![]() In mastering a tape for LP, you had to cut back the bass, crank up the mid-range and high end, and use compression to make it sound pleasing on an average record player. Session tapes underwent a lot of tweaking during their transposition to vinyl, and the compromising to compensate for vinyl’s deficiencies began in the mixing phase and ended in mastering. When we cut records thirty years ago, they sounded good in the control room, but it was hard to channel that sound onto an LP. ![]() Phil Ramone - he engineered the sound for some of Barbra's live concerts and also produced records for her - did a great job explaining how he made all those great records over the years in his book Making Records: The Scenes Behind the Music:
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