Massey L2007 Mastering Limiter.rar [REPACK]

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Massey L2007 Mastering Limiter.rar

the audio mastering process was conducted by long-time industry veteran bruce botnick. botnick has been involved with audio engineering since the 1960s and has worked on hundreds of albums including frank sinatra’s ol`ey’s world albums, thriller by michael jackson and diana ross‘s billboard album. botnick has also worked on the beatles albums sgt. pepper’s lonely hearts club band and abbey road. he was also a producer for the band on the run album and is currently the executive producer of the grammy hall of fame series.

the final stage in the mastering process was the creation of a surround sound mix and the creation of a transfer. this involved using the master as a template and cutting the new mix. because of the complexity of the original mixes, some of the remixing was done manually rather than through a process of vector quantisation. the final track listings were checked by the engineers who had worked on the sessions.

the dvd-a and blu-ray discs are housed in a hardcover box with an art print and a cd of the beatles original mono mixes. the box also includes an illustrated, hardbound booklet that features new essays and a detailed history of the mastering process by kevin howlett.

i had some distance to go with mastering the albums, but i learned a lot in the process. for starters, i learned that a mastering limiter can be much better than an eq in boosting the lower frequencies. i think that’s a little obvious, but it’s important to understand that just because a plugin does what an eq does in the frequency domain, doesn’t mean that it does the same thing in the time domain. i also learned that a mastering limiter is a great way to bring back some of the bass that has been lost in mastering. it’s far more effective than boosting the bass with a parametric eq, because the purpose of a parametric eq is to make the sound warmer. this is actually what most mastering engineers have been doing for years, so the sound is never really that cold.

the audio mastering process was conducted by long-time industry veteran bruce botnick. botnick has been involved with audio engineering since the 1960s and has worked on hundreds of albums including frank sinatra’s ol`ey’s world albums, thriller by michael jackson and diana ross’s billboard album. botnick has also worked on the beatles albums sgt. pepper’s lonely hearts club band and abbey road. he was also a producer for the band on the run album and is currently the executive producer of the grammy hall of fame series.
the final stage in the mastering process was the creation of a surround sound mix and the creation of a transfer. this involved using the master as a template and cutting the new mix. because of the complexity of the original mixes, some of the remixing was done manually rather than through a process of vector quantisation. the final track listings were checked by the engineers who had worked on the sessions.
the dvd-a and blu-ray discs are housed in a hardcover box with an art print and a cd of the beatles original mono mixes. the box also includes an illustrated, hardbound booklet that features new essays and a detailed history of the mastering process by kevin howlett.
i had some distance to go with mastering the albums, but i learned a lot in the process. for starters, i learned that a mastering limiter can be much better than an eq in boosting the lower frequencies. i think that’s a little obvious, but it’s important to understand that just because a plugin does what an eq does in the frequency domain, doesn’t mean that it does the same thing in the time domain. i also learned that a mastering limiter is a great way to bring back some of the bass that has been lost in mastering. it’s far more effective than boosting the bass with a parametric eq, because the purpose of a parametric eq is to make the sound warmer. this is actually what most mastering engineers have been doing for years, so the sound is never really that cold.
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