compressor, but K1 is more like an opto-compressor in that it helps everything gel together. I've even experienced variations in quality from the same factory. From there on, it was a matter of listening to the end of one song and the start of the following one to see if the space felt right.
On those rare occasions I've had to go back and rework everything in relation to the new track. In proportional-Q mode, on the other hand, the bandwidth decreases as the amplitude of the band is boosted or attenuated, allowing for more musical choices. This month we look inside the mastering room during the processing of an album, to see what kind of equipment is used, and the sort of things that are done to finish the tracks to the required standard. Finding the right processing for the first track certainly took longer than it did for any of the rest, partly because it provided a starting point for the other tracks, but also because it was necessary to do some experimentation to establish the limits of the material. Thanks to the big detended output control, you can increase or attenuate the output level by 10dB, to drive the following devices with the perfect desired level. As we were on a flow, I decided to master a few more songs before going back to that one. However, when we tried pushing the compressor just a little more, the level did raise without detriment to the track.
Before going any further, Ray wanted to discuss how I wanted the tracks to sound. This led to a contract doing all recording and mixing for the Phoenix Symphony Orchestra, where he worked with talented soloists such as Doc Severinsen and Yo-Yo Ma. If you talk to an engineer they might be able to recommend a company they've used, but I suspect some agencies use more than one plant if they want a quick turnaround. This gives you the possibility to perform small corrections, as common in Mastering or higher amplitudes in Proportional-Q mode. With no immediate singles planned, and no drastic last-minute changes to make, we didn't have any big edits to make, so this last part of the process was relatively quick.
Unsurprisingly, the Maselec control console seemed to be extremely flexible and well designed for this purpose. I mix and match as I need to, but I tend to use the least amount of equipment possible. Any more than that and we would have been losing too much snap out of the snare and guitars, because those sounds are in a similar area. This kind of circuit has not yet been achieved in any other equalizer. Please contact us for more samples of work done here and to schedule a consultation. Ray explained that the rest of the session would hinge around the first master, and therefore it was necessary to pick a song with the right kinds of elements, whatever they might be.