Studio Tours: Transparent Mastering Pt. 2 - (New 2020 Studio Tours Coming Soon!)

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[@yungpepe]

Audiophiles in shambles @44:20

[@RTCLR123]

Dmn, man has some good sense of logic

[@adreamofwaking]

Bathtime Mastering ;D I really like that you went into the details of the construction and treatment in this one. Thanks again and again for these gems

[@OtherRecordLabels]

I had so many questions for my own selfish purposes! :) Thanks for watching! -Scott

[@transparentmastering]

They really are great interviews, right? Thanks for watching and including this one in the "gem" category :)

[@pauljohn5584]

AWESOME! I too am super happy about how much time was spent on the treatment in this video. You didn't gloss over it and I really appreciate that.

[@tonstudiometzingen]

great looking studio! nice sytle

[@OtherRecordLabels]

Such a classy guy! Thanks for watching! -Scott

[@transparentmastering]

You too! Good call on putting diffusion on the ceiling, most people like putting it where it does very little but looks great in instagram photos hah ;)

[@OtherRecordLabels]

Learn more about Transparent Mastering here; www.transparent-mastering.com/

[@mycbeats1276]

A Dangerous Music Liaisons in the bottom of each rack may be a good idea for you so that you can re-route your gear on the fly.

[@cornerliston]

Hey Scott, nice to see this updated mastering studio. Cables... oh my. That's such a fun topic worth to digging into. Sure cables has some slight differences. Maybe some people can hear the difference better than other. My most expensive cables are the ones that I got with the Amphion passive monitors, bundled with Amphion's own speaker cables at about $300-400 I think. But quite frankly, I'm pretty sure 95% or more of all professional sound creatives wouldn't hear enough difference if that was a $50 cable instead. So why do “audiophiles” buy cables worth a gazillion...? Because they think its better the answer would be. But do they actually hear the difference or do they “feel” the difference-and with “feel” I mean 100 % psychological.

[@OtherRecordLabels]

Agreed!! Thanks for watching and thanks for the comment! -Scott

[@transparentmastering]

Yeah, it's a touchy subject, even though sometimes it's fun to joke about it. Apparently the human ear can detect changes in air pressure that are a billionth of atmospheric pressure (or something like that), so good luck trying to measure the smallest (apparently) perceivable changes in sound, right? Probably some instruments are that precise, but I doubt many audiophiles could even have access to such equipment. Thanks for watching, and enjoy those Amphions! Those guys know how to design a speaker :)

[@cornerliston]

Hey Jon! Good point. I like to think we can hear really small changes. Some might be true, some might be just imagination. I'm convinced that some pros hear details a lot better than semi or amateurs. Probably some audiophiles has really good ears too but I'm pretty sure (sorry all audiophiles) that they don't hear as good as they like to think. Including those who spend more than $10,000 on equipment. The reason for this is that they don't know what to listen for. I'm pretty sure, as an example, mastering two tracks with say 1dB and 3dB of compression almost no one would actually hear the difference. Unless the mastering engineer tells you what exactly to listen for, and even then most of us wouldn't be able to tell which one is more compressed. BTW “audiophile” itself is a something to be discussed. Even “audiophiles” do not agree what “audiophile” is and means. I've tried starting threads on audiophile youtubers vids, but I get very little respons unfortunately. : )

[@transparentmastering]

Haha, yeah, I agree with you on pretty much all of that. One thing I've noticed recently is showing people my studio, some engineers, some just friends. And from the people who have no audio engineering or audiophile background, some of them hear an A/B of a track I mastered and ask "what's the difference" and others are like "wow!" and point out exactly what the differences are. So I think there's a degree of natural ability there as well. My tentative theory is that some people only hear the content (as in, the music itself. The tonal balance or dynamic manipulation is meaningless to them), but other people are able to "step back" and hear the overall presentation of sound, regardless of the "content." This comes into play professionally when people send me reference tracks. Sometimes it's clear they were aiming for a sound, because it's pretty close. Other times, it's like they are sending me a song they like and it has nothing to do with the production of the song because it sounds completely different in every way. Not everyone can differentiate between liking the song itself and liking the production of a song. Some of my favourite reference songs aren't even really good songs; they just SOUND awesome.

[@cornerliston]

Hey Jon, I believe that's the difficulty how to still listen to the song and not just having mixing decisions in mind? Or both really. I feel personally sometimes I get stuck in the scientific listening, getting annoyed by frequencies that should be fixed, or even just a terrible snare sound, even when listening to my favorite music for contemplation. As you write, the ability to step back and listen to the overall song and sound. But that's why you can call yourself a professional right? : )

[@SilentGloves]

It's funny how closely Jon's story mirrors mine, and how I found my way to being a mastering engineer.

[@OtherRecordLabels]

Great to hear! Jon is the real deal. Thanks for watching - Scott

[@draztiqmeshaz6226]

I say absorptive all the damn time, and when I do, it's so hard to remember it's absorbent

[@OtherRecordLabels]

Thanks for watching! Much appreciated! - Scott