Warren my friend. Thi s is becoming awkward almost! Like stalking. Hehehe... No, no, no - joking here! It's like every time you post some video, especially your tours to other great mixers/masterers/all not mentioned I come and like: "Hey Warren, my friend...". What can I do? I like to thank you for these videos. I learn so much from them and they are fun, informative and ultra-interesting! So, best regards from wintery Zagreb, Croatia! Krešo
The beauty about Adam Ayans work is that Africans can come over here and produce their African music like the best of the best It’s incredible for the Native American people that the Africans can come here and get studio time It’s great for all the snowflakes When it starts to snow You can hear the African drum Shake the crystals In the snow As all the police bicker and complain about their minute pay infrastructure As for Paul McCartney, I’ve settled with the George Harrison and John Lennon, I’ve said my goodbyes I’ve left the idea in peace Well, one of us felt free to walk into the apartment that’s for sure …. Post twin Beatles attacks It’s all snowflakes from here Pounded down snowflakes
Thank you for this "special one" Warren. As a client of both Bob and Adam I appreciate hearing them elucidate on the perspectives that are so important to the magical results they have always provided for me. The old quote "any sufficiently advanced technology is indistinguishable from magic" certainly applies to their collective work at Gateway Mastering. As a lifelong mix engineer, I am consistently astonished at the detail Adam and Bob are able to extract from my work. Their results always rise above my expectations and understanding, and that keeps me coming back. After working in studios for 45 years myself, what Bob and Adam accomplish is still baffling to me. So it's essential to hear their perspectives. Just yesterday I was thinking "I really should go back to mixing in mono first, even though it won't be released that way". So many consumer devices are practically mono anymore and mixes just sound indestructible when they are optimized for mono. Mixing and Mastering truly is a team effort. With Gateway having my back, I know the final product will always succeed.
Thank you Warren, I think you said something very true and beautiful: In the end excitement and feel are the most important things, when it comes to music. All these details, most people never hear (and I'm not excluding myself), our neat tools and plugins, etc. I'm happy to have them, I'm glad to able to use them, but most of my favourite song are far from perfect and from a time, when alternative music, also meant, that you didn't have the top notch equipment, but that didn't bother me for a second, because of the feel.
Absolutely, Peter! Sooo very true. The feel, the honesty, the energy, intent, purpose - we love to resonate sympathetically, light years beyond mere notes and abstract tweaking :)
Duntech was John Dunlavy, who then went on to start Dunlavy Audio Labs. The SC (Signature Collection) line of speakers picked up where he left off with Duntech. John held the patent for the felt on the front baffles to control diffraction, US patent #4,167,985. The Duntech and Dunlavy speakers were time-aligned using stepped baffles, 1st order (6 dB/octave) crossovers and sealed enclosures. If you think the Duntech Sovereign's Adam has sound good, find a pair of Dunlavy SC-V or SC-VI speakers, they're even better!
Ive watched almost every interview youve done Warren - and this one is Top Ten List Worthy.. Between Bob Ludwig, Adam Ayan and Al Schmidt youre hitting Home Runs bro...
A lot of talk, but few show exactly how you work. It would be more interesting if you told, as you do yourself, personally, those or other compositions, to show by living examples, step by step.
Just brilliant information Warren, in no small part because you've got a knack for asking the right questions. Adam really articulated, as did Mr. Ludwig, why mastering is likely more science than art. It goes without saying that highly attuned ears are crucial. It's not that there's art lacking in their stellar work, it's that there is so much technical ability based on science involved in mastering at their level. And I don't mean pre-determined machine generated algorithm science either; those are what plugin manufacturers label "presets." Yeah, i confess I have no regard for online 6-minute turnaround mastering services. They contribute nothing to the art of music production. Thanks for another esoteric interview.
Thanks ever so much Ron! Yes, it's fantastic to be able to talk to these amazing talents! Adam and Bob were incredible informative! I feel blessed to have spent such a great time with them at Gateway!
Another very interesting interview Warren. Thank you Adam, for offering to answer some comments. Personally, I'd like to know a "little" more, about how a mastering engineer goes about actually doing the technical side, about dithering, the PQ codes, preparing for different formats (the differences), track layout etc, all that side of the process, "the nuts and bolts". Maybe an Idea for a future video ? I wouldn't expect to get a full on training course in a free youtube video, but just a few details or pointers, from someone who really knows their stuff, would be educational (for me at least). Many of us "beginners" or "have a go" Joe's, are having to do everything ourselves, in our bedroom or basement, with our inexpensive equipment, we don't have a "budget" at all for real professional mastering. It's not ideal in lots of ways, but it does force us to wear All the hats, and LEARN, which is a good thing ;0)
It's a little tricky with these high end guys because they aren't allowed to show you anything because of the type of clients they have. So you're going to get more general/generic answers or they will talk about very very old stuff that they used to do. It also varies a lot based on project so it's tough to get a specific "this is what we always do." Definitely if you gave them a truth serum they would probably be able to describe specific projects and producers who are initially done better and need less work vs a project that needs a lot done at the mastering stage.
Thank you Warren for giving us a masters class in mastering from Bob to Eric and now Adam. I've always been on the fence about mastering in the non-vinyl age but Adam makes good points about all the various formats today and knowing the requirements each format imposes. That is knowledge that most of us doing our own recording & mixing will not be familiar with or have experience with. He also makes a good case for how mastering has become less a technical process (getting tape to fit vinyl) and more of a creative process for taking a final mix and enhancing it where applicable.
After watching this I can't help but feel that I will never have good sounding songs because lets be honest. You can't be amazing at songwriting, music production, mastering and everything in between all at once. Great interview as always don't get me wrong, but slightly demoting.
Your wife is a smart woman about the snowboots not only for snow but protects your feet from dangerous windchills temps. Awesome informational video and love learning about Adam's journey. This interview rocks : ).
1:25:45 Why are all the major labels in the US now asking for music in 24 bit/96 kHz? Is it simply for purposes of marketing music as "high-resolution audio" to buyers who don't understand digital audio? Why don't people in the recording industry, especially audio engineers, insist on dealing truthfully about things like the Nyquist-Shannon sampling theorem? Please don't mistake this comment as a rant. I really want to know the music industry's reason for seeking increasingly higher sampling rates.
Nice work, Warren & Adam. The Duntechs are Dynaudio woofer drivers, if I recall correctly. Wondering if you know (or if Adam or Bob can answer) whether the Manley EQs are being run stock tubes, or modified at all, and whether the using the balanced outs or the alternative unbalanced output jacks (bypassing the output transformers)? Or perhaps that changes depending on the project?
Great work Warren. What AD/DA converters are used by Bob and Adam? I see the two videos and Bob only spoke about the Antelope Trinity plus Atomic clock. Any info? 👀
This was absolutely great. I've always said that if you are not learning these days you are going backwards, and the more I learn the more I realize how much I don't know. This was very informative and beautifully insightful for me. But sadly, I cannot afford 28 grand for the Sontec EQ...what an amazing piece. The discussion on the 96/24 sample rate and bit depth made me think and I will spend the next several days thinking about that...my god wehat am I doing, I'm not using 2 inch tape anymore. Thank you Warren and Allen for teaching me something new today and keeping me motivated to be the best I can be. And I wear all the hats from writer, performer, to engineer, to mixer to master, to marketing. Thank you
This is absolutely friggin amazing,I’m a few days behind but il catch back up as always,24/96 interesting way to probably move, formats not the same unfortunately and more file oriented,shame but true! Loved this interview! Everyone else enjoy!
What a great interview, thanks ever so much Warren and Adam! I'm just starting out as a mix engineer, and this interview is gold. Two days ago I've been listening to a mix I'm still working on to build my resume--my head started to bob right away, a very good sign I suppose. ;) Just before the end of the song I realized I've been listening in mono. In Cubase I switched back to stereo and gave the song a second run--what a jaw-dropping moment! I was blown away by it. This is definitely one of my best mixing experiences as an aspiring mixer. YES, I spend a lot of time mixing in mono, right from the get-go. Thanks again Warren, and warm greetings from Berlin! :) P.S.: You are talking about 85dB SPL C-weighted at the mixing position, right?
"Mastering" used to mean the cutting of a master disc from tape, which was used to make mother discs and from them stampers. When vinyl passed away the entire role changed and to be honest I'm still not sure its something that requires going into an entirely different studio with different people and different gear. And yes I've been in a lot of mastering sessions with really excellent people.
Another amazing journey into this amazing audio landscape. I wondered; Music creators like myself, who aren't being shepherded through the arcane realms of the mastering world by seasoned, insightful professionals, would at least like the music that we might put out there to retain some of the sonic integrity and quality that we spend so much time mixing toward. We can't afford the services of a good mastering engineer - much as we would love to - so are forced by circumstance to home master. However, when it comes to uploading the music to certain sites, I know little of the tech behind the formats these streaming sites operate at and how best to serve a mix knowing that this is how many people will hear them. Perhaps you might consider a future video on how to approach this?
I’d love to know what Adam, Bob, and the other great mastering engineers use for HPF/LPF: software or hardware? Also, if that preference changes when they need to put a higher HPF on the Sides.
Thank you Warren for an always interesting interview. It would be nice if you asked each time about the most well-sounding album and then make a spotifylist of the answers you get. Produce like a pro reference list
Incredible interview with another great engineer and Queen fan. Thanks so much for doing that. I learning a lot about what mastering engineers are looking for (thanks to these interviews) and I'm sure it's helping me as a mixer. Thanks again.
would be nice to bring this studio a real muddy mix, and getting these pro of pros to refine the sound in a hands on tutorial, rather than talking about glory days or gear related jibber jab no sane person watching your videos could ever afford, talking about Clapton, where`s the beef?
How does a mastering engineer remain creative and keep their skills tuned up? It would be interesting to know if Adam and Bob ever master the same material and then critique each other's work. Do mastering engineers ever collaborate or is mastering a solitary process?
@@Producelikeapro I'm brazilian and sometimes its little hard understand your videos because language. But one tip that you give be worth... Please never stop the channel. You have help me a lot, very thanks.
Loving this remastering stuff❣️Plus the reminder of starting with mono from the beginning of new things, then continuing, so that flexibility will be there from the beginning as much as possible. The knowledge of what was likely to have been used before. ✨⚡️💫 I'm adding the last five minutes of this as a note to myself, because I've saved things up higher than I got them before, and this is some helpful information. Again thanks! I always relisten when there's so mich packed in to these interviews❣️
Thanks again Warren for taking us into your world! I always look forward to your videos! You interview well, because your questions & comments translate to us ‘everyman’ some of the deeper concepts of your guests. Keep up the invaluable work my friend!
I would’ve liked to hear Adam answer a question without getting steamrolled by warren constantly being a know-it-all. Poor interviewing skills and also very rude.
I didn't see anything that made me feel that was the case. Good conversation, and yeah- some points benefit from a few sentences instead of a short question. Good interview and conversation, thanks as always Warren!
wow this was very different vibe going on i cant quite put my finger on....i read about a dude Joel Hamilton that would mix in 44.1 (he was hybrid)..then off his mixer he would use a lap top as a 2 track tape and capture mixbus at 192 for label benefit...1 workaround for the guys with big sessions.....once again thanks for all the hard work to bring us these
