The Mastering Show – Détails, épisodes et analyse

The Billboard Top 50 global singles from the first half of 2024 have an average loudness of -8.3 LUFS So that’s how loud we should be making our masters, right ? Well… It certainly might seem that way, but in reality it’s a bit more complicated than that. This is only one of the interesting results that Ian Stewart presented in his latest blog post for iZoTope, and in this episode I asked him back on to really dig into some of the details and nuance. Plus I also wanted to talk to him about the amazing plug-in that got invented during the last episode he was on ! (Well, that’s my story and I’m sticking to it 😛) During the show we talk about: * What that -8 LUFS average result REALLY means, and how much attention you should pay to it * Who the most successful artist in the Top 50 is, and the loudness statistics of their music * The problem with the title iZotope chose for the post * All the other results, trends and biases in the data * Basslane Pro, the plug-in Ian worked with Tone Projects to develop, why it’s unique - and how The Mastering Show helped it happen ! Full show notes on our site https://themasteringshow.com/episode-95

People are always asking me about mastering for vinyl, and I’m happy to try and help based on the experience I have. I don’t actually cut vinyl myself though, so that advice is always limited and second-hand. So for this episode I decided to talk to a genuine expert on the topic - Scott Hull from Masterdisk - and really get into the details. Scott’s knowledge and experience of cutting vinyl is enormous, as you’ll hear, and I took full advantage of that in this episode ! Some of the things we talked about include: The 4 stages of vinyl production, and why each is important How making assumptions about vinyl mastering can backfire Why choosing which plant is going to press the records is crucial The crucial role of the lathe - and it’s setup The myth of duration on vinyl - why “20 minutes per side” isn’t a hard and fast rule Why less limiting allows you to cut louder on vinyl What is the magic of vinyl ? Full show notes and links on our website https://themasteringshow.com/episode-94

You’ve probably heard of Eric Sarafin, aka Mixerman, but have you heard what he has to say about mastering ? As always it’s entertaining, potentially controversial but also thought-provoking, so it seemed like a good idea to get him on the show and ask him to explain himself ! We talk about: * Why he thinks if you don’t make money from your music, you shouldn’t pay for mastering * Whether an online mastering service is actually a better option for a musician starting out (gasp) * Eric's favourite limiter, how he uses it and why * How loud he makes his mixes * Recent potentially game-changing developments... * And why they might make mastering engineers obsolete ! Full show notes on our website https://themasteringshow.com/episode-85

This is huge - Apple have finally started using LUFS for their loudness normalisation, which means all the major streaming services now use the same method to measure loudness ! And perhaps more importantly, they’ve enable Sound Check by default on new devices. As always there are plenty of devilish details to be aware of though, so in this episode we talk in detail about this change, including: * Why it’s so important * How much music online is REALLY normalised anyway ? * Why the answer is surprising to many musicians and engineers * Why Apple finally made this change * A few quirks and gotchas * Why it’s good news * And what to do about it (and what NOT to do!) Full show notes on our website https://themasteringshow.com/episode-84

In this episode we tackle one of the biggest challenges in modern mastering - the demand for super-loud masters in the dance & EDM genres. Our guest is Luca Pretolesi, and we talk to him in-depth about his approach to mastering for clubs & DJs. Luca’s masters are loud and we're always emphasising the value of balanced dynamics in mastering on this show, so you might think it would be an uncomfortable conversation... or you might be surprised. Some of the topics we cover include: * Why do DJs demand loud masters for club playback ? * Luca’s strategy to deliver this without sacrificing dynamics for streaming * Hint - it’s NOT all about limiting and compression * How loud Luca's masters are (which may not be quite as loud as you think) * The club genres that DON’T demand extreme loudness * Where things might go in future Full show notes on our website https://themasteringshow.com/episode-83

Dolby Atmos has moved the goalposts for loudness, all the way down to -18 LUFS. This was one of the main topics of conversation for this year’s Dynamic Range Day, with the Atmos versions of 5 albums being nominated for the award - and in fact, the overall winner was an Atmos mix & master. In this episode I talk to Nick Rives from Capitol Studios, who mixed the winning album, and we discuss: * Nick's approach to mixing immersive audio * How he got started with Dolby Atmos * Using spatial effects to enhance the musical impact * How the -18 LUFS guideline works in practise * The benefits and challenges of Atmos dynamics Full show notes on our website https://themasteringshow.com/episode-82

Apple’s announcement of Dolby Atmos support has caused an explosion of interest in the format - after all, it means almost any iOS user can stream immersive audio, even if they only have a pair of earbuds to listen on. But how does that even work? And for that matter, what is Dolby Atmos, and why should we care? And what about mastering for Atmos? Is it possible, or even necessary?  In this episode we talk to Mike Hillier from Metropolis, and producer and mixer Emre Ramazanoglu about all things Atmos, including: * Why Atmos is different * Why mastering in Atmos is different * How it works in practise * Why the binaural render is so important - and what is binaural ? * Why binaural Atmos sounds different on Apple devices * How does head-tracking affect all this ? * Getting started working in Atmos Full show notes on our website http://themasteringshow.com/episode-81

Time for another Q&A show! Thanks for all your comments, reviews and questions, please keep them coming. In this episode we tackle: * Are tools like SplitEQ fundamentally changing mastering? * Level automation - before or after the limiter? * Should you make separate masters for broadcast? * Can (and should) we correct absolute phase in mastering? * Do you need a dedicated headphone amp? * What have we changed our minds about in mastering, over the years? See full show notes and links on our website https://themasteringshow.com/episode-80

What is non-linear processing, and why does it matter?  In this episode we dive deep into the topic with our guest Dan Worrall, and talk about: what non-linear processing is, why it can sound great and when it can sound terrible, and how to know the difference. Along the way, we also discuss  * Is reverb non-linear ? And why it’s confusing * How linear processing makes top-down mixing a good idea * The difference between saturation and distortion * …and how to use them creatively * The difference between a perfect 5th and a power chord * ...and how to play chords on a trombone Full show notes on our website http://themasteringshow.com/episode-79

The Audio Engineering Society has just released new recommendations for the loudness levels streaming services should distribute their audio at - but they’re not for you and me. Having said that, understanding how they work is a powerful tool for predicting what will happen to your music when it's streamed. In this episode we talk about: * Who the TD1008 guidelines are for * Why they’re needed * How they can make normalization more effective (and more musical) * Why the numbers are slightly different for speech and music * What the numbers are, and why * Why you should care Full show notes on our website http://themasteringshow.com/episode-78