Ethan Winer wrote on Thu, 09 November 2006 14:43 |
I didn't answer yesterday because I don't get the point of your question. Why can't one room be great for mixing and for mastering? What would be different about the design or treatment goals? --Ethan |
jetbase wrote on Thu, 09 November 2006 18:45 |
if it was me & i wanted a single mixing/mastering room, i would just build the best possible mixing room & use it for mastering as well. after all, it terms of acoustics, the goals are pretty much the same, it's just the equipment and operator that differ. you might find that building a "back to back" room would create as many problems as it solves. i think an important point to make is that mastering is best done in a different room to where the mixing took place & by a specialised mastering engineer. that's the ideal anyway. i sometimes master budget stuff in my studio in the same room i've mixed it in, and it turns out fine (for budget stuff), but i do find it next to impossible to do any eq'ing in the mastering process in this instance. |
Ethan Winer wrote on Fri, 10 November 2006 12:32 |
Glenn, I agree. I wouldn't even use different equipment. I mean, why would you? Yes, that can be an advantage if the mix room is not great. But then you could just as well mix in the "mastering" room. If I'm missing anything here hopefully someone will point it out. --Ethan |
Quote: |
There is specific equipment for Mixing and Mastering. Pro Tools is a great mixing application. It's not a great mastering application. You can do it.. but you have to do work arounds. Why the hell would you want to master a project with a big ass SSL 9k in front of you smearing all the mids. (AES article). That's why in Mastering rooms, there is a small console or NO console between you and the speakers. Also in a Mastering environment you want full range speakers in a far field position. You want room interaction, where as you want no room interaction in a mixing environment. That's why you use near/mid field speakers. Think of a Mastering environment as a Listening room. You want that big soundstage. You want to be able to close your eyes and believe you're in that concert hall/studio/church... etc.. where the program was recorded. A great article explaining this is here: http://www.6moons.com/ramef/9.html Regards, Bruce |
Etch-A-Sketch wrote on Tue, 14 November 2006 20:59 |
One thing that caught me off guard was the "Glass window"... if you're designing a room or even one side of a room for MIXING, why would you put a glass window in it? I could see a glass window for tracking purposes...but if the room is for mixing, the glass window is going to be irrelevant and could be done away with... |
Gravity 8058 wrote on Wed, 15 November 2006 09:29 | ||
Right, actually I would have an adjacent medium sized recording space for a limited number of recording projects -- thus the window. |