Welcome Ex-Atlantic mastering engineer Barry Diament to the SH Forums

Thanks Metoo.
That stirred a few memory cells.

Barry

 

Barry,

How long does it usually take for the process to actually "master" a CD assuming you had the right tapes back in the 80's and there were usually 10-12 songs/per album.

I assume you had to play with all the sonic parameters in the analog domain to get things right.
Just curious!
Thanks.

Alan


Alan

 

Hi Alan,

Yes, you're correct that any adjustments would occur prior in the analog domain, prior to digital conversion.

In those days, a typical CD mastering session would take about 8 hours. (Some projects took considerably longer, while a few took less time.) This allowed time for evaluation, EQ (if used), transfer to digital, digital formatting (i.e. editing) and a Quality Assurance listen (and printout) to ensure all was well.

Barry

 

Barry I am now listening to some tracks from "Simplicity" here: http://cdbaby.com/cd/workofart3

I like the sound you got on "Albert and Me", although I must say that given the 'unreal' reverb and instrument location used in most rock albums, I must admit that this approach sounds a little strange/different within this natural reverb context in the beginning. Upon listening to the clips a second time everything seems to start sounding more natural and I can better appreciate where it is more in accordance with a real group playing. It sounds different, but interesting.

Have you recorded any other types of more 'acoustic' music (perhaps jazz, classical or folk) for your label using this technique?

 

Hi Metoo,

Thank you for the feedback on "Simplicity". That CD was released on my good friend Art's own label, Sword In The Stone Records, not mine. Also, there is some synthetic reverb and echo used in some places on that record (as effects, on individual instruments). Sure it sounds unusual compared to most pop records but that was the goal from the start: to enjoy the benefits of modern techniques without sacrificing the sense of real musicians playing. And not one decibel was squeezed with any sort of compression or limiting. (I didn't record that one, just consulted during the record, did a few of the mixes and mastered it.)

For my own label, Soundkeeper Recordings, I don't use multi-tracking or overdubs at all. The goal with Soundkeeper is to create literal documents of performances, captured from the "best seat in the house". I use a single pair of mics and what leaves the mics is essentially finished. There is no mix, no effects, no processing. I have used this technique to capture jazz ensembles (with and without vocals), chamber orchestras, a "power trio" and various acoustic groups. The first Soundkeeper release will most likely be an "EP" from a mostly acoustic session with Art's band (some of the same players as on "Simplicity"). I'm currently scouting venues for the second record which will be a jazz quartet comprised of some quite accomplished players in the NY area.

Barry

 

Hi Barry

Wow, what a great forum it is here!!

I'm looking forward to your new projects. I'm a hobbyist guitarist and do my own recording and master direct from analog to wavelab running on a PC and while I don't publish everything I record, I don't overdub or add any fx during the recording process (though some of those UAD cards look interesting.

I'm currently using an EMU 1212m and it's associated AKM converters, and output to big 24/192 files on the 'puter, then burn 24/192 dvd-a's with discwelder, or mix down to cd for listening in the car, etc.

 

Ampguy, have you ever tried downsampling your 192/24 files in Wavelab to 96/24 and recording them unto DADs? I get beautifully detailed 96/24 files in this way.

 

I'm looking forward to hearing some clips of these when you have them online.

 

I haven't done this yet

but I have thought of doing it, and have heard of folks doing this. I guess the main question is that since DVD-A players are available at relatively low cost, are many folks hooking up their DVD players to the stereo for music only these days? I don't know the answer, so I'd appreciate any feedback to that question.

I only have Discwelder Bronze (lowest end $99 ver), so I couldn't do any of the fancy menus or still videos, for that you need the higher end Discwelder or Sonic products.

 

Welcome,
To keep "us" all happy would/could you do a discography (ala Steve's)?
Thank you & all the best!

 

Welcome ampguy, as well!!!

 

Hi Barry,

Thanks for all the great CDs you have done (and I own!). It is very interesting to read your comments. Keep 'em coming.

Thanks again and welcome!!

 

Thanks Ed!!

I love the wine country, but am stuck down here on the peninsula!!

 

Hi Barry,

You may well have done _Yesshows_ . I don't believe it was issued on CD in the US until the 1994 Gastwirt remasters but I could be wrong.

I have the original Japanese Atlantic CD pressing (circa late 80s, I think) and I have just checked it. There is no mastering credit. Also, Yesshows doesn't fit your sonic description, while Yessongs is a bit closer to what your memory holds about the sound of it. Maybe you did Yesshows and Atlantic sent that digital master to Japan?

Anyway... whatever the case, you are listed as having mastered the original Atlantic of Yessongs. If you didn't, I can assure you as a huge fan of your work that it is very Diamentesque , so I guess somebody at Atlantic got it right!

 

Barry,


do you remember anything about the used tapes for your Led Zeppelin CDs?

There has always been some controversy. In one case, LZ IV (ZOSO), it seems that the remaster uses a better tape then the older CD since a number of dropouts aren't there. But for the other CDs, the two masterings sound very close in terms of fidelity and clarity, the only difference being the equalization which is more natural on your masterings.

My point is, your Led Zeppelin CD do not sound as if they were mastered from "LP cutting masters" or even high generation flat copies.

 

Hi Jeff,

Maybe it *was* "Yessongs". Sorry for the memory lapse.

Barry

 

Hi Andreas,

I have a feeling the tapes I had for early LZ were safety copies of masters or something along those lines. I don't recall for sure but there is a glimmer of memory where Atlantic management informing me of some difficulty in obtaining original tapes. I could be wrong but that's what's left in memory. Sorry I don't have more details.

Barry

 

Hi Big Ed,

If I ever get the time...(not a strong foreseeable likelyhood with my present schedule).

B

 

Zal,



Thank You

 

Thanks Barry

I *think* it helps...

 

Don't want to go to much into this because this is Barry's thread, but there are more people with normal DVD players than with DVD-Audio for music.

BTW, what version of Wavelab do you use? Wavelab 5 and later include the possibility of authoring DVD-Audio.

 

yes, lets move or create a new thread

in a more appropriate section. Apologize to Barry, mods and all.

SW was wavelab lite incl. with EMU card. Current "Essentials" has more limitations than lite (e.g. max 96khz vs 192khz in "lite".

 

I just aquired your close to the edge, and it is a sonic masterpiece, thank you.

 

Barry,
Thank you for taking the time to write the "Loudness Wars" essay -- it was the most informative and easy to understand piece I've ever seen on the topic. It completely unmasks the foolishness of this awful trend. I hope more people in the industry start listening to reasonable voices like yours and Steve's.

- Pat

 

Hi Barry- Thanks for taking the time to answer my question, the DQ-10s were the first hi-end speaker I ever heard, used to own a pair of DQ-20's myself. I forgot to mention the most important thing about your early CD transfers (Doh!) was how unforced they sounded, while sounding so direct and alive, really fun to listen to. The level on those CDs was just right. No in your face tactics so common today.

Lastly, welcome to the forum!