Re: Cables again. For Arny, et al.

"Sonnova" <sonnova@[EMAIL PROTECTED]
> wrote in message
news:fpad740ni4@[EMAIL PROTECTED]
> I still don't think so. As I just outlined for Bob in
> another post, the things over which the mastering
> engineer has direct control are on the mechanical end of
> the process, not on the signal side.

??????

Here's a formal definition of mastering from the rec.audio.pro FAQ,
written 
by the sainted Gabe Wiener:

Q6.3 - What is mastering?

"
  Mastering is a multifaceted term that is often misunderstood.  Back in
  the days of vinyl records, mastering involved the actual cutting of
  the master that would be used for pressing.  This often involved a
  variety of sonic adjustments so that the mixed tape would ultimately
  be properly rendered on vinyl.

  The age of the CD has changed the meaning of the term quite a bit.
  There are now two elements often called mastering.  The first is the
  eminently straightforward process of preparing a master for pressing.
  As most mixdowns now occur on DAT, this often involves the relatively
  simple tasks of generating the PQ subcode necessary for CD replication.
  PQ subcode is the data stream that contains information such as the
  number of tracks on a disc, the location of the start points of each
  track, the clock display information, and the like.  This information
  is created during mastering and prepared as a PQ data burst which the
  pressing plant uses to make the glass pressing master.

  Mastering's more common meaning, however, is the art of making a
  recording sound "commercial."  Is is the last chance one has to get
  the recording sounding the way it ought to.  Tasks often done in
  mastering include: adjustment of time between pieces, quality of
  fade-in/out, relation of levels between tracks (such that the listener
  doesn't have to go swinging the volume control all over the place),
  program EQ to achieve a desired consistency, compression to make one's
  disc sound LOUDER than others on the market, the list goes on.

  A good mastering engineer can often take a poorly-produced recording
  and make it suitable for the market.  A bad one can make a good
  recording sound terrible.  Some recordings are so well produced,
  mixed, and edited that all they need is to be given PQ subcode and
  sent right out.  Other recordings are made by people on ego trips, who
  think they know everything about recording, and who make recordings
  that are, technically speaking, wretched trash.

  Good mastering professionals are acquainted with many styles of music,
  and know what it is that their clients hope to achieve.  They then use
  their tools either lightly or severely to accomplish all the multiple
  steps involved in preparing a disc for pressing. [Gabe]
"