MEET THE PROS | Bob Katz, Ingénieur Mastering à la Sae Paris

La SAE paris a eu l'immense privilège de recevoir Bob Katz, ingénieur de mastering bien connu pour ses ouvrages et ses méthodes de travail. Les élèves de la SAE ont pu bénéficier d'une masterclass de très haut niveau, et Bob katz s'est également prêté au jeu de l'interview, dans laquelle il tord le cou à beaucoup d'idées reçues : La numérique, le Vinyle, Itunes... Passionnant !
Découvrez nos formations en audio et production musicale :
www.sae.edu/fra/fr/audio

[@aGuyToGrooveWith]

Mister Katz seems to be a very nice and humble person, great interview, enjoyed it a lot ...

[@miskar2]

This is simply beautiful he is a Gold Mine of knowledge

[@MrDonnyAir]

I have learned so much by watching and listening to Bob Katz. Wickedly intelligent, talented, and explains things in a way that are clear, concise, and easy to understand. For those who are new to the craft of audio recording, I highly recommend watching as many Bob Katz videos as possible. I learn new things from him all the time, and I say that as being a 30+ year veteran in this business. It's true that an old dog like myself can learn new tricks... but I sure do wish that I could have had him as a learning resource when I was first starting out as a puppy. ;)

[@JohnJonesRocketCity]

Man he really touched on some things that I really didn't think he was going to touch on when he was talking about thin ,cold, and shallow mixes. The fact he said you can be taught to not make mistakes that cause that really motivates me. He said a lot that really matters. I'm so glad he takes the time to tackle things that are not easy to accomplish that most people will not talk about.

[@MichaelMoore-nx5ue]

I hear you! If find out how please shoot me a link 🙏

[@lucdehemptinne]

I met André Charlin in the 60ies…ans Bob’s approach is very close to it… André Charlin is the pioneer of the artificial head microphone Congratulations Bob !

[@nickitchet3403]

Watchin this video at least once a year. Thank you Master Bob K.

[@-_Nuke_-]

truly amazing.. once you could do a lecture and be heard by 500 to 1000 people at the best circumstances. Here Mr Katz is heard by twenty six thousand people! Imagine that in real life!

[@ajneye]

Excellent, pertinent, passionnant. Merci !

[@LeeGee]

What a superb find, many many thanks for posting - what a pleasure, and an education!

[@monkeyxx]

beautiful interview, thanks so much for doing this!

[@syncro16se]

Absolutely wonderful. So much about music and mixing us about values, and I mean values philosophically, as well as truthfulness and honesty. even faith and love. Thanks for uploading this.

[@mixinthecloud3338]

Bob is a genuine audio genius. I had the good fortune to study with him when I was in school in NYC. He knows his shit. Get his books if you can.

[@7thNoteOfficial]

I deff going to get his books i need to up my game

[@Meteotrance]

this guy is one of thoses crusaders again'ts loudness war ^^ but he's amazing and able to listen all the small defaults that usualy nobody take care and make perfect mix better ^^. He's a pure goldmine of knowledge.

[@ishagshafeeg]

An interview, no musicians should miss it!

[@Magnum_Opus_Music]

Still watching Bob at 2020. Always inspiring to hear the man speak about his passion 🎶

[@musicmaniac1949]

Excellent interview!

[@TheFryingPanStudio]

Great Mastering engineer and person!

[@8hag]

Almost was an intern for this audio genius. Only can hope to be one someday. I've learned a lot from him.

[@forsure2283]

That last bit is the most important part, but that bit is the bit that most ignore. That understanding of how sound moves in a room.

[@borincason7647]

Well said Mr Katz. Well done SAE Paris

[@MeAndTheBoys_]

Very studied man, and he knows a lot of details about music production. These are only his opinions, very educated opinions. I respect the foundations of music production, but personally i really dont care if my set up is not perfect. Either i waste my life deep analyzing everything and get nothing done, or i will work on the music, adapting as i go along. As long as things sound clear to the human ear on most devices, with a solid lows, good low mids, mids, upper mids and highs,....ive done my job. This video has a little of that feeling of a classical musician talking about how to really play real music, according to the rules. Then again,i would love to sit with the guy, soak up some random knowledge, and watch him get red faced when im mixing :D

[@Nephilim-81]

Listen...listen...listen...don't touch!! Love it. Great Advice. Also, depending on how an album was originally engineered I'd take a 24/96k over a vinyl pressing any day. Absolute no brain'er. ;)

[@AgustinDavidF]

Really great!

[@norbertocuevas7758]

Thanks Bob!....Thanks Master.

[@joecreppell3643]

great content with a legend ! Comical though that the sound guy that captured this had never heard of a shotgun mic before.

[@noirfidelity]

full support!

[@IceOnDaMix]

Great Commercial for Bob

[@jules7168]

Gotta love this guy

[@elonthebass6870]

Legend

[@7thNoteOfficial]

The goat what a legend

[@b4ssfunk3d]

Bob Katz thank you for spreading this wonderful information. Also FLAC is a much better codec than ALAC IMO. I only listen to vinyl records and CD FLAC rips I just can't stand listening to compressed music. I hope some day I can meet you and visit your studio.

[@b4ssfunk3d]

Well the point is, even at 44.1kHz and 16-bits there is more information on the CD than what is present in an .mp3 file (unless the CD is loaded with .mp3) it should be an uncompressed PCM format. Once converted to .FLAC you're simply retaining what is on the CD to begin with. I digress, 24-bit is no doubt better and has a lower noise floor and generally scales better without sounding "loud." My favorite recording however is a 180g vinyl FLAC rip @ 24-bit/192kHz of Miles Davis "Kind of Blue." I have heard the CD version and the CD simply sounds artificial by all means compared to the organic sound of the vinyl that has much better instrument imaging.

[@b4ssfunk3d]

There should be essentially no difference at all between .FLAC and lossless WMA. The reason I used .FLAC to rip my CD's is because CD's don't hold up forever since they can get scratched. I have a playlist of 10000 songs, 86% of which are .FLAC or .WAV files. I have a $500 DAC to pair with my headphone/speaker amp. Digital files are so great to have because they don't take up any physical space and now offer sound that is superior to a vinyl record(DSD, DXD, FLAC 24-bit/192khz). Also with increasing hard drive space I now have a 7TB hard drive setup. Bring on the music :] and yes you need a better setup to enjoy the benefits of lossless encoding the most

[@genuineuni]

FSBass It blew my mind (dicovering how CDs are made) when someone sent me a CDR with a Avery lable on it and the player had a tough time reading the data. I saw a blemish on the read side, right under the label. I decided to peel the label off and I was left with a transparent hole!! I always imagined an aluminum disc embedded in plastic, How wrong I was. This may be true with multi-format CD/DVD (each side), because most readers have a tough time reading both, maybe due to laser focusing.

[@Zickcermacity]

b4ss: By "compressed music" what kind of compression?

[@shawnsteven1869]

Thank you! I do a whole lot of little stuff to help with satson but to gain stage through and do the 4 bus compression with Phoenix 2 on a master fader with tube stuff as well, I have crazy routing with even and odd spl to place where ever but I don’t want them to go to my master bus, and there I don’t master just cohesion to snow mix bus, multiplicity and others after but I got a crazy pro tools temp I need a masters help with possibly ! Ears are our greasiest teachers

[@marlborr0]

The NS-10 are there! There!!!

[@RodolfoFrigolettToro]

thank you

[@alexnw1986]

YES

[@focusonevideos]

Wonderful

[@Magnum_Opus_Music]

''A little warm sounds better then a little cold''

[@audiofreq]

No one else notice the Yamaha NS10 woofer protruding from the cabinet a bit much?

[@ludovicmorelon6771]

So where can i get those really simple rules about dithering word link and processing?

[@TrunzMcintyre]

Sir, where i can send you my Mix for its consideration for mastering ?

[@octopusonfire100]

So, when he talks about "technical things that happen under the hood" that can be learnt relatively quickly, like dithering, for example. What other things could any of you guys think about? Things that are often overlooked when learning mixing, usually because they're "too technical", but could really help to understand what's going on under the hood?

[@Hexspa]

k system

[@jimdough2018]

saturation / distortion / LUFS

[@Hexspa]

Saturation is the holy grail of mixing itb. That and pink noise.

[@buddahcrib]

Bob Katz in 2013: "... we still have to make 16-bit for the distributors that are not as intelligent as Apple. A 24-bit file should not be anymore difficult for them to put into their encoders. This will eventually happen." SMH It's 2021 and I still have to upload 16 bit masters to Spotify and co. This has to change!

[@strangersound]

It's hard, Bob. Once you mix with a compressor on the bus, you aren't going back to the old way. ;)

[@RICHIEBROSS.]

Único

[@bronsonosborne2064]

VINYL RECORDS TUBE AMP BLISS

[@dannyho6786]

" Friendly competition "

[@pierreguignery8826]

I wish he told us the dithering he uses the most...What's yours?

[@pelespoland]

“Vinyl is expensive medium” but hd albums are as much as new records on his bosses website..and you are left with a file on your computer lol

[@wertor666]

"you can't fit 24 kilos in a 16 kilo bag" that's my only "what?" in this interview

[@RagedContinuum]

not tracks, bits.. you can have something like 99 tracks on a redbook cd if I remember correctly

[@wertor666]

No. Are you kidding? I'm talking about bits. 24 bit tracks are mainly for the studio. Playback doesn't require this. Maybe when you have system which has signal/noise ratio higher than 100 dB it will be usefull. Even on 16 bits you can use noise shaping or shaped dither (or both) to extend 96 dB range of redbook. I can understand that engineer need this because he has equipment to see the difference. For me as a listener it doesn't matter. I will use my ears and I will judge by my impressions. And then CD is good enough. Cheers.

[@monkeyxx]

my only LOL, "you can't fit 24 kilos in a 16 kilo bag" !!

[@estudiomonteverdi]

not that! great!

[@Jozmex]

pleas traduction to spanish

[@bergamMNE]

In today's day and age of very fast internet connections and huge storages, using any lossy compression is crime against humanity. This includes Apple's fancy codec. We already do have something that is way better than MP3, it is called FLAC. But i guess FLAC does not fit in the biz model...

[@genuineuni]

Bob, I get into many arguments over mixers and masterers. Maybe in the days of BIG RECORD COMPANIES they had MANY music projects going simultaneously. Way too much for a single person to do everything from mixing, editing, and mastering. But, those days are behind us. One person, these days, should be able to do everything start to finish. Much better mixes? Look at Abbey Road, the "gurus" there did Paul McCartney no favor mixing his Band On The Run song. I only know this because I found the multi-tracks. Mixing - it's not something you learn from others, it's more or less common sense. All I find on KZbin is Loudness War complaints. But, really, people, in general, could care less about sound quality, that's obvious to me.

[@victorfranca85]

They don't care until they hear someone like Tipper. Good mastering can be the difference between a song becoming a hit or flopping. Psycho-acoustics play a huge part in hits. Generalizing is usually illogical.

[@genuineuni]

Victor Franca Hi Vic!! Unless the sound is really out of kilter, not sure inferior mastering would cause the song(s) not to become a hit or be welcomed. As an example, but Sharron Jones (& The Dap-Kings) recorded for Daptone Records (NY). I found their, "100 Days, 100 Nights" (2006) song, that I felt was great, but sound quality was far from what I would have issued. However, on Amazon, the CD (album) received nice reviews. Only I and another mentioned about the sound quality. Daptone Records doesn't reply, neither does the person who mastered it for CD. Assume analog recording(s), but still.

[@victorfranca85]

If people are given an A/B they can tell. People can tell the difference, most of the time they are not given the choice. Not many people have the time to go after good sources. It matters. Listen to Tipper, once you hear a production like that, even in mp3 since his samples and mastering are so perfect, its never the same again. Its like the fedex arrow. People are not stupid. No trying to sound argumentative, just putting a counter point out there. Sound quality is becoming more important.

[@genuineuni]

Victor Franca Vic, why all the sudden is sound quality becoming important? It may be an issue due to LOUD mastering or early CDs that sounded foul [mastered from spent tapes]. My best guess, maybe 15% of people are concerned with sound quality. Sound quality alone never sold music. Forget A/B, I say allow them to hear the multi-tracks, remixed, then compare that as the "B". One of the reasons I enjoy music is due to the sound quality advantage of stereo reproduction, but many, many, many people are happy with Monophonic. Strange, but true.

[@victorfranca85]

Sound quality is becoming more important because audiophile grade gear is more accessible. Stereo creates better sound stage but introduces phase. mono is alright. Definition matters and music is becoming more High Definition with better recording gear being available to most people. Sound quality does help sell music, if something does not sound good there is less of chance it will be replayed. Why do you think the beats craze actually cached on ? People were looking for better quality, even if it was not given to them in a true honest fashion. Why do you think bose is so big? I live next to their USA headquarters and they own their own hill like its Mordor from the hobit series.Variations in production are one thing, having them sound good out of a system is another. People are looking for quality sound and usually get scammed trying to look for it. I did, when getting under engineered grado cans, high frequency spikes are not audiophile. Everyone is looking for something that sounds good, that's the whole point of "listening". Sometimes we get it, sometimes we don't. Most people are unaware of how good their music can sound.