Author Topic: Mastering for $$ (Read 7108 times)

balou2 · « **on:** February 14, 2006, 03:26:24 AM »

So, I've been archiving for a band for several years, and they've asked me to lead the charge in mastering shows for sale both as 2-disc sets and downloads. At this point, I'd be looking at 15+ shows. If I were to do this, I would consider re-transfering from original DATs for all new sources. With this would undoubtedly come the mastering. Sound is very good to begin with, but the normal D>CD mastering for sure. Each show is about 2 - 2 1/2 hours in length and would be going from my original master DATs > WAV etc...

Anyone have an idea what the going rate on this type of work is? This band has been around for about 40 years, with tons of touring and several albums, so they're not a garage band looking for some CD-Rs.

I'm anticipating 8-10 hours of work per show, some less, some more. I'll also be recording the upcoming tour, so I'm looking at a whole new batch of sources. I have NO idea how many copies of each show would be sold, but just for shits and giggles, maybe 500.

I'm not looking to get rich off of this. Hell...just to be associated with these guys is cool in my book...I'd probably do it for free, but they've offered to pay me and help purchase gear etc....

Thanks folks,
Mike

muj · « **Reply #1 on:** February 14, 2006, 05:00:20 AM »

try asking at gearslutz.com

several mastering engineers are available there

cleantone · « **Reply #2 on:** February 14, 2006, 10:44:43 AM »

I wouldn't be expecting $1000 a day unless your place looks like this:

For whatever that is worth to you...

bluegrass_brad · « **Reply #3 on:** February 14, 2006, 12:49:44 PM »

Mastering is tricky business and can make or break a recording. If you have never done anything like this than it would behoove you to do some major research. It's alot more than a little EQ and compression. Also you really need a top of the line near field monitoring system to even attempt to master correctly. Headphones wont cut it.

cshepherd · « **Reply #4 on:** February 14, 2006, 01:20:10 PM »

I did a fundraiser project for one of the local schools in December. We recorded 13 class choirs in one day, with each class getting two takes. We billed the school $15 an hour for recording time and mastering time. It was an 8 hour job to master the tracks to proper volumes. It felt like an honest paycheck when the project was all said and done.

Chris

pfife · « **Reply #5 on:** February 14, 2006, 01:45:58 PM »

I was charged $90 to have my local band cd mastered. about 45 mins of music. Not the highest quality mastering, but not terrible either.

balou2 · « **Reply #6 on:** February 15, 2006, 01:03:01 AM »

Thanks folks.

I'm experience with mastering, and have worked in a full studio for several years, just never done it under contract and wanted a couple opinions. Much appreciated.

heath · « **Reply #7 on:** February 15, 2006, 08:31:24 AM »

Awesome! Depending upon how nice you want to be, you would find that $25-50 is fair per hour. (this is on the low side) Good luck! When i first saw the thread name, it reminded me of my favorite ad that my buddy still runs in Tapeop and EQ:

wbrisette · « **Reply #8 on:** February 15, 2006, 09:48:16 AM »

Quote from: cleantone on February 14, 2006, 10:44:43 AM

I wouldn't be expecting $1000 a day unless your place looks like this:

Isn't that Glen Trew in that picture?

Wayne

heath · « **Reply #9 on:** February 15, 2006, 09:51:59 AM »

not sure...but it IS a 1" modded ATR102 that he's leaning on

Brian · « **Reply #10 on:** February 15, 2006, 10:14:32 AM »

mod atr102

heath · « **Reply #11 on:** February 15, 2006, 10:27:26 AM »

my latest bumper sticker for the car (sent to me by andrew at ATR)

Brian · « **Reply #12 on:** February 15, 2006, 10:40:14 AM »

that's sweet! i'd love to get one of those.

heath · « **Reply #13 on:** February 15, 2006, 10:47:41 AM »

pm me your addy. i have an extra or two.

Brian · « **Reply #14 on:** February 15, 2006, 10:55:28 AM »

Quote from: heath on February 15, 2006, 10:47:41 AM

pm me your addy. i have an extra or two.

you RAWK \m/

balou2 · « **Reply #15 on:** February 16, 2006, 03:14:30 AM »

Quote from: heath on February 15, 2006, 10:47:41 AM

pm me your addy. i have an extra or two.

...and Heath, if you ANOTHER one, or know where to get them, I'd LOVE one...so would my Aiwa reels.

RebelRebel · « **Reply #16 on:** February 16, 2006, 06:13:39 AM »

ah thats nothing, check out this ALL TUBE console (everything is tube, even the power supply)This belongs to 16 ton recording studio. Was a one off deal, completely unique.

At the heart of Sixteen Ton's control room is a visually stunning, custom-built console, inspired by the Art Deco era. Sitting in front of the board almost feels like being in the cockpit of some classic WW II — era B-52. “We even went to the point of finding new old-stock Bakelite knobs from the late 1940s for the controls,” enthuses White, adding, “The curved mahogany legs are also very 1940s and the perfect complement to the control surface.”

The guts of the console, which took three years to design and build, feature pure Class-A discrete tubes on the input side, and the monitor section is Class-A discrete transistor, based around the John Hall — designed (Langevin, Altec, etc.) SPA 690 amp block. There are more than 130 of these blocks in the console! The inputs employ 6072A tubes on the input and output stages, balanced by custom-wound transformers by Tom Reichenbach of Cinemag Inc. (Los Angeles). The design and electronic topology was done by Ian Gardiner of Boutique Audio and Design and Steve Firlotte of Inward Connections, also in L.A. The console is driven by a tube power supply designed by Steve Barker in L.A. “The design philosophy was minimalistic: straight-ahead hi-fi tube/transistor hybrid with minimal signal path, all hand-wired to boot,” says White.

and for engineers on the go

heath · « **Reply #17 on:** February 16, 2006, 07:30:53 AM »

i see an A827 in that first pic

Brian · « **Reply #18 on:** February 17, 2006, 10:01:11 AM »

that corvette is rediculous

what a nice console. looks a lot like the old Neve designs to me. at least the knobs and such.

balou2 · « **Reply #19 on:** February 17, 2006, 05:04:38 PM »

Quote from: Teddy on February 16, 2006, 06:13:39 AM

ah thats nothing, check out this ALL TUBE console (everything is tube, even the power supply)This belongs to 16 ton recording studio. Was a one off deal, completely unique.

At the heart of Sixteen Ton's control room is a visually stunning, custom-built console, inspired by the Art Deco era. Sitting in front of the board almost feels like being in the cockpit of some classic WW II — era B-52. “We even went to the point of finding new old-stock Bakelite knobs from the late 1940s for the controls,” enthuses White, adding, “The curved mahogany legs are also very 1940s and the perfect complement to the control surface.”

The guts of the console, which took three years to design and build, feature pure Class-A discrete tubes on the input side, and the monitor section is Class-A discrete transistor, based around the John Hall — designed (Langevin, Altec, etc.) SPA 690 amp block. There are more than 130 of these blocks in the console! The inputs employ 6072A tubes on the input and output stages, balanced by custom-wound transformers by Tom Reichenbach of Cinemag Inc. (Los Angeles). The design and electronic topology was done by Ian Gardiner of Boutique Audio and Design and Steve Firlotte of Inward Connections, also in L.A. The console is driven by a tube power supply designed by Steve Barker in L.A. “The design philosophy was minimalistic: straight-ahead hi-fi tube/transistor hybrid with minimal signal path, all hand-wired to boot,” says White.

OMG...that's sick...just sick. Does St. Peter open the door to the studio?

Brian · « **Reply #20 on:** February 17, 2006, 05:10:35 PM »

seriously though.....i want to know which mastering engineer puts a Manley Massive Passive, Cranesong STC-8, and a patchbay into their car audio system? those are $4000 mastering limiters/compressors

cleantone · « **Reply #21 on:** February 17, 2006, 05:27:12 PM »

Quote

seriously though.....i want to know which mastering engineer puts a Manley Massive Passive, Cranesong STC-8, and a patchbay into their car audio system? those are $4000 mastering limiters/compressors

Ones with Photoshop do. Either that or they are mini shrunk versions.

bluegrass_brad · « **Reply #22 on:** February 17, 2006, 05:31:02 PM »

definitely a photoshop job, you can tell around the edges and that the resolution is different between the gear and teh car

RebelRebel · « **Reply #23 on:** February 17, 2006, 06:03:09 PM »

Brian, I know you have to be kidding....I hope so anyway.

Definitely photoshop.

however, here is a rack that isnt photoshopped. (in case you didnt see it earlier)

Brian · « **Reply #24 on:** February 17, 2006, 08:40:33 PM »

the manley massive passive is also an eq

i've seen that other photo before. that's just unreal

heath · « **Reply #25 on:** February 18, 2006, 09:42:02 AM »

Quote from: Teddy on February 17, 2006, 06:03:09 PM

Brian, I know you have to be kidding....I hope so anyway. Definitely photoshop.

however, here is a rack that isnt photoshopped. (in case you didnt see it earlier)

who took a picture of my basement and posted without my permission?

RebelRebel · « **Reply #26 on:** February 18, 2006, 10:20:03 AM »

Compressors, limiters, preamps, Eq modules, distressors..

The owner's name is Armando Avila , and he is one of the top latin producers in the world. Works with Shakira, among others,...(no comment on shakira

)

He has two MCI JH/24s but he only uses Digital Performer . Hes looking for a 1/2 ATR to mixdown to, but I think he has to wait till he can afford it.

http://www.cosmosproducciones.com/

cleantone · « **Reply #27 on:** February 18, 2006, 10:54:10 AM »

Quote

what happens when you need to change a patch?

It's all wired to that patchbay on the right. just pop in a cable and your all set.

heath · « **Reply #28 on:** February 18, 2006, 02:36:05 PM »

Quote from: Moke on February 18, 2006, 09:51:54 AM

what happens when you need to change a patch?

patchbay. they usually look like this by the end of a session:

jacallery · « **Reply #29 on:** February 18, 2006, 06:03:17 PM »

But do they use the worlds greatest speakers for monitoring?

(sorry for the shameless Egglestonworks plug)

RebelRebel · « **Reply #30 on:** February 18, 2006, 06:30:08 PM »

Callery, are those more spendy than the kinoshita monitors? I know they both are top of the line. I think the bookshelf monitors from Kinoshita are like 85,000 or something. Man, thats nice looking. Thanks for the pic.

jacallery · « **Reply #31 on:** February 18, 2006, 11:47:32 PM »

Yea the Egglestonworks Ivy are Bob Ludwigs (Gateway mastering) left & right channels($100,000 pair)
They have 23 Drivers in them and weigh 720 lbs w/the Italian granite. Bob's center channel and the L/R
surround channels (for SACD mastering) are the Egglestonworks Andra II.

Here is a pic of some Ivy's in the building process(that's my wife back when she was pregnant, she would kill me

)

Kevin Straker · « **Reply #32 on:** March 02, 2006, 11:36:23 AM »

Quote from: Brian Sax on February 17, 2006, 05:10:35 PM

seriously though.....i want to know which mastering engineer puts a Manley Massive Passive, Cranesong STC-8, and a patchbay into their car audio system? those are $4000 mastering limiters/compressors

shit, I want to know where he parks it!

Author Topic: Mastering for $$ (Read 7108 times)

cshepherd

RebelRebel

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