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Archive for the ‘Uncategorized’ Category

The Curious Case of Mastering Your Boy Tony Braxton’s ‘Adult Contempt,’ pt. 2

Friday, July 14th, 2017

Adult ContemptBy Noah Mintz

Last issue, I explained the different methods I tried out when mastering Your Boy Tony Braxton’s Adult Contempt, with the mandate of making it sound like it was released in 1990.
I sent the various test mixes to Shad (aka Your Boy), mixer Howie Beck, producer Matt Johnston, and Gurav, Shad’s manager. In the end, and to my surprise, they chose the digital master as their favourite. They were looking for something different and this was it – but not different enough. They asked for one more version with something that’s not normally done in mastering: reverb. So I added a Lexicon hall reverb with a short decay, sent this off, and the test-master was approved.
Approved “in theory,” that is, because I was told by the time the mixes were ready for mastering, the actual mixes would sound quite a bit different than the test mix. At least we had a methodology.

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The Curious Case Of Mastering Your Boy Tony Braxton’s ‘Adult Contempt’, pt. 1

Monday, May 8th, 2017

Adult ContemptBy Noah Mintz

Mixing engineer and friend Howie Beck called me up one day and told me he was mixing an interesting album and that I might be mastering it. He had a question about delivering the clients some reference mixes (usually somewhat pseudo-mastered). I asked him who the artist was. He told me he wasn’t yet able to say but that he is a Canadian radio personality. That narrowed it down to a surprisingly large amount of people.

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Talking Olympic Audio Quality Control with Doug McClement, pt. 2

Friday, March 17th, 2017

Doug McClementHaving previously worked at the 2014 Winter Olympics in Russia, Doug McClement of Toronto-based LiveWire Remote Recorders headed to Brazil for the 2016 Summer Olympics. He was one of the audio production quality control engineers for Olympic Broadcasting Services (OBS), the organization that provides the audio and video crews for the games. Professional Sound caught up with him to learn about the experience and what it entailed. Part one of this interview appeared in the December 2016 issue of Professional Sound.

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Talking Olympic Audio Quality Control with Doug McClement, pt. 1

Friday, March 17th, 2017

Doug McClement

Having previously worked at the 2014 Winter Olympics in Russia, Doug McClement of Toronto-based LiveWire Remote Recorders headed to Brazil for the 2016 Summer Olympics. He was one of the audio production quality control engineers for Olympic Broadcasting Services (OBS), the organization that provides the broadcast audio and video crews for the games. Professional Sound caught up with him to learn about the experience and what it entailed.

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Talking Location Recording with Toronto Sound’s Adam Clark

Thursday, October 6th, 2016

adam-clarkAdam Clark founded post-production and location sound company Toronto Sound in 2012 with his business partner, Aaron Gaistman. Since then, Clark has done location recording for WestJet’s Christmas Miracles ad campaign, Apple Music’s exclusive interview with Drake, and dozens of other films, ads, and productions.

PS: As far as your on-set recording package, what are the key pieces for you and does it change much between jobs?

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Talking Monitors with Mike Rowland

Tuesday, August 2nd, 2016

 

Mike RowlandMike Rowland is a live sound engineer who has worked with Marianas Trench, City & Colour, Big Wreck, Blackstone Cherry, and Theory of a Deadman, among others. He is a U.K. expat who is now based in Toronto.

PS: On the recent Marianas Trench tour, you were using plug-ins extensively as the monitor engineer. Is that typical for you?

MR: It’s something that I fall back onto quite a lot, the reason being it seems the artists I work with either own or are used to dealing with Avid products. With Marianas Trench, we wanted to make the jump to Midas for this album cycle but, to be honest, we knew that as soon as we did that, we would have to take a couple of steps backwards as soon as we landed on any other continent. When we’re in those circumstances, we need to be as prepared as we can.

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