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[robero]

Hello, I'm really interested what are the differences to the teqhniques how modern rock-records are mastered by pros who make pro records nowadays compared to the way it was done in the 60's, 70's and 80's, or if there's any?. I'm not querying about the technical aspects, but about sound molding.

(There is one technical question though, (how) was everything limited with or before tape and vinyl, compared to the modern day digital limiters...)

I'm under the impression that mastering, if it's done without any creative touch, should be very subtle compared to the original mix, but somehowhow I'm realizing that that sliding further any threshold-knob on ones computer screen makes things sound a bit more approvable by a lot of people.

I myself have realized to the conclusion, that often very egoistical people, for instance certain kind of record company people as well as even some musicians are very fond of this kind of sound, alas, they're not anymore interested to hear or do any "new" musical ideas, rather than to gloat on their "rather sad" impressions on music mimicking music when it was done with care, time and talent, which I undertand is very difficult to do with todays demand.

This is only one perception and of cource I'm aware of the way how record companies nowadays choose the records they include to their promotional marketing. With very much of democracy.  

Does it have anything to do with mastering?

Should I just try to make "democratic" sounding music or should I only improve my mixing skills? Like the some expert masterer said there would be no need for mastering, beside cutting and dithering, anymore, if mixing was done well.

Please comment on my metaphysical distribution, but I'm rather interested on the technical side!

Very much thanks for understanding my questionnaire, but after listening to The Beatles I understood how silly it was to begin with.      

[Norwood]

You might want to post this in Brad's mastering forum.

[Bob Olhsson]

I think the goal of mastering remains exactly the same although we have different tools available than we had 40 years ago. It's all about making just as compelling a first impression as we can which is crucial from the standpoint of selling the recording and the artist. The tricky part is making sure that a great first impression is not happening at the expense of the lasting impression the recording leaves on people.

This is much easier to accomplish for somebody having "fresh ears" than for somebody who has spent months on a project. It also requires very neutral monitoring so the master won't sound good some places and bad in others.

[maxdimario]

Don't worry about the technical details.

There are less technical issues that need to be catered to as far as modifying the master eq or compression-wise as there were in the days of vinyl.

I believe that the two most crucial elements today as far as mastering goes are: a pair of experienced ears, who can judge instinctively as a result of experience what needs to be corrected and can make suggestions and/or alterations to achieve a musical equilibrium.... and quality control.

Digital cd mastering (the actual physical master) can be hazy and weak sounding, in the wrong hands.

don't allow current fashion to alter the vision of the production, if the music allows.

If you do you will suffer in the long run.