Re: Cables again. For Arny, et al.

On Mon, 18 Feb 2008 15:51:52 -0800, Arny Krueger wrote
(in article <fpd5mo0241v@[EMAIL PROTECTED]
>):

> "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]
> "
> 

He is quite correct. The "sonic adjustments"  to which Gabe Weiner refers
are 
those parameters that I mentioned in another thread which keep the sound
from 
the master tape within the parameters of the vinyl cutting equipment's
limits 
and for many years most of these have been computer controlled and
automatic, 

-- 
Do you know the difference between students like you, amateurs and 
professional jazz musicians? Student bands and amateurs "almost" swing! 

Fred Berry
Professor of Music
Stanford University