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

[ian stewart <artsonics@xxxxxxxxxxx>]

> Can anyone point me at any documents that discuss mastering & compression 
> with a less pop-centric perspective?


The CEC published an article by Dominique Bassal, on mastering in the 
context of electroacoustic music- find it here: cec.concordia.ca/econtact/   
(follow the link to edition 6.3, 'Issues in Electroacoustics'). The original 
is in French, but there is a translation available.

A quick summary of some of the important points-

-mastering involves frequency and dynamic sculpting, for which eqs and 
compressors/expanders are the tools 'par excellence';
-over-compression has seriously degraded the sound quality of most 
commercial pop music recordings, but some degree of compression can still be 
appropriate for experimental music, depending on circumstances;
-mastering may also involve, occasionally, spatial treatments to widen the 
stereo image or create a sense of acoustic;
-it is very difficult to master your own work, especially in the studio 
where it was produced- you'll probably end up exacerbating the frequency 
problems in your mix, by overcompensating for monitoring deficiencies. I'll 
post more on this later,

best,

Ian



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