Can digital really sound as good as analogue ? Should you use analogue or digital gear when mastering ? Could higher sample rates be hurting your music ? What’s wrong with the phrase “in the box” ? Why is a digital photograph NOT a good analogy for a digital audio file ? Why does Ian think recorded sound is miraculous, and what does that have to do with the answers to all the previous questions ?
Links
There are no “stair steps” in digital audio
great show this week it’s so easy to want more than I guess we all need to learn to be a little more content and make better use of what’s already available in a little bag of tricks
I was hoping that you could do a show on Analytics specifically how to use a spectrum analyzer to identify room nodes and also how to read the Ebu 128 meters what to look for and how to optimize that comma and some specific applications with a goniometer or stereo meter
What are your thoughts about the SPL Crimson? I am really interested in it but am also interested in the Audient iD22.
It is a tough choice between the two haha…
Sorry, I’ve never tried it
https://spl.info/en/products/interfaces-converters/crimson/overview.html
It is an analogue audio interface/monitor controller by SPL.
It is a really interesting piece of kit and hoping to pick it up within the next month.
Very educative podcast. Clears many doubts
Thank You
Godwin
Great show as usual guys . Very informative about different sample rates. I too was hooked
into “I hear a difference” mode. Very compelling argument Ian.
Hello Ian and Steve,
I am a big fan! I took the very 1st Home Mastering Masterclass and hired Ian to master my album! Ian is awesome! I’m just now starting to get into Mastering and I really enjoy The Mastering Show podcasts. I have listened to all 9 podcasts, to date (more than once!).
Question: Are we allowed to submit questions regarding mastering? Is there a preferred method for submitting the questions?
Comment: I think it would be great to include an occasional episode to answer fans questions, or at least sprinkle in the answers, when appropriate. Many times when I learn a new concept about mastering, I either want confirmation that my understanding is correct, or I come up with new questions, as a result. I really want to thoroughly understand all aspects of what Ian is teaching us.
I’m looking forward to hearing from you! Thanks!
Hi John, nice to see you here 🙂
Yes, we welcome questions, although we will rarely be able to answer individually. When a question comes up often, or seems generally relevant, we’ll certainly try to answer it in a show.
And, we may do occasional Q&A episodes if they seem like a good idea.
Glad you’re enjoying the show !
Ian
Ian and Steve are like my mother who told me stuff I needed to do but I ignored her (hey, it’s Mothers-Day after all)! Thank you, Thank you, Thank you Steve and Ian. I’ve even ordered some material to tune my room, for God’s sake! If you’ve done most things the right way up to this point, Mastering may be the most important step you take next! This comment is all inclusive of the TMS podcasts to this date. Ian and Steve, ‘Thank You’ for what you do!
Rick
You make good choices you get great sound! -I love that statement Ian and thanks for all the great content. You are a real gentlemen to share your knowledge and experience.
I searched for about 3 years for a synth plugin that sounded like a “classic” analog synth. Well I found one about 8 months ago. They named it DIVA because at the time it required a really fast 4 core hyperthreaded processor – a real Diva. And if you do not have at least an i7 it really does not work. Simply the most authentic analog synth engine I have heard. It has a real character to it achieved by some kind of micro detuning of each oscillator and the approach they took has never been done before. She uses no samples. Very clever design and I have been involved with synths since 1979 long before they became sexy Pre-Trent Reznor if you will. I was happy to find this gem by u-He I think they are called. Just thought I would let you know.
Ian you stated exactly what I have felt about analogue vs. digital! I love digital recording and all that talk about analogue warmth is nonsense! Before digital all we wanted was more clarity on recordings. I remember spending good money on metal cassette tapes so that the sound quality would be better. I don’t miss tape at all. The only thing I miss about vinyl is the artwork! Album covers just don’t look the same on a CD cover. In my mind if you want analogue warmth in your digital recording just adjust your EQ! Thanks Ian for telling it like it is! Keep up the good work.
Excellent show. One additional reason why we really do not need sample rates beyond 44.1 (or perhaps 48). The vast majority of microphones do not capture sound above 20 kHz. Many have limits below that. So if you use 96 k or 192 k sampling, what the heck are you recording, besides perhaps electronic noise? Then there is that same limitation of most playback speakers.
I really enjoy listening to this podcast. Thanks. I’m still experimenting with different sample rates (simply out of curiosity). Question: other than possible CPU efficiency, is there any benefit to using 88.2 over 96k?
Very instructive episode, indeed!
Back in 1992, I think it was Mike Williams (AES) — whom I had the privilege to have as a teacher — who told me that if there was any bad effect of digital vs analog, it would mainly be due to the quality of converters.
Thanks for clearing up misconceptions! (especially intermodulation distortion, something I did not know… 😉 )