Abbey Road mastering engineer tried to "destroy myths". My response.

Comments · 1.2K

• MA

  @masteredbystefan · 5 months ago · pinned

  Hey Alain, thanks for the video, glad to hear both your positives and negatives with what I had to say! You actually mastered one of my personal releases quite a few years ago funnily enough. I'm a big fan of the channel :)

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• BT

  @Bthelick · 5 months ago

  the way I took that 2nd point is I think he meant the level sent to him doesn't matter if you send 32bit float.

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• TH

  @TheBunnToo · 5 months ago

  I appreciate that this is a fair analysis and response instead of a “tear-down”. All good and useful points.

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• GO

  @gonencgiray · 5 months ago

  such a nice exchange between two artist/engineers.

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• OG

  @OG_Cornman · 5 months ago

  I generally liked that interview. I don’t think Warren was asking ‘what is the ideal state to send a mix in before mastering?’ it was more just ‘what do you do when people send you stuff like this?’ and I respect that he said I don’t really care, I will work with whatever you send as long as you like the way it sounds.<br><br>I wouldn’t send a file off for mastering that has a bunch of clipping and limiting and saturation on the master bus. But I would send them that mix as a reference for where I got it on my own set up, along side the more dynamic version with room for mastering. <br><br>I don’t think him refusing to work with songs that were slammed would have been a good look. I think he could have given better advice for what is ideal though.

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• FI

  @FireMoon42 · 5 months ago

  Vincent Price to &nbsp;Michael Reeves on the set of Witchfinder General.. &quot;,Young man, I&apos;ll have you know I have made hundreds of movies &quot;..<br><br>Michael Reeves in reply to Vincent Price... &quot;Well I&apos;ve only made three however, &nbsp;they&apos;re all good, &nbsp;so we&apos;ll do it my way &quot;.. It&apos;d generally consiered to be Prices&apos; best performance.

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• DA

  @davewestner · 5 months ago

  <a href="https://www.youtube.com/watch?v=seFS1yoJPtA&amp;t=618">10:18</a> you&apos;re my kinda mastering engineer....I absolutely despise it when mastering folks decide they need to make major changes when the mixes are good and have been approved by the client.

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• RO

  @RoomAtTheTopStudio · 5 months ago

  Going by the first 7 minutes of the video and trying to master with limiting on, my old mastering engineer told me to take the compression off my mix and just level up the sounds to how I like them and leave the rest to him. He made my cheap front room studio set up&apos;s mix, when compared to mixes done in pro studio, &nbsp;sound the best mix on the album

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• AL

  @alxs2k · 5 months ago

  Awesome react video! Also waiting for more new content from the economics channel! Just finished an investing course and learned a lot about stocks and that’s all thanks to you. Such important topic for all audio professionals due to the nature of the business. Keep up the great work!!

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• JO

  @joeMW284 · 5 months ago (edited)

  I send mixes off to mastering way I want them to sound. I want to be the one who manages the dynamics that gives it feel and glues it all together. All of that is layered on throughout the mix. I do check to make sure that it holds up well with a brick wall limiter shaving off a few dB, but I would never send it with that on it. I leave enough headroom to do light EQ corrections and leave the overall loudness up to the mastering engineer

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• NI

  @NikkiLayne · 5 months ago

  Another benefit to working on headphones is that it&apos;s incredibly easy to test your mix with completely different levels of sound quality.<br>The utility of having a bunch of different headphones with varying levels of clarity, dynamic range, and frequency response (all of which you should take the time to become intimately familiar with for each one) has been extremely helpful to me in making informed decisions.

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• PA

  @pan-athen · 5 months ago

  I&apos;ve been mixing and mastering with my trusted headphones for decades now. My work has played in big arenas, cinema theaters, auditoriums, cars, TV sets, smartphones, you name it - and it always sounds good. Movie directors seem to be a little off when they see my minimal setup as I master their Dolby Atmos theatrical release, but they always like it when they hear it in the theaters. It&apos;s all about knowing what you&apos;re doing, no more no less.

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