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Friday, June 22, 2007
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Sound Bites Dog E-Zine
Category: Music
Commemorating the 19,006 SBD blog hit (and counting) we're now offering a free, monthly e-zine. Sign up and we'll provide you more useful tips, Q & A, include interviews with your favorite artists, engineers, and music industry entrepreneurs (this month is Los Angeles-based engineer Brian Scheuble who's credits include Aimee Mann, Ben Lee, Sheryl Crow, Liz Phair, etc), update you on our recent projects, and inform you of any upcoming deals we may be running. Get the "goods" before anybody else and don't worry... your email will remain private and spam free or you can subscribe to the 
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Wednesday, June 20, 2007
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SBD RECENT DISCOGRAPHY
Category: Music
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Tuesday, June 19, 2007
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Monday, April 02, 2007
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SBD DeKline/Studio pix
Category: Music
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Sunday, April 01, 2007
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SOUND ADVICE (preparing your mixes for mastering)
Category: Music
A master can only be as good as the original recording and/or mix. There are measures we can take to clean things up a bit, but sonic elements can't be removed from a stereo mix without negatively affecting something else. Some of the things we list below aren't the end of the world (there are countless classics with all sorts of engineering and performance issues that are great either because of or despite these defects), just something to keep in mind when you're creating your future classics. Please read on...
1. Buyer beware! If someone's charging you a mastering rate too good to be true (do a little research to get some perspective), they're probably running your precious mixes through cheap software presets and paying little or no attention to your baby. If that's OK with you, you should look into purchasing your own software and doing it yourself. Afterall, you're probably just as qualified as the guy you'd be hiring.
2. CHECK YOUR PHASE while recording and mixing (especially on overheads... although electronic sounds and samples can have phase issues too. For exp: double-triggered midi notes or mono samples used as stereo). Also, DON'T MIX two different stereo mixes of the same song together... especially if they're only subtly different. For those of you who don't know what phase is: if something in your mix unintentionally sounds weak or distant, things that are panned down the middle sound as if they're off to the sides, or the mix sounds like it's underwater or has a flanger on it... that's phase. In purely technical speak: It sucks, fix it.
3. Avoid excessive EQ when mixing . For the mastering engineer, it is far easier and more preferable to add EQ to a duller-sounding mix than to subtract. And as a side note: resist the urge to compare your mixes to mastered CD's... those mixes (insert your favorite artist here) probably didn't sound that way before the mastering engineer worked his/her magic.
4. Don't over-compress your mix! We know in this day and age of unlimited plug-in compressors that this is asking a lot... but if you over-compress, there is no way for the mastering engineer to recover lost dynamics. Remember, compression can actually make things sound smaller and add distortion... If your mixer wants to use compression/limiting on the final mix down (so it stands up next to his favorite Josh Abraham album), make sure you get two copies of the mix: one with and without the extra sonic sludge and a side order of small and fatiguing (hardy har).
5. Your final mix output should PEAK at -3 dbfs (digital scale). Let us emphasize: PEAK, not average level... If your average level is hovering around -3 dbfs, you've probably got a limiter on the master fader (and you know how we feel about that.) If you've removed limiting and your levels are still red hot and/or clipping and youve tried reducing the volume of your master fader to no avail... it means you're clipping the input of your master (the sum-total volume of your track faders is more than 0 dbfs). The solution is to globally pull the levels of your track faders down until your master isn't clipping anymore. Be warned, once you do this your mix may sound radically different so it's worth trouble-shooting before you get too attached to the sound. Alas, if your levels aren't perfect, we've seen it all and can most likely work with it. Most likely.
6. Build-in safety mechanisms in case your listening/mixing environment is less than accurate. Two possibilities come to mind: provide alternate mixes featuring lead vocals up 1 db, down -1 db, etc and document them as such. Or mix stems (aka "seperation" mastering, which is nothing new by the way). Mix stems are usually 3 stereo tracks that contain groups of frequency-similar instruments. For exp: Stem 1 is drums, percussion and their respective reverbs. Stem 2 is vox, back ups, and their respective reverbs... Stem 3, gtrs, bass, keys, reverbs. The key to working like this and maintaining sync between the tracks is keeping the lengths, beginnings, and ends of your bounces the same. Either of these mix options enables the mastering engineer greater flexibility and is an especially good idea if you're uncertain of your own mixes. *Note, save yourself some time, money and disappointment, don't opt for stems if you really love your own stereo mix.
7. Please leave count-offs and fade outs in tact on your final mixes. If you accidentally cut off or fade a portion of your own music, there's no way for the mastering engineer to restore or repair your mix. Fades and edits can always be non-destructively rendered at the mastering stage.
8. Do your homework. Whether you plan on attending your mastering session or not, make sure all files are properly labeled, shipping/delivery instructions are agreed upon, and sequencing is complete before the session date. We love it when the file name includes the song title and track number, for exp "01cantbuymelove". Also include any comments/references/instructions/concerns you may have regarding specific mixes.
9. Delivery Specs: Always supply or bring a first generation bounce of your mixes in their original sample rate and bit depth (don't do any conversions). To maintain the highest fidelity throughout the production process, we recommend beginning your recording sessions using Wav. files at 24 bit... but will work with anything including AIFF, WAV, SD2, Apple Lossless, and Orange-Book CD Audio (just no MP3s). Files can be any word-length (16-24 bit), or sample rate (44.1-192khz) on CD/DVD, DAT, Mini-Disc, FTP, IM, email or hard drive. In other words, if it's digital, we're all good. Just let us know what you prefer... (In case any of you analog loyalists are cursing our name and wondering why: we've got to keep our prices low, so unfortunately tape is NOT supported at this time. Long live, you luddites!).
**Note: 32 bit floating point files are a proprietary file format exlusively compatible with Cubase, Nuendo, Logic, etc. They are not universally supported or recognized. You will need to dither to 24bit for the mastering stage (the loss is negligible going from 32 to 24 bits because some argue that software algorithms and hardware processors work against any real 32 bit advantages).
10. The "radio-ready" myth... your music does not need to be the loudest thing out there to sound good on the radio... actually, the reverse is true. Radio provides yet another layer of extreme compression/limiting (read: distortion) that makes everything the same relative loudness no matter the volume of the original source... In fact, quieter mixes actually maintain their sonic integrity and translate better, while still being just as loud as everything else in the broadcast. A more compelling argument for "loud" masters is the ability to throw your song on a mix CD/playlist and have it stand up next to the latest "hit." Whatever you decide, the customer is always right... if you want LOUD, you got it.
11. We now offer vinyl mastering. Please let us know ahead of time if your masters are intended for vinyl as it requires slightly different specifications for delivery. Hit us up if you have any questions about it.
12. Don't use CD manufacturers' in-house mastering services. Yeah, they're cheap... you're getting what you pay for, and they're making their money off of you by marking up their disc manufacturing costs. The reason they offer the service is to drive more customer traffic, not because they specialize in mastering. Imagine your mixes meet a factory assembly line. How many can they master in an hour?
13. Post-mastering: if you're manufacturing your mastered CD (known as replicating), make sure the pressing plant produces the glass master at single speed using Disc At Once mode. This will DEFINITELY improve the overall sound quality of your finished CD and ensure the intended spacing between the songs. Just a word to the wise...
15:12
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Friday, March 30, 2007
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MASTERING LINGO
Category: Music
Taking the mystery out of mastering since 2001:
"Glass Master" : The process commonly known as mastering is actually called "pre-mastering" as we do not physically create the glass master, we just prepare the audio for reproduction. The replicators (CD manufacturers) actually take our "pre-master" and produce a physical image of the pits on a coated glass substrate. The glass master is then destroyed in a process called metallization in which a metal-plated version is made. From this version, all manufactured CD's are made.
"Orange-Book" : Same as Red Book, it just applies to CD-R's and Recordable CD's. Orange & Red Book define the industry standard for CD Audio. Any CD-R burned as an audio CD with commercially available software is orange book compliant.
"PQ Codes" : Part of the track length and spacing of your CD... assuming you're hiring a professional, it should be seamless and invisible to you. No sheet of paper containing "PQ Codes" is necessary or required by replicators/duplicators as long as it's clear that the mastered CD-R is to be reproduced as an exact clone (Disc at Once mode).
"ISRC": (International Standard Recording Code) is a free, unique, digital "fingerprint" for each track supplied by either the RIAA or IFPI (for international) for the purpose of collecting royalties. This information is encoded within the metadata of the song-file during the mastering stage. No matter where or how the digital file is reproduced, this metadata remains tied to the track. If you choose to do this, I advise you to apply for the codes ahead of time and I can insert them during the mastering process. It usually takes about 3 biz days to get your codes once you've submitted the proper paper work (http://www.riaa.com/whatwedo.php?content_selector=whatwedo_isrc_codes).
"PMCD" : An antiquated file format that allowed error-protected CD metadata to be embedded on an Orange Book CD-R so that data could be recovered, without error and at high speed, during the glass mastering process. The process itself has been discontinued (for a cheaper, more reliable method known as DDP) but some replicators and mastering engineers still incorrectly refer to orange-book CD-R's as PMCDs. Don't let it confuse you.
"DDP" Short for "Disc Description Protocol." This format has completely replaced the PCM-1630/DMR-4000, PCM-9000 and PMCD formats used by professionals in the past for premastering delivery to the plant. It is the worldwide standard for the safe and low cost delivery of CD and DVD files to replication facilities. And yes, our masters are all orange-book CD-R and/or DDP formatted files (some replicators have not updated their equipment yet).
15:11
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Wednesday, December 20, 2006
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Archiving & Storage
Category: Music
Recently I've had a few people ask me about archiving and storage media... Here's my thoughts:
Hard-drive vs. DVD/CD. I come down firmly in the "back-up and store on DVD-R" camp. My reason is simple: a high-quality DVD-R will last you between 75-150 years... You're lucky to get 5 solid years out of a hard-drive and that's with semi-frequent use (you have to keep the disc-head and platter in use or they will start to stick). If you don't touch your hard drive or even turn it on for 4 years, it might not boot up at all. A DVD should last you long enough to transfer the data to whatever new storage media emerges over the years to come.
This goes for archiving your music too. And it's also not a bad idea to consider storing your stereo mixes as 24 bit files... for the day when all music is DVD audio quality (24 bit, 48 Khz). Who knows, you or someone else may just want to re-issue the re-mastered version of your future classic 25 years from now.
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Saturday, March 25, 2006
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CABLES (not a very glamourous subject... but important nonetheless.)
Category: Music
A few thoughts on audio cables (we've got real-world, brand-name comparisons coming up soon):
(i) There are two separate things to consider with a patch cable: the actual cable itself, and the connectors on each end. By far the most important (from a noise perspective) is the connector, and the connectors represent the largest part of the cost to the manufacturer. Basically, hi-quality coax cable is so cheap by the foot (10 cents/foot), that it costs a cable maker about the same price to make you a 1 foot cable as it does to make a 10 foot cable; all their expense comes in soldering on the end connectors. Charging on a per foot basis is a little like a prostitute charging on a per inch basis.
(ii) The main noise problem with connectors is so-called 'flicker' noise, caused by intermittant contact between metal. Basically, a connector brings one or more pairs of metal in contact. Ideally, this contact is very low resistance, but if some metal gets oxidized (exposed to air or water for too long) or worn down from repeated use, you can get a flakey contact. One good way to diagnose this kind of problem is to gently push on your connector (e.g. a 1/4 jack) when its sitting firmly in its receptacle. The connector should be "quiet"; if you hear a hiss (or see it in your waveform), then you might want to consider a fix.
Remedies: Hard core audio enthusiasts will avoid using connectors whenever possible, opting instead to make direct solder junctions. If, however, you operate in the real world, try using gold plated jacks and recepticals. Gold is soft and highly corrosion resistant, leading to much more reliable contact. The additional expense is well worth it, especially when you consider the cost of your time trying to troubleshoot a noise source. Check your cords regularly, and replace them as needed. Don't waste your time trying to clean, sand, grind, or polish a flakey connector; you might buy a little more use, but you're probably just getting lulled into a false sense of security.
(iii) Interference: much more to come!
10:22
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Sunday, June 04, 2006
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TRACK & SESSION MANAGEMENT FOR MIXING
Category: Music
The following tips are guidelines for good track and session management (or, how to be a mixer's best friend). The more time a mix engineer has to spend doing these non-creative and labor intensive things, the less time is spent making your songs sound great. If the sky's the limit and your budget is boundless, by all means, leave this stuff to the mixer. Otherwise, take heed.
1. Make sure you send the correct version of the song (ie, final performances, arrangement, number of tracks, etc.) It may sound obvious, but you'd be surprised how often people send the wrong version.
2. Include a stereo bounce of the song as a reference. This provides some much needed perspective and also helps determine that all files and parts are accounted for.
3. Label tracks and regions clearly. Instead of opting for auto-named or generic titles such as "audio 1" or "over01-2" change the name to "overhead left". Also try to include information that helps identify the track or region's location in the song (ie, Bridge Gtr).
4. Check your edits to make sure they are free of clicks and pops. Paying a mixer to do this is like hiring a surgeon for a manicure.
5. If youre supplying a hard drive, CD, DVD, etc. label the outside of it with details regarding software version, bit depth, sample rate, operating system, etc (ie, "ProTools v7 24bit 96k for Mac OSX"). Information like this greatly affect where the mix takes place and the kind of prep work needed to begin.
6. Arrange tracks so that similar types of instruments are next to each other (ie drums, percussion, gtr, vocals, etc).
7. All tracks that you wish to be included in the mix should be visible and un-muted.
8. Make sure mono tracks are not on stereo tracks or in stereo files (for exp: the same gtr on both sides is not a stereo track). A stereo file is anything recorded in stereo or processed with a stereo effect.
9. Any alternate takes or tracks that you are uncertain of but kept "just in case" should be muted and placed together in the same area. You should also throw a question mark in the track name and perhaps add your thoughts in the comment area of that track. If you feel the track may or may not work in the song but could be cool given the mixers discretion, let them know...
10. Plug-ins are not universal (meaning your mixer may not have the plug-ins you used in your session). Any plug-in you feel is an integral part of the sound on a track should be printed. This can be done either by using the audiosuite version or if the plug-in has automation and/or is not available as an audiosuite, by recording the track to another track. Audiosuite will save you some time but is not always offered for every plug-in. Either way, check your edits before you do this, as you will be printing and consolidating whatever is audible.
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Thursday, May 04, 2006
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RECORD AT 24 Bit!
Category: Music
Sampling rate (frequency range or bandwidth) is not as big of a deal (although it does matter) as the word length (number of digital samples/bits). Recording at 24 bit vs. 16 bit makes a huge difference in the fidelity and quality of your audio. The larger the bits, the more accuracy you will have.
16:57
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