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CD Mastering

CD MASTERING BY S.S.A.M.,  stainless steele audio mastering.

   With Manley's  4 band EQ  and  it's variable bandwidth controls  you will find  on your returned sample from  S.S.A.M, stainless steele audio mastering, presence is  noticeable. Your  music is clean and warmer. If  bass is heavy, and often it's  needed  in hip hop, presence will  still be there and you won't sound muffled.  You can get both! In certain situation if  a CD Mastering Engineer  knows  how to use Manley 4 band EQ a  shelf boost should give more  enhancement. But with  Manley on some frequencies if  used correctly  acts  as a filter. It is useful in suppressing ambiance and distortion. While it is suppressing the ambiance it will not destroy the highs.

   Using shelf  mode in CD Mastering with Manley 4 band EQ  is useful too because when mixing to stereo tract the Recording Engineer  often picks up some unwanted highs or distortion. This is due to conflicts with percussion and voice.  If it is not doable because the distortion is too bad then Mastering by separation is recommended. A CD Mastering Engineer  that CD Mastering Multi-track by separation Must understand  why and how you got all those unwanted sounds.  

  If you choose to escape CD Mastering by separation let me make one thing clear, though. It is possible that songs  with  S'es and the piercing like sound can not be gotten out.  That being said,  a trip back to the studio to remove them may be in order. CD Mastering by Separation  is another option.  That' a choice  you have to make.CD Mastering by track separation can be expensive; depending on who. so,SHOP!  Remember, with track separation mastering, you are getting both,mix and mastering,hopefully  for a reduced priced. Try sending a sample of your work, first for CD Mastering. Afterwards make that decision, CD Mastering or CD Mastering by track separation. I think that' the most intelligent approach before you buy anything!  Although, I don't do sample by track separation. I do, do CD Mastering free samples. CD Mastering by track separation, depending on how many bells  and whistle you have in  your tracks can take some time. Therefore it must be worth my while. In CD Mastering by track separation I have to adjusting  and move  frequencies around to stop the S'es ( caused by conflicts with voice)  and piercing-like sound ( caused by distortion). It  is a task! A fair compensation is fairly asked. Please read my  separation mastering page. It may help you to avoid seeing me  for track separation. If you want a free sample of CD Mastering your project, email me. I am happy to.

    I truly believe that I am very good at CD Mastering. Not many can beat  me.  But I am not Superman. Often, when I am over worked,  my ears will lie to me. That'  why I encourage you to ask for changes.  Don't assume, please!  I can miss things.   That being said, if  you have not had  any success in anyone getting the junk( piercing and S'es) out of your song while not destroying it, email me.  Or  you can just  live with it. Many do. I hasten to say, you will be  amazed as to how many CD's on the market today, that has those piercing-like  and undiminished  S'es on a song or songs, that could have  been removed, with the right gear and an  above skill level  CD Mastering Engineer. Oddly,  those CD's are on the top of the chart today! Hey, go figure!

 Manley Stereo Variable Limiter / Compressor 

is a major tool  for Stainless Steele Audio Mastering as a CD Mastering Engineer.

   Manley's  Stereo Variable Limiter/ Compressor  I use. in CD Mastering, because I expect and I know my clients  wants and expect a mature, professional and warm  sound. It delivers!  I like it most for the warmth it gives. It is rare for me if I do a free sample that I don't get the business. I know it is because of  Manley's analog  Variable Limiter/Compress. I know it appears that I am bragging. No one, including me, likes a blow hard!  But with me,ken, S.S.AM., stainless steele audio mastering you will notice that you  have  noticeable presence, clean and  De-essed. What people tells  most is that you are cleaner, presence is more than most and you can De-ess very well and not destroy my highs. I owe that to my Manley  4 band EQ with its variable bandwidth controls, for taking  out the junk and leaving the  best of the audio. I also, owe it  to my Manley Stereo Variable Limiter/ Compressor, for warmth.

Why CD Mastering?

Not all instruments, that's within the stereo mix, can be brought to it's full potential in the mixing studio. Some instrument's frequency have be isolated then dealt with. Often on several bands.  It's the only way. To do that you need a 4 band EQ to which a CD Mastering Engineer has.  Often on several bands a CD Mastering Engineer may find "crackles" in low, low mid, mid and highs; and often the  "crackles are barley recognizable.  I might add, there's no monolithic way to CD Master.  One thing more. Enhancement by boosting a lone  is not CD Mastering. It can be one of the many ways to approach CD Mastering to bring out the nuances. A lot has to do  with the problems in the songs presented. You  can enhance by  cutting too . Usually when cutting for enhancement  that's a song that has a lot of problems. Often, no head room but doable. To fix a song like that  shifting frequencies, narrow the band here, widening the band there, and cutting  to  create room and  for  balance is so necessary.  Also, it  takes time to fix  that kind of song, provided that's it's doable. A  recording Engineer  will have  to be patient. That song  takes  thought. A lot of thought! That songs take a special kind of software upstream  that's not a  compressor, it is not a expander, it's not a gate and it is not an EQ. Yet, it has one or more features of each. Let me add too, an  EQ in not a V.G. A.  in that it does not have a release pot only for the attack to initiate the process all over again. But it is dynamics.  I might further add, any Competent CD Mastering Engineer can make a good mix sound good. What makes  a CD Engineer exceed competence  is his or her abilities  is  to make  a  doable mix but difficult sound good too. Example, in the chorus often the snares and power guitar in Rock Music  can drown out the lead vocal. Often an experienced CD Mastering Engineer can bring the lead voice up and hardly harm the music. Sometimes   because of how the snares  or the lead  instrument was tracked in the mix the left or the right channel  may appear larger. Therefore a balance of the channels  is so necessary!   Each and every song  for CD Mastering has to be approached  different from the last. Each song  has its  own unique problems  that requires a different tool and  a different skill  level that so often many CD Mastering Engineers lack in one  area or another.   A CD Mastering Engineer needs to have a  working knowledge of V.G.A.'s , 4 band EQ's and their idiosyncrasies . He needs to know what he is  hearing when he hears it.   Please keep in mind, although few, I feel that it is safe to say, some songs, are just not doable;  and that  a trip back to the mixing studio may be in order. 

    Ideally if mixed perfectly  the only  thing a CD Mastering Engineer has to do  is Compress to smooth  out the overall  amplitude  in low mid, mid and high by threshold, attack, release, ratio and decibel  settings; Gate settings, to smooth out the bottom; and the limiter for level setting.                                 

ONE IMPORTANT THING IF YOU  WANT TO BE A CD MASTERING ENGINEER

   In any style of music, a CD Mastering Engineer should see EQing as subtractive rather  an  additive during CD Mastering.  If you take out what you do not want what's left is what you do want. Enhance  what's  left. I should also say that A CD Mastering Engineer'  first job is to fix your song not  enhance. If the CD Mastering Engineer is advertising "enhancement" as his way to impress you, RUN! That is  not CD Mastering!  Often a song needs fixing not "enhancement" . So, when you get the song back don't look for it to  sound better in that it has been  enhanced;  but  look for the junk to be gone!  CD Mastering is a lot more involved  than enhancement. Enhancement can be part of it but not always the main thing. Most songs that comes to S.S.A.M.   need fixing more than enhancement. Nevertheless, in fixing the songs the CD Mastering Engineer's intent is not to make your CD sound good. Fixing and balancing your music  takes care of that! Correct what's wrong with it ; everything else  will  fall into  place. CD Mastering is more than  just enhancement.  What do I mean by fixing. To remove the piercing-like sound, remove the air around your  music, take out distortion,balancing ( sometimes balance includes  taking  out the hollow-like sound by filling  it in with some lows ),De-essing without destroying the highs, enhancement of some frequencies and not others,bring up highs, lower highs,lower bass, bring up bass, thin it, phatten it, bring out presence, add effects (adding effect is application that's not often used)   and the list goes on........... That's  CD Mastering!!!

 

WHAT ABOUT THOSE V.G.A.'s variable gain amplifiers

They are the main tools of the CD Mastering Engineers. Weather it is  amplitude versus frequency; i.e., EQ's or  amplitude versus time,i.e. compressors, gates and ex panders.

  They are variable because of the potentiometers. They can be adjusted. Amplitude versus  Frequency  software i.e. EQ  and  Amplitude versus Time Software, i.e compressors , gate and expander  are important  as well.  However, an EQ hardware can do things  that a EQ software can not do. I am in hope that you can appreciate what an EQ hardware does and why would you shift frequencies several bands over to which hardware does and does it well.

   Many uses ex panders to removes S'es.  If that's  the  only approach that the CD Engineer Mastering Engineers uses  then he is in a lot  trouble. It does not work in every situation. I have  listen to many so called mastering job online and the S'es were removable on the mastered rendition, but for some reason they were ignored. Worse the client bought it,  I believe. No doubt he was sold on the idea that it was a good job! Worse he paid a pretty penny for it.  Never take my word for it.  Go online and download some of  their pre and post mastering samples. These are " TOP NOTCH  GUYS."  I have downloaded their work and remastered it to see what they  missed. SHOCKING!  This tells me that the CD Mastering Engineer know little are have  no working knowledge when it comes to V.G.A.'s

 When you are considering online  CD  Mastering, please, ask for samples from  several CD Mastering Engineers. You owe that to yourself. Don't assume or take someone  or the CD Mastering Engineer's  word! Often the person's  word,who may have been a client  of the Engineer at one time , he may have impressed him.  That does not mean  that you will be also. Furthermore, if you do not like the work returned that does not mean the CD Mastering Engineer  does not know what he is doing. That means he  didn't get it the  way you wanted it. Ask for changes. That will say a lot to his skills ,willingness and confidence in himself to get the job done. You need to know that before you commit. Remember you are interviewing this guy! Never let price be your driving motive. Take the top 3 to 5 CD Mastering Engineer's work that was returned  for consideration then look at price. Never let your personal issues be your decision maker. Can he do the job and do it well!  That's what you need to know. What I found after I downloaded the pre and post songs of some  CD Mastering Engineers may interest you and  help you  in what to look for. Some, not all CD Mastering Engineers,  appear to be confused  as to what is ambiance and what is distortion. HEADS UP!  Se's that are ambiance are slow in developing and more sustaining. S'es that are caused by distortion, which are frequencies competing for the same space, and usually voice is involved, are quicker in developing and often sharp!  Many times to remove the S's caused by distortion  you may have to forfeit ambiance as well. It's the nature of the beast. The CD Mastering Engineer that can remove the S'es , while keeping the songs closely intact as possible, says he has a strong working knowledge of  V.G.A.'s   Furthermore, I hasten to add, if,  mixed too poorly, a trip back to the studio, maybe in order. Furthermore a CD Mastering Engineer should not take your money until he knows for sure that your songs  are doable.

  Nevertheless, and to change the subject, most CD Mastering Engineers  have their gear V.G.A.'s  hooked up D.A.D. To do that you need a A.D. converter and your external hardware must be  analog. Since my gear is Manley I need not to say my gear is analog. Many CD Mastering Engineer choose external hardware to be analog  because of the sound quality.  Digital can be and sound good but for me its too perfect. However, there are very good Digital gear out there and very skilled gear in the use of  them.  I like analog because Sine a wave. Sine wave is a natural occurrence. Digital is not. Digital  you run risks  of clicks  and pops in the audio file That may reduce the total amount of doable songs you send to the CD Mastering Engineer. Still  there are skilled Engineer out there that  know how to use them and use them well!

How to get a good CD Mastering product

EQ measurements for Kick drum to try and avoid the instrument from competing with voice

. ( Kick drum     0db  +3 eq at 50 Hz  +1 db at 3kHz  -3db 275 Hz ) The gold here is to get your kick drum up but not fight with voice or  the rhythm guitar. Use mono tracks. In many cases there's a  ride on the kick drum and there's your  problem. At 2 to 3kHz they will fight. Results is S'es. By cutting at 275 kHz you are balancing but giving drums the tone that it needs.Also, because of the ride, the cut  at 275 Hz  will allow  the ride to be heard more at 2 to 3kHz. The more you cut the more the highs will be heard. However, remember voice is  up there too as well as other high frequency instruments. If your music project is an instrumental please disregard. S'es appears  to only  occur when voice is added.

When a rhythm guitar is in your mix with voice try these frequency adjustments to avoid S'es.

  rhythm guitar with a range of 250 Hz to 2kHz to 3kHz following EQ notch  with the above parameters.  Since the  above frequencies  overlap with presence  a notch or cut  at 1.2kHz and or high pass filer at 2kHz may be needed  to give voice some breathing room. You may have to isolate voice and guitar and play them together to see if they are fighting  with each other. If so, then, if you have a frequency shifting software shift the guitar up or down by .0001 Hz. Panning is a form of filtering as well.  Try several tools like  low pass  filter, band pass   and a high pass filter  in a serial line. EQ a  notch  -6 dbs at 600Hz and  or a notch  -6dbs at  1.2kHz  on your rhythm guitar  to  give voice more room.  EQ a -12dbs notch at about 60Hz t  100Hz to remove plosive. Do not rule out a   band pass filter. These frequencies adjustments  are suggestions  only ,not the rule because there is no rule. Trial and era is the game. Remember if  you can filter half way right and the CD Mastering Engineer understands filtering as well you should get a good product back that I am sure you will be proud of.

    .

HAVE A GOOD MIX DOWN!  ken ward, CD Mastering Engineer

 stainlesssteelemastering@adelphia.net

thanks

S.S.A.M.  stainless steele audio  mastering.


How is S.S.A.M. set up for CD Mastering?

Stainless Steele Audio Mastering's pro gear and Arrangement

This is the work horse of my external gear -Manley Massive Passive 4 band EQ

Manley 4 Band EQ is what helps me  alone with the bx1 and bx2 Software  bring in your presence and remove the S'es.

Bx_ CD Mastering Software  This a the BX Software. It has a M/S (mid and side chan singal) It is a part of  stainless steele's CD Mastering tools.

                      . With the aid of Manley four band stereo EQ, for coloring, allows me, in  many cases, bring up  small nuances you thought were insignificant. The BX Software's high pass filter, low pass filter, shelf boost,shelf cut, bell boost, bell cut a lone with  Manley bell boost,bell cut, shelf boost, shelf cut , low pass filters and band control  gives me a  slight edge in nuances. Now, these small nuances,  can become a  major player  in your  song, such as the harmony voices of the background singers or maybe  the rhythm lead guitar.

                       Click here

CD Mastering Audo GraphMany  CD Mastering Engineers say that  a CD Mastering Audio Graph  should not  look like this. I partially disagree. If  a  CD Mastering Engineer is  saying this regarding Rap, Country, Pop, R&B, Soft Rock and some Rock,yes.

    However Heavy Metal, Hard Rock and some Rock by lowering the bass, bass synth, rhythm bass  to witness more of the back-beat's  spikes on  Heavy Metal,Hard Rock and some Rock it sounds  horrible.

   I believe that  some  CD Mastering Engineers   believes  that by  lowering the bass ,rhythm bass and bass synth in Hard Rock and Heavy Metal  stops the competition  with mid range and therefore, presence is preserved  in that frequency spectrum. In some music styles , with the exception of Hard Rock and Heavy Metal, I fully agree. Although  keep in mind that there can be wide variation, regarding a Heavy Metal audio graph. However, taking out too much bass just to thin the graph will distroy the song. That being said there is another way. Using the the right gear  with the right skills Hard Rock and Heavy Metal can have  the low  end  instruments within  the whole music frequency spectrum. The lead guitar and  lead voice which is usually found in the mid range  can be improved as well. Lowering  the low end to improve the mid range is an absolute no no in the above mention music style. Adding  various  types of effects, that are frequency based,  can in many cases,  assist  a 4 band EQ in enhancing. These frequency based effects can enhance more so than color. Such effects can  bringing  out the lead guitar,bass , low synth ,lead voice and background voice that may have gotten  lost in  your  mix down  to a stereo track.  Using  my effect return fader adjuster and  certain kind of  effect that are  frequency based can keep the low  instruments in, that are essential , and squeeze a bit  more presence out  too.  

CD Maastering Audo Graph Nevertheless, no audio graph should be sent back to you looking  like this.; a  lot of head room. Very little  processed done.  This is how it should look sent to a CD Mastering Engineer; as less processing as possible.  This graph is to serve as a template not a rule

    For a good  CD Mastering project returned  please be advised, avoid over processing and trust your CD Mastering Engineer. His gear is frequency based. Yours is not.

CD Mastering Audio Graph  Post Mastered  file:  This is the way I  like to see a  CD Mastered  Audio graph  in R&B,  Country, Blues, Pop, Soft Rock, some Rock and Rap. The bass  appear to be there.  The back beat appear to be strong. However,  I might add, how strong your  back beat is  has  a lot to do with how you applied the dynamics in  the mix down to a  stereo track. Nevertheless, the back beat frequency spectrum appear to be wide. That could easily be because the bass maybe in sync with the back beat. Over all , it appears  to be, a very good audio graph that  I would  consider as a keeper to compare with other CD Mastering  sample files  I may  further  self critique  before I upload one as  a  sample  for  your  self evaluation. Keep in mind that the above audio graph does not have to look exactly like this. Every song has it own and unique  rhythm. Therefore the graph will be slightly different. This audio graph here  is to serve  as a template not a rule. different rhythm poses different audio graph. A good example is by A song writer/producer, Jerry Aranas. His songs were mixed well.

  Truly, a  CD Mastering  Engineer's  job is to level compress, gate and limit. THAT'S ALL. When  mixed  well the less EQing  ( enhancement) is needed.  However in most cases enhancing  is  needed.  Moreover, you, as the person to audition the Mastered sample should challenged the CD Mastering Engineer by asking the CD Mastering  Engineer to make changes in the sent back Mastered file if you  do not like that sample. Remember you are going to send 10,12 or maybe  14  songs  to him. You must know if  he is  up to the task. Each song  poses a different challenge. If you do not you may end up disappointed.

  I might add, what's most amusing as well as disturbing, when I hear a song that was mastered using high end gear but has  severe S'es in it. The cure was only finding the frequency  the voice was  on  then placing the right filters, and some manipulation of the frequencies here and there would have  made the song marketable. Yet, the client paid $700 to 1500 dollars for the CD. I grant, there are some situations, with some songs , no matter what the CD Mastering Engineer do, those S'es will not and can not be suppress enough to render the song marketable. I get them all the time. However it is incumbent on the client to not just settle. Press the CD Mastering Engineer for what you want. Keep in mind sometimes  it is not doable. However, a reasonable explanation should be explained; after all you are paying your money. Remember he is not God and he is not in your head. You know how you want your music to sound. He does not. Press him to meet your expectiation

    I am in hope that you  understand as to what I look for as a CD Mastering Engineer. I expect the Audio graph to look like the rhythm, just enhanced.  whether it's Rock,Country,R&B,Hip Hop,Blues,Ballad or Pop I do go back and look at the Audio graph as well as listen to the  sound.  I look at them all together and separate. A  R&B  Audio graph should not look like a Hard Rock Audio graph and a Hard Rock Autograph should not look like a R&B Audio graph.  Keep in mind that there are always wide variations.

 

      SPL Transient Designer use by S. S.A M. The SPL Transient Designer Software.  I use when tracking down your music tacks  to a stereo mix.  It helps  me to give your  bass and drum more presence by slowing down the attack and or widening  your the frequency band thus making it PHAT.

The Image for  PSY Q will be placed soon

                    Sometimes  mixes ,such  digital gear, has been properly  gated and  compressed. Therefore  the mix is balanced. So,  it does not need hands on frequency shifting. All you need is your bass to be there and in the amount that you approve. Moreover, you need  your highs  to be  shimmering and  just peeping over the top  and your presence kickin strong!   Fellas,  meet the PSY-Q ( Acoustic Processor)  Software for CD Mastering. It's  my other work -horse that I gear up with Manley's  Massive Passive 4 Band EQ, often!

Meet the Impressor:

         CD Mastering software  Often times your  high frequencies, such  as high hats  and   rhythm guitars, will run into the  lead voice instrument causing distortion. This bad boy, the Impressor, allows  me to independently De-ess / Gate your highs stopping the S'es or at least turn  them down. Then I can  crank up your mid range using Manley Massive Passive and the Impressor  CD Mastering Software. It  does more than just  gate. Of course, removing ,turning down, stopping S'es, accenting certain frequencies  ,while denying others, is a lot more complicated  than the way I explained it.  However, what you get back is  the above results; and that's what you  should be  concern about. No, hipe. Just plaino old fashion results.

      After I have done the following: Tighten up your bass drum. Tighten up your bass  guitar.  Tighten up your  kick drum. Gave your rhythm and or power guitar its due.  Checked  on your synth and strings  for proper amount of value. De esss your voice  instrument  and placed  your voice  instrument  in the right position  using the M/S mid and side Section bx software. Then I will  send my   results through  Manley Massive Passive 4 band Stereo EQ followed  by My Manley Stereo Compressor . It is then, also, the digital  L.E.D. light will drop  significantly, giving me more head room to crank you up!. You are now in analogue; thus, D/ A /D. The tonality sound  begins to  truly take shape with a natural sound, which is further critiqued by Manley Massive Passive and Manley Stereo Compressor. After that I will send  your music  through my  gate called the Impresor. It is here where I really crank up my results.. Like I said it does  more than just gate while in gate mode. Let me explain. Have  you ever seen or heard of a  gate that  has  these features:

Click here

To the  right:

A band EQ pot, "frequency band separator"  with a frequency spectrum from 20Hz  up to 6kHz.

 A EQ out put gain pot.

A  look ahead pot (delay) and a saturation  pot that increase highs  only

In the center:

A compressor and expander pot

To the left:

Input gain pot and out put gain pot

Attack pot, Release pot

Threshold pot and Ratio pot.

With these features, as a CD Mastering Engineer,  I can De ess / Gate , EQ and at  the same time. I can  Compressor/Gate , with a  little of expanding, EQ  and De ess  at the same time.

 It is all about how I arrange the threshold,  ratio,  attack,  release and the  compressor-expander.

If you have some distortions, causing the lead instrument  to produce S es,  I may be able to save your song.

                 Using  the Impressor ,when  the distortion spikes upward, causing that annoying sound, observe  the L.E.D light when you receive your CD Mastering sample back.. It drops. If your distortion is extremely bad there maybe  no one that can help you and you should redo it. Nevertheless, compare my work with others. Notice that I will removed  or tone way down your S'es.  Your presence will be obviously better. The distortion will become almost inaudible on that particular frequency spectrum.    I will always say go back into  the studio and redo it if you have distortion.. However it is a nice feature for S.S.A.M.   to have when you have 10 to 12 songs  but one has this problem and you  want me to see if  I can save it; thus saving you a trip back to the studio. This  could not be done without  the Impressor and the Bx_ CD Mastering Software and  the skills on how to use its features !  Click here

My Manley Massive Passive and my Manley Stereo Compressor I rely on taking down some of the digital and putting in  more of a natural sound using  analogue

Manley's CD Mastering Hardware Analogue:  Manley Stereo Limiter/ Compressor. One of the leading CD Mastering hardware for CD Mastering Engineers  Click here

CD Mastering Tools for removing noise

Osiris is a Plugin I use for denoising,decrackling and declicking  It works directly using the  DSPs of my three sound cards   I have three Creamware  sound cards in my computer. the Osiris  does  not use my computer's  CPU,which is typical  of  most high end plugins. Osiris is  dependant on my audio card's  DSPs not my CPU. The more DSPs the better the  results. Some Audio files require a lot of DSP processing. When  you are mastering music you do not want to worry about using  up your  DSPs due to a lack of.  23 DSPs can not get over used. It's more than enough for mixing or CD Mastering 48 stereo track/96 single channels. Therefore, when using  the Osiris's in processing declicking, decrackling then denoising as the finished result , added  to,  the bringing in, the Manley 4 band EQ,Manley Limiter/Compressor, the BX_ digital  processor,

CD Mastering

Here are some of the basic but important steps S.S.A.M. use in CD Mastering your project

Click here for CD Mastering price

  First, using My headphone  Beyerdynamic ( DT770 )  In real time  I play  your music listening for clicks,crackles and  air like sounds  using  the  Osirus. After I have remove as much of the little artifacts that can not be heard when the music is playing  then I open up my monitors to further examine in CD Mastering. As I spot  it, I loop the audio area, then  adjust the Osirus, to declick, decrackle and denoise   all  in real-time. Sometimes  I may record the artifact  then  upload  the junk I removed to you ; you'll be surprise what maybe  in there that you thought were not. Music can drown it. After, taken it out you will notice a deference, in most cases., depending how bad it is. You may not know what happen to it. But you'll know that the CD Mastering product  sounds a lot  better.
Here is the procedure before and during my audio mastering in real time:  DC FILTER - DECLICK - DECRACKLE - NOISE REMOVE all  in real-time
Keep in mind to be careful as to how you mix down to a stereo track. Also the gear you use as to  how  much is it   known to pick up artifact in the record. Artifact will be in the music. That's the nature of the beast. However,  trying to clean a bad recording only makes it worse. A trip back to the Recording Studio maybe in order.
 

  The above file was  difficult but doable. There were a lot of things I did  to the file but not  mention. My  intent is to demonstrate my cleaning style. It had Clicks ,Crackle and air. There are four sample parts to the one   file  to download. Two shows  the junk that were  taken out. The clicks and cracles are combine. Then there is a unmastered and a mastered file, unclean and cleaned. Please download.

I do not recommend to send a file with Large clicks  for Audio Mastering. My advise is to redo. The junk that's  in the file  or anyone's Audio Mastering file  is never gotten out but suppressed.  Many times alone with the suppression is some of  the music too. Depending on how bad the file is. Go back to the studio and redo.

A  Recording Engineer no  matter how good he/she is  Clicks , Air-like sound and crackles artifact will be in  your  finished product. It is the nature of the best; some files has more  artifacts  than others.  The CD Mastering Engineer's  job  is to locate and removed by suppression, if he knows  what he is hearing when he hears it.

 

 


 

 

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