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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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