In related news I was dropped this the other day. The takeaway quote:
The least predictable (but not entirely surprising) resistance to externally mandated loudness controls seems to come from new, emerging “producers” and “mastering engineers.” In this new production paradigm/workflow—one mostly lacking a traditional professional infrastructure of managers or “gatekeepers”—these new “mastering” practitioners interact only with their respective artists. Many decisions in these relationships are invariably one-sided.
And that’s the disconnect: It’s not an overreach to say that artists are preternaturally insecure. After all, their job, if you will, is to absorb the heartbeat of the current culture … to translate this matrix of influences, not limited to affairs of the heart and politics, and blend in ideas, often abstract and ephemeral, then render it all musically. Does “accountability” have a place in the artistic zeitgeist? Does actual technical competence? What about an artist doing technical advocacy?
Loudness Normalization is the new Normal, so not making your mixes conform will only work against you and your art in the long run.
Learn, practice, and understand your craft if you want to have lasting appeal and longevity in the game.
Or just go for the Brass Ring, turn everything up to 11, diversify into anything and everything, and bitch about why you’re broke and unsuccessful after a year or so. The choice is yours.
Ian Shepherd (forever referred to as Saint Ian on this humble Blog) has been doing this for like a decade now, and I consider it pretty much the only Holiday for those of us trying to make decent sounding audio for the Broadcast, Film, Pro Audio, or even Not-So-Pro Audio industries, like anyone who actually likes listening to music.
So if you fit in to any one of those genres (or just want to pretend like you are) head over to the DRD Website for info, memes, and an announcement of this years winner of the Grand Prize Award.
J Cole’s KOD nabbed it last year, FYI… 🙂
Oh, and there’s a bonus from Saint Ian himself over at The Mastering Show audiocast: his analogy and tips for creating a dynamic mix that competes on the Major Streamers. Great stuff.
Izotope dropped RX 7 today, adding Music Rebalancing, Vocal Removal/Isolation, and a new Repair Assistant to its suite of audio correction tools.
RX is one of those pieces of software that I don’t use often, but is a lifesaver when you need it for fixing dialog issues or removing anomalies like extraneous sounds or clicks or pops (Audiocasters should look into this if you haven’t already just for the Breath Control feature alone). It’s a nice update to a solid audio repair and enhancement toolkit, with tiers available from the casual user to the professional audio, movie, or television Post-Production engineer.
What really intrigues me is though is the latest update to their Insight metering program, which is unparalleled for measuring Loudness (LU), Sound Field, Spectrogram, and other audio analysis functions. Insight is not something for everyone (although the new version is less than half the price of the original), but for those of us who need accurate reporting of audio spectra it’s money well spent.
These updates are happening yearly from the Isotope crew, and it’s great to see consistent for all all of their products. 🙂