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RE: [microsound] usefulness of compressors/mastering in experimental music
I wrote:
-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,
Most composers have some more or less severe monitoring deficiencies in
their studio, in part because of their loudspeakers, and in part because of
their placement and room acoustics. If, say, your speakers reproduce 3 kHz
much louder than flat monitoring, you probably systematically eq that
frequency down in your mix, so it sounds good in your studio. If you master
on the same monitoring, you're certainly not going to bring the 3 kHz back
to a good level, and you may even make things worse. A good mastering
engineer, listening on high-end flat monitoring, will hear something missing
at 3 kHz and correct it. Mastered, the work will sound better on all systems
except those which reproduce 3 kHz much louder than normal (but then, anyone
who owns such a system will hear that problem on anything they play, and
won't blame the work in question). This leads to the mastering paradox- in
the composer's own studio, a mastered work will probably sound worse than
unmastered! But on virtually every other system, the work will sound closer
to how the composer heard it in his or her own studio.
There are still other benefits of mastering- in a good mastering studio, you
can actually hear the ultrahighs and superlows properly, and these can be
sculpted for maximum impact. Dominique argues in his article that sonic
experimenters could take great advantage of mastering to reinforce truly
experimental approaches to frequency design and sound design more generally,
as the mastering engineer's training, equipment, and monitoring give him or
her ideal tools for such work.
If, of course, sound quality is not important to a producer on conceptual
grounds, then mastering probably isn't for them.
best,
Ian
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