Keep It Simple! How To Master Music More Effectively
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- čas přidán 27. 08. 2024
- Chris Gehringer, senior mastering engineer at Sterling Sound offers producers and artists some more brilliant mastering advice to level up your music production!
Full Podcast here for plenty more advice: • Chris Gehringer Reveal...
Today I'm Having a GAS™ with Chris Gehringer, mastering engineer known for having mastered recordings by artists including; Gwen Stefani, Rihanna, Lady Gaga, Drake and plenty more! We speak in-depth about Chris's mastering process, where mastering is in 2023 and why separation from the mix engineer is key, we also discuss the journey he took to reach the top of his profession...
More on Chris Gehringer here: sterling-sound...
According to Wikipedia...
Chris Gehringer was born in Teaneck, New Jersey and raised in Bergen County. After graduating from Pascack Hills High School in Montvale, New Jersey, he attended the Institute of Audio Research. His first job in the industry was at Greene Street Recording and from there, he went on to work as a cutting assistant at Trutone Records.
In 1985, Gehringer joined Tom Coyne and Herbie Powers at Frankford-Wayne Mastering and mastered primarily dance and R&B records throughout the 1980s.
In 1988, he moved to the Hit Factory and in his 12 years there, mastered many landmark releases in Rap and Hip-Hop, including records by Naughty By Nature, Mobb Deep, Wu Tang Clan and PM Dawn.
In 2000, he joined Sterling Sound as a senior mastering engineer and in 2016, Gehringer became a partner at Sterling Sound.
Having a GAS™ is the podcast that talks to the great and the good of the creative industries, and in particular finds out what makes great music for film, for TV, for advertising; for dancing to, for cooking to, f*cking to, and more...
GAS™ Music is a music production agency in Manchester, UK. We compose and produce original music, create awe inspiring sound design and have a fully integrated audio post-production studio. We also have a great record collection, and welcome any additions, recommendations or criticisms.
www.gasismusic....
© GAS™ Music 2023
#ChrisGehringer #Mastering #MusicProduction
Today I'm Having a GAS™with Chris Gehringer, senior mastering engineer at Sterling Sound
*Full Podcast with loads more insight here:* czcams.com/video/bt3m7nfHc1g/video.html
More on Chris Gehringer here: sterling-sound.com/engineer/chris-gehringer
Love this podcast ❤
His explanation of limiting being "softer" is actually him describing how limiters don't augment transients due to typically having extremely short attack times - which is the opposite of soft. "Run it through some analogue stuff to kinda like.. fill in some gaps or whatever", "I'll just turn every knob until that's moved into the right place", comparing "what he does in mastering anyway" to "clicking every button in photoshop" .... what??? There is so much transparent gain reduction, excitement, and ultimately overall loudness to be had in properly using compression in a mastering chain - aside from "musical movement", even just in reducing volume automation to be done pre-limiting.
If you're working on hiphop and pop records like this guy does where tracks are coming in pre-slammed, I'm sure you can probably get away with running an EQ and a limiter - but when you're working on records with normal dynamics (not only short-term but even section to section), telling me you're just going to smash it all into a ceiling and "turn every knob"... not sure I'd call this "mastering music more effectively".
perfectly mixed pop records are just what we see of him. in another interview he broke down an everyday work for him which is just an average mixed indie track (extremely dynamic btw), and he does the exact same process (eq + limit) and he said client loved it. I think he is big because he stays loyal to one process and adapts it to any necessity
5:12 😂😂 love the trolling 👏👏👏
Very interesting and new way of working, as for me limiters have always been off-limits essentially. Compressors are fine to use in moderation, but I've always thought limiters are hardly worth checking out in terms of settings because they are all essentially trying to do the same thing. Then again, I do have a favourite limiter, which I haven't used for years since I don't personally have it, it's the Flux Audio Pure Limiter. Really invisible limiter that still smacks well
People should feel aware on why he does "so little" and not try to justify spending all their money on useless stuff. This is the difference of a guy who can actually listen perfectly because he spent all his money on his room/monitoring and the gear addicted local studio dude that still spend all his money on rare vintage analog miracle magic wand.
😅
Reeks of BS. A limiter is just a compressor with a big ratio.
Have you watched all of this video? We discuss limiters and compressors in exactly that way