Jono Grant is a Toronto based Composer, Producer and Musician who has worked in every form of media over the past 30 years. Jono is the owner/operator of Victory Drive Music Inc, originating in the Beaches in the mid 80’s and settling in Leslieville from the early 90’s until the present. During this time Jono has been recording, editing, mixing and mastering music on countless album projects, film, game and television scores. Jono has been nominated for Gemini, Genie and Canadian Screen Awards and co-produced three Juno nominated albums with a Juno win for Richard Underhill’s “Tales of the Blue Lounge”.
Professional audio mastering should be available at affordable rates for people working on modest budgets. Many mastering facilities need to mega-charge their clients to maintain their massive overhead, funding a large facility, staff and gear. Jono offers the same competitive results at far more affordable rates, streamlining the process in-house by giving the client the option to study the master in their own time and return for any final adjustments.
Okay, we can do that… but let’s consider the material. Everyone wants their music as hot and as competitive as possible in today’s market and mastering engineers continue to push the limits further and further all the time.
Different music styles require different mastering procedures. If we master a classical music track in the same fashion as we master a heavy, beat-driven track, we’re unlikely to end up with a desirable result. Certain types of music simply needs more headroom to exhibit it’s dynamic range. A loud dynamic moment will only sound loud in comparison to a much softer one, so we need to make sure that ratio remains intact. At this point, we can carefully maximize the track, while making comparisons to other projects in similar genres.
But first, let’s just have a peak at these waveforms (pardon the pun…)
|Beethoven’s “5th symphony”||Pink Floyd’s “Money”||“Who Let the Dogs Out?”|
As you might imagine, the person listening to Beethoven with their stereo cranked up loud will really feel the impact of the orchestra’s stronger dynamic passages. In a similar way, the Pink Floyd track has plenty of headroom for any major changes in dynamic; this track is beat-driven, so the drums produce fairly constant high level transients throughout and give us a visual idea of where the average level sits. Those transients roughly match the loudest parts in the Beethoven track. Even with Money’s percussive peaks, the track still has enough headroom to swell above those levels as you can see during the last half of the song where the solos occur. This option to give “more“ at some point in your music is always rewarding.
Now… let’s picture the beating your speakers and your ears would have to endure if we were to leave the stereo volume up where our friend was enjoying Ludwig Van and throw on “Who Let the Dogs Out?”…”Whoa! Who blew the woofers out?”
In conclusion, the blasting master would likely make us turn our stereo volumes down; it’s dynamic ratio would be pretty much linear and it’s constant peaking would become fatiguing very quickly over time. “But on the noisy dance floor it rocks!”
So let’s consider the material.
How Will Your Music
How Will Your Music BE PRESENTED?
Will it end up as a compressed audio format like MP3? Is it going on YouTube?
The main approach is to master music for CD and Radio broadcast; but additional adjustments are necessary to adapt the audio for the other compressed formats that are used widely on the internet. In these compressed formats, the audio quality becomes more and more degraded depending on the format and type of file compression; this is another very important reason to ensure there is no damage being done to the audio in the process of maximizing the loudness of the track.
If your project is unique, please call for a quote.