"Inicialmente, nosotros masterizamos el album de Kerry
Getz, en un estudio de primera clase en Los Angeles, pero la calidad no
fue la que yo esperaba (no me convenció aun despues de dos
intentos. Les traje el proyecto a ustedes y los resultados son
sorprendentes. Ustedes sobrepasaron mis expectativas, por menos de lo
que cobraría un estudio de renombre."
Beal - Ingeniero que ha trabajado con: Narada Michael Walden, Carole
King, Hanson, Howard Jones, etc.
"Inmediatamente supe que podía confiar en
sus oidos y opiniones, su juicio es objetivo y acertado. Me dí
cuenta, que masterizar es mas que ajustar niveles y
ecualización, cuando Salí del estudio, mi música
sonaba bien en cualquier sistema de audio."
-Otha Young Entre sus trabajos
Newton - "American Girl"
"El sonido que le diste a mi música, fue
mejor que el de mi último disco, el cual fue masterizado en un
estudio de mucha fama. Una de mis canciones, se escuchó en la
estación KBSR, precedida por una canción de "Fourplay",
de hecho sonó igual o mejor, con suficientes graves y una
claridad impresionante. ¡Buen Trabajo!"
-Patrick Yandall, - artista de Jazz - "Of Two Cities" - San Diego, CA
"Everyone in the band is thrilled with the mastering
job. You did an amazing job...the songs noticeably rock harder. Our
drummer loves the drum sound and the vocals are much brighter. I will
definitely be recommending you to anyone I know who needs to master
-John Gaenzler - Saccharine - New York
"The CD sounds great in everything we played it in Car, Home, Boom box,
CD Walkman, and most important the Radio. Your
web site sold me. We left a lot up to you, which is really unlike us."
-Jeff Boyer - Paint Box -
"You've done a great job overall and everyone is very pleased. I'll be
in touch again soon as we've just begun another album."
- Andrew Marlow - Moontracks Music
Publishing - Northamptonshire, England
"I like working with John because he hears details
in the mix, and simply makes everything sound better."
-Jerry Swallow - Guitarist on EMI,
Electra, A&M records, Tanya Tucker on MCA, Olivia Newton-John,
Randy Meisner, etc.
"I've been trying for two days to come up with some
way to express our appreciation and thanks. The cd is phenomenal. But
it's also more than that. It's actually far beyond what we were
expecting, and we were expecting quite a bit."
-David Eden - Cleveland, Ohio
"We sent out 4 demos and yours was the best. Yours
had the most clarity of all. Yours also kept the original clarity
despite the added loudness, which is something that the others lacked."
-Joseph Milano, Jr. - Peat Moss and
the Fertilizers - West Islip, NY
"The disc sounds great... your
pricing is competitive and your turnaround is impeccable. Your detailed
notes, suggestions, and correspondence ensured that you had been paying
attention to the album. Perhaps I've been underexposed, but I haven't
encountered this elsewhere."
-Chris Lawhorn - Idols of the
Marketplace - Indiana
"Our bass player, who is a seasoned veteran, was highly impressed with
the mastering job. I was shocked to hear his enthusiasm. He says that
this is by far the best mastering job he has experienced."
-Mark Waggener - Traverse City,
"John brought my music to life. I didn't realize the
importance of mastering until he A/B'd the finished product with the
-John Stary - producer-engineer -
"We want to thank you for the killer job that you
did. The toms that you mixed in for us sound great. People have been
commenting how good the cd sounds."
-Pat Roche - Ballast - Greenwood,
"Thanks for your awesome work!"
-Kim - The Muffs (Warner Bros.,
Sympathy for the Record Industry)
"After reading [your articles], we applied [your
suggestions] towards our project. [You] worked magic above and beyond
the call of duty to make our cd sound it's best."
- Craig Smoot - Guitarist, Black
Label - Huntsville, Alabama
"The [award-winning] Full Frequency album got a lot
of praise for the whole production and mastering process. So again, as
always, thanks for the great work you've done on Gonzo! releases."
-Robb Schiltz - Gonzo! Records - LA,
"We were so impressed with the quality of our
recording after mastering. I don't think we realized what a difference
it would make."
-Lynnae Hitchcock - Relish - Orange
"The sound quality is getting great reviews, thanks
for a job well done. Our music is getting picked up daily by stations
across the country."
-Mike Beloud - Rise - Montrose, CA
"My drummer and I had a great session with you
wherein we basically remixed our entire 3-song demo from start to
finish. We're thrilled with how the songs came out and owe it all to
you. Thanks for doing such an incredible job. "
-Andy Barr - headParade - LA, CA
"I know I speak for a lot of your
clients past, present and future who could have gone to other places,
but stayed with you for one reason. You produced consistently great
product in a number of capacities. Your ability to adapt to the needs
of the client in the moment was truly masterful.
I have no doubt that you can change the dynamics of a recording in the
mastering process. I think you may bring something extra to the project
that is God given. You have remarkable ears.
I have recited the story of my recording where while we were mixing,
you were hearing something that was bugging you. You slowed down the
tape and manually ran it until you found a John Mehler accidental tick,
where he barely touched the rim on his snare with a stick. You heard
this through heavy rhythm tracks, horns, percussion, lead vocals, and
layers of background vocals. It takes a lot to amaze me. I was amazed
that day while you spot erased it.
I also remember the first mastering of 'Gulf of Mexico.' Doug Sax [The
Mastering Lab in LA] came into the studio and called that "the cleanest
recording he had heard that year." Doug Sax! That was unsolicited. He
wasn't even mastering that project. This recollection stands out
because there were witnesses, and my credibility in the biz as a
decision maker with my music was thereby significantly enhanced.
That led to more money for studio time, and eventually to
Allegiance-EMI-Capitol. I was positioned to compete in Hollywood
largely due to your singular brilliance.
Then there was the Brian Wayy-recording that a black producer and I
brought to the Black Radio convention at Studio City. In a smokey
expensive suite filled with some true industry heavies, we managed to
slip that tape into the rotation. Immediately, the dancers jumped up to
boogie and the business people flocked to us asking who, where, and
rather poignantly, who produced in what studio. The quality of those
recordings certainly outlasted the voice emulators!
John, there are many more anecdotes that would support what you have
accomplished in the last 25 years. I think it is precisely the fact
that you have recorded so much, and have such a great ear that make you
a superior mastering engineer. It is your rare awareness of sound and
process that lead me to think you might just be pushing the envelope in
this field." -Bill Glass, Corpus Christi, Texas
Email response to Secrets of Miking
" ...the part about the
positive reinforcement when it comes to getting the most out of a vocal
performance is *100% right on*!" [Our engineer will] express the
*opposite* of what he really feels (eg., "Fred, y'know that solo of
yours really sucked...)"
Reply by John Vestman:
There are people who use put-downs in a kidding way, and people who are
just plain cranky. No matter how "fun" the person makes a put-down, it
strikes a vulnerable place inside people and the people around them.
When requesting a different approach, I suggest having the whole band
there for a quick game plan discussion so that everyone is on the same
page. Then use the "donut" technique. Say something positive "I really
appreciate the sound you get on tape for us..." "for this project, we
want to take a new approach in giving feedback to the singer. We'd like
to all agree to not use any put-downs or negative comments or negative
words, even if it's jokingly." "I know this session is going to go
great, and we're looking forward to hear the sound you get for us."
If he goofs, just smile, take the "joke" for what it is, and then
simply *add* the positive phrase afterwards. It will add time to the
talking-back and forth, but it will neutralize the negativity. No one
switches this wording around overnight. It took me years, I mean years
to get automatic with my language. Never reprimand yourself or others
when a negative phrase is used, just follow it with a correction.
"I am extremely happy with the work you
have done. It sounds tighter and it has a more consistent sound.
One concern, our CDR wouldn't play
past track 4 on my home CD player. It played fine on a different player
and on two other car stereos. This has happened one other time with a
CDR, but never with a commercial cd. Do you know what could cause that?
-Tom Cantrell - Philo Beddoe -
The reason that your cd play won't play the cdr is because cdrs have an
ink on the bottom that is burnt by the cutting laser. This leaves
little burn spots for the cd player to read, vs. actual physical pits
on commercial cds. Some players (usually the car stereos) just aren't
happy looking at those burn spots and the result can be anything from
dropped tracks to glitches or other wierd things.
If you go to purchase a home/car cd player, take several cdrs with you
to check which one will play them all. The brand of the cd player
doesn't matter much, as the laser assembly inside them often are made
by different companies, like an RCA deck might have a Techniques laser
Tip: When you are burning your own cdrs, the lower
the speed at which you burn it, and the better the quality of the blank
cdr, the better the chance of it playing on more systems.
"The work you did on the new single brought it to life!
Your ear is impeccable. That's why we keeping coming back."
-Daniel Marish - Crashdove - Las Vegas, NV
"Please cut the final master without any additional
changes. It sounds great and we are very excited!"
-Michael Powers - Yellow
Dog Records, Memphis, TN