Re: [microsound] usefulness of compressors/mastering in experimental music

[graham miller <grahammiller@xxxxxxxxxxxx>]

you might want to e-mail twerk (shawn hatfield) about this - that's what
he's doing these days:

http://www.audibleoddities.com/

from his website:

Audibleoddities, a mastering house located in the heart of San Francisco,
owned and operated by Shawn Hatfield (twerk), recording artist for labels;
Force-Inc, Mille Plateaux, Context, Cytrax, Merck, Planet Rhythm,
Template, Tigerbeat6, Ritornell, and 240 volts.

High quality digital and analog mastering services are provided at low
costs bringing affordable mastering to the underground and independent
music community.

With over 7 years of experience mastering everything from dance music,
hip-hop, drum and bass, glitch, obscure experimental, jazz, indie rock,
spoken word, and folk, Audibleoddities has the ear for today's current
trends in mastering, balanced with an understanding of both modern and
past technique.

hope this helps - i know personally, i've been dealing some these
mastering issues in my own music.

g.



Anthony Saunders wrote:

> I've been reading about compression and mastering lately and everything
> is written from the perspective of pop, rock, or techno music. Can
> anyone point me at any documents that discuss mastering & compression
> with a less pop-centric perspective? Or failing that, recommend any
> really good discussions of this?
>
> I've been recording enormous ambient/noise/granular tracks lately and
> am pretty happy with how they sound; I would however like to read more
> about mastering and the such to make my recorded output sound as good
> as possible. Good being subjective, of course, but I would rather read
> about how to "warm" a recording and then decide that I prefer it "cold"
> than to be stuck without a choice in the matter.
>
> Anthony
>
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