Print

Please login or register.
1 Hour 1 Day 1 Week 1 Month Forever
Login with username, password and session length

[Garrett H]

Masterer wrote on Sat, 25 August 2007 11:43

I might have to check that ML4000 out [shit, advertising works!].

Chris,

Since you pitch from Pro Tools, I'll bet you really like the ML4000.  It can be a lot of fun in the right situation.

For the rest of you, I wrote Colin McDowell an email about the ad as soon as I saw it.  I don't think I could re-publish the letter here as this is a family show.  Colin was a very good sport in his reply, for those interested.  

GH

[Masterer]

Garrett H wrote on Sat, 08 September 2007 18:58

Masterer wrote on Sat, 25 August 2007 11:43 I might have to check that ML4000 out [shit, advertising works!]. Chris, Since you pitch from Pro Tools, I'll bet you really like the ML4000.  It can be a lot of fun in the right situation.

I don't have an issue with the plug in. I mostly use pro tools for mixing and occasionally for playback during mastering. I rarely need limiters when I mix, When I do, I use the Oxford stuff. I'd give it a shot - it' just not that high on my shopping list.

Thanks for the heads up though, I've always liked the McDSP stuff. I used to use the channel strip quite a bit.

[cerberus]

a client has just sent me a dave pensado mix for reference, dunno who mastered it...  sounds wicked dope to me.  so i called the client up... to even get to the outfield of that ballpark, i have to redo his mix before i master it. however, i won't be using protools, so no mcdsp.

jeff dinces

[Bob Boyd]

I've had such success with the ML4000, sometimes I don't even have to send the tracks out to get mixed.


Straight from tracking to mastering - this thing's amazing.

[Masterer]

Masterer wrote on Wed, 22 August 2007 23:15

Keep in mind the source. Dave's probably a very talented guy, but by his own admission he not much for mixes that sound good. I read in an interview he did a while back that he's much more interested in mixes that sound "new" and "exciting" not necessarily "good'. It's an interesting philosophy and one that I'm not entirely opposed to under the right circumstances, but we shouldn't be at all surprised that he wouldn't care much about mastering and finds that slapping a plugin limiter on a mix sufficient for his [and his clients needs]. ....plus, then he gets the money.

Today I did a record that Dave Pensado mixed.

Guess what. He mixed the whole record [and did the sequencing, fades and spacings]. He gave me the individual files AND the sequence [for comparison] and sent a "listening" copy for the record label - which they referred to as "pre-mastered". I'm sure he slapped the 4000 or whatever on the listening copy, which I did not hear.

Guess what else; That guy is a bad muthafucka. The record sounds great and I wouldn't be surprised if his "pre-mastered" CD sounds great too.

..and all this time I thought it was an asteroid that killed the dinosaurs.

[stevieeastend]

Masterer wrote on Fri, 02 November 2007 00:48

Today I did a record that Dave Pensado mixed. Guess what. He mixed the whole record [and did the sequencing, fades and spacings]. He gave me the individual files AND the sequence [for comparison] and sent a "listening" copy for the record label - which they referred to as "pre-mastered". I'm sure he slapped the 4000 or whatever on the listening copy, which I did not hear. Guess what else; That guy is a bad muthafucka. The record sounds great and I wouldn't be surprised if his "pre-mastered" CD sounds great too. ..and all this time I thought it was an asteroid that killed the dinosaurs.

So how was it mixed? Any new approach? Did you have to do a lot in terms of loudness? Any comments from the label on your master in comparison to his reference?

Don´t wanna sound impolite, just curious

cheers
steveeastend

Masterer wrote on Fri, 02 November 2007 00:48

Keep in mind the source. Dave's probably a very talented guy, but by his own admission he not much for mixes that sound good. I read in an interview he did a while back that he's much more interested in mixes that sound "new" and "exciting" not necessarily "good'. It's an interesting philosophy and one that I'm not entirely opposed to under the right circumstances, but we shouldn't be at all surprised that he wouldn't care much about mastering and finds that slapping a plugin limiter on a mix sufficient for his [and his clients needs]. ....plus, then he gets the money.

btw

I heard a "b-side" for a single he mixed for Christina Aguilera, forgot the name of the song though, and it sounded the way you described it: very different in any way.. EQ, dynamics etc. and I wasn´t quite sure what he exactly was aiming for. But anyway...to me it´s been a VERY good thing and kind of a relief that one of the top guys tries to stay fresh and different in terms of trying out new styles... as opposed to the Rob Cavallo/Chris Lord Alge thing...
I would really love to hire him for one of my upcoming productions, only for one single, but I reckon it´s not possible to bring up the money though...