It’s an organic, come-as-you-are approach that’s defined the Foo Fighters’ sound, and no doubt other bands are now more likely to drift in that direction. We’re not sure every band can pull off the kind of magic the Foo Fighters can in a garage.Contact us if you want some help with your sound …or if you can’t afford to have all that awesome gear in your garage.
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At SoundOps, we understand how hard you work to create your own unique sound, and we believe you should have a say in how the finished product turns out. That’s why we created multiMASTERING. With multiMASTERING you have more input, more access, more control, more interaction, and more options. Is CD mastering different than for vinyl? The short answer is yes. A needle needs more room with the louder the program is an interesting point, something that we don’t need to worry about with mastering for a CD. Hard sibilance, loud ride cymbals, wide bass, a resonant frequency around 1kHz – these factors can all cause the needle to jump out of its groove. Avoiding that is true craft. It’s an art. There are fans of the group Metallica that publicly prefer the versions of a certain set of songs that appear in Guitar Hero opposed to the ones released on CD. Why? Better audio mastering. Certainly the quality of the original makes a huge difference in the quality of the audio mastering work, but excellence in mastering can make a world of difference for the listener. As with any new technology, digital audio looked like it was going to solve every problem we had with audio recordings from getting rid of hissing that masked quieter sounds and distortion of louder sounds. And maybe it could have if the music industry had embraced it for those possibilities. Before it could show it’s range it was shut down by special interest. But nothing can keep a good idea down for long! Now that there is so much that can be done, you may need some help. That’s why where we come in! Having a 180-degree polar pattern, ribbon mics naturally pick up what is “behind” them just as much as what is in front of them. For a brighter, edgier sound – face the mic directly on-axis and into the source. Be as precise as possible. Conversely, tilt it off-axis to dull things a bit. It’s a shame — for the erstwhile podcast producer — to lose an otherwise interested prospect due to poor sound quality, especially since all that podcaster had to do was go to an outfit like SoundOps for affordable high-quality digital mastering. |
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