The HD Separation Mastering Process:
Unique for any mastering room: We use 4 separate Discrete Class-A
analog processing channels. This
eliminates the limitations associated with traditional 2-track "locked
together" mastering that is only processed through one signal path.
Mastering
is more
effective when you can process different issues with
different
solutions.
Separate channels allow vocal sibilance correction without taking any
sparkle away from the
cymbals or snare drum. Refinements made to a muddy bass won't take out
the impact of a kic drum or remove warmth from guitars - because these
elements are processed
separately. Peak limiting,
which can allow an entire track to be louder, won't cause the loss of
projection of peak-based drums.
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Fast,
non-destructive recall
Easy recall of separate elements saves time when fine adjustments give
you the perfect final sonic resolution.
Beyond the mastering process, let's
look at the actual sonics of the
Separations themselves:
In the case
of mixing "in the box", imagine you have 30 tracks in your
project. (Some may have 60 tracks, some may have 20. Let's explore a simplified 24 bit example
to explore what could be going on in a mix that has 30 tracks (not
counting digital processing or industry recognized 32-bit floating math
for now.)
Remember:
your computer is not a mixer. It's a big calculator.
If all 30 tracks were recorded with 24 bit audio on each track, that's
720 bits in all 30 tracks playing
at once. But the stereo file made from your stereo bus will only have
24 bits when you 'bounce to disc'. The stereo file is not 720
bits.
Unless you are using an analog summing box
(Discrete Class-A required for best audio resolution) or a large format
analog
console, you are accustomed to hearing your 30 tracks mixed down
(rounded-down) into the resolution of just one stereo master track.
It's all being done really well, to be
sure.
But
consider the difference using smaller number of tracks summed to make
Separations (some use the term
"stems" or "subgroups"). For instance if you have 10 drum tracks in a
drum Separation,
that's 240 bits resolved to a 24 bit 'bounced to disc' drum file. Much
different math occurring than when 720
bits are resolved down to a 24 bit full mix file.
If you have 10 vocal tracks, that's 240 bits
resolved to 24
bits. If you make a bass Separation (possibly 2 tracks - 48 bits which
then are
resolved down to 24) and then an instrument Separation (8 tracks - 192
bits down to 24), you now have 4 Separations - each with much higher
resolution than the sound you were getting from your single 2-track
stereo buss summing.
Check for yourself:
I'm the first to admit, I'm not a computer
programmer or math major. And you should check this for yourself. Use
your ears to see if this exloration has sonic merit. Bounce a stereo
all-tracks mix. Now bounce 4 Separations - Drums, Bass,
Instruments, and Vocals (here's how). Put
the stereo mix and the Separations into a new project. Mute the stereo
mix. Listen to the Separations, then solo the stereo mix. Listen to the
difference.
NOTE:
The reason analog summing boxes are sold is because dividing the
digital tracks out of the computer and combining them in the analog
domain sounds different than the 'in the box' sum. But much of that
good sound isn't so much
the box, but rather that each group of tracks isn't resolved the same
way it is using one all-digital single stereo buss
output. (There are many variables to a good sounding analog summing box
system: cables, D-A converters, the actual electronics in the boxes,
etc. I manufactured the Discrete Class-A Nautilus Commander (for
summing in my mastering room) several years back, so I've
researched this subject very carefully.)
 The analog signals created by the D-A's are
voltages of the stemmed
tracks. There is no
numeric-calculated loss in the electrical voltages of analog sound. The
voltage is continuous (no gaps between
samples) and it is just altered when summed. Big-name artists who mix
through large-format analog consoles are all
getting much higher sonic resolution than any in-the-box mix where the
bits are resolved down to a smaller number.
I did some reseach a few years ago listening to an excellent
comparrison of over 20 summing methods, including analog summing. All
summing methods have a different tone, or character. Even things like
different cables can change the character of your sound. I don't claim
that one method or the other is "perfect." The summing method you
prefer depends on your references
and preferences.
Separation Mastering allows us to recombine the higher resolution
separated files you send us using our propriety HD method. It's
different than ANY mastering house. Our console is set up different,
our
experience with this method exceeds all other mastering studios and the
sound is unmatched. Our 3 channels of separate Discrete Class-A analog processing is unique and significantly more
powerful and flexible than any other mastering studio.
KEY:
If you have an analog summing box, you are actually hearing the higher
resolution sound that you would not hear if you're simply taking a
stereo master output from your computer. The summing box (or console)
is actually a significant monitoring device. Some people are shocked to
hear the clarity from HD Separation Mastering. That's because they are
used to hearing that 720-to-24 sound.
It's common to get used to a
more blurry, washed-together, less-articulate sound. You don't hear
transients that are actually recorded on your drum tracks. You don't
hear detail to the reverb in your vocal tracks. You don't hear
pin-point clarity in your instrumental panning.... unless you are
mixing through a large-format analog console. Then you are actually
hearing all the detail in all the tracks that make up your mix. The big
name artists hear
this kind of clarity in their mixes because it's there to be heard in
those big consoles.
Separation mastering fills the gap and offers you more of that
out-of-the-box higher resolution sound - and you don't have to buy an
expensive summing box to achieve it (although for the purposes of
real-time monitoring of Separations/stems, it's an excellent idea).
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Q) We don't know exactly
what
mastering will do and won't do for the sound.
Almost
every
successful commercial album you buy has
been mastered by
an expert mastering engineer. What mastering does to the sound depends
on the source. Mastering brings albums into a place of competitive
sound, whether that's giving it more presence and highs - or mids for
clarity - or lows for fullness - or volume for loudness. Check our site
for what to expect.
Our mixes are a lot quieter than regular CD's and there seems to be no
low end. We were told by the engineer not to worry because mastering
takes care of that.
"No"
low end
should be addressed in mixing, but
certainly the volume is appropriately handled in mastering. Separations
solves all of that with no needed remixing.
I also read that we shouldn't have the mixing engineer compress the
song because it makes it practically impossible for the mastering
engineer to work with.
Not
impossible, there
are just fewer advantages to an overly slammed
mix. Sometimes however it's appropriate when done by a professional
mixing engineer. Loud audio levels sometimes depend on layers of
limiting/compression in order to retain "apparent dynamics" while
getting the volume up right at the mixdown stage.
Separations solves all of that! Every question you have is nailed using
Separations as a format to submit to mastering. Simply let us know what
commercial projects you like the sound of and send or bring in
reference CDs so we know exactly what your taste is.
Could you let me know whether you would consider this to be a good mix
to be mastered, or if you think there should be changes made?? (more
low end? More/Less guitar?? Etc…)
More
guitar
and low end is a preference, and while
we may have a good idea about the balance, really if you send reference
CDs of what you like, we can emulate that - and bypass the "trial and
correct" stage by using Separations.
Q) I loved the master you did for our band 2 years ago - it still
sounds great! It was almost as if you reached in and remixed it, it was
so good. Are Separations more of a good thing, or could it be too much?
If it ain't broke, don't fix it.
If you
liked what we
did before, this will blow
you away -
particularly the improved spatiality and space around the vocals.
It's never intended to go overboard - and it's simply a SYSTEM where
you're providing the ideal
ways
for us
to achieve
excellent results.... not just good ways. Separations don't
replace your 2-track mix - they supplement it.
Q) We know someone else
who did their
own mastering using plug ins. Their songs were hot alright, but the
drums that previously punched out seemed softer or flattened down. Will
separations help this problem?
Absolutely.
There are
only so many one's and zeros relating to volume
level, and when your master is slammin' hot, transients (peaks) have to
be taken down in order to bring up the overall mix, otherwise the whole
record is clipped to pieces. With loud mastering techniques and mindful
listening, Separations can be used to restore punchier drums in the
sound.
Q) Why is the sound more
3-d or
spread out like you're saying? Isn't it all digital?
By
transferring more
of the summing tasks directly into a high-end
precision mastering system, you're almost getting a Direct-To-Disc
recording. Whether we sum in the digital domain or the analog domain,
the layering of sound sources (vs. a single-layer source) right to the
mastering system is ideal. Plus if we do enhancements to the
Separations, it maximizes the precision and minimizes the compromises.
Q) What if I want some
help with my
mixes? I like my mixes, but I'm not sure how to bring them up to the
next level.
We're
happy to help.
We have an ideal environment to dial in and
achieve your goals. Plus, mastering settings are all recallable. Once
you get your master CDR, if you have ideas for further creative
enhancements, we'll recall the session and take care of your requests.
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