* Mastering Engineer Wanted (Payment Involved) *

Archived from groups: rec.audio.pro (More info?)

TCA <nospam@please.com> wrote:
>
>The band has great opportunities lined up this year, and now is a great time
>to spawn a working relationship on the ground floor. Sorry, I couldn't come
>up with a better sales pitch than that. I'm new at this.

You're not selling. You're buying. Find a mastering engineer whose work
you have liked. Check some albums that you like the sound of and find who
mastered them. Then call and ask for independant rates.

>If you're interested, please email "whisp72" over at Hotmail (spam makes
>baby Jesus cry) with your rates, as well as your location (not really
>important, but always nice to know where everyone's from).

Location is _very_ important. I strongly recommend attending the
mastering session, so pick a place you can get to.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Archived from groups: rec.audio.pro (More info?)

"Scott Dorsey" <kludge@panix.com> wrote in message
news1pq45$ndt$1@panix2.panix.com...
> TCA <nospam@please.com> wrote:
>>
>>The band has great opportunities lined up this year, and now is a great
>>time
>>to spawn a working relationship on the ground floor. Sorry, I couldn't
>>come
>>up with a better sales pitch than that. I'm new at this.
>
> You're not selling. You're buying. Find a mastering engineer whose work
> you have liked. Check some albums that you like the sound of and find who
> mastered them. Then call and ask for independant rates.

Not all independant bands can afford major label mastering rates; or else
I'd just pick up the yellow pages. The reason I'm here is that a friend of
mine did it this way a few years ago, and it spawned a great LD working
relationship that continues to exist to this day.

If the proposal is not for you, then no harm done. But it is what it is.

> Location is _very_ important. I strongly recommend attending the
> mastering session, so pick a place you can get to.
> --scott

In a perfect world, I'd just take a week off and fly myself to L.A. and
oversee the latest Grammy winner's work on our material. Unfortunately, the
ideal scenario isn't always an option, especially at this very early stage
of the game. But thanks.

In short, I realize that this isn't for those of you who are used to working
with Celine Dion. And I apologize if I was in any way unclear about that in
the OP.

Archived from groups: rec.audio.pro (More info?)

TCA <nospam@please.com> wrote:
>"Scott Dorsey" <kludge@panix.com> wrote in message
>> TCA <nospam@please.com> wrote:
>>>
>>>The band has great opportunities lined up this year, and now is a great
>>>time
>>>to spawn a working relationship on the ground floor. Sorry, I couldn't
>>>come
>>>up with a better sales pitch than that. I'm new at this.
>>
>> You're not selling. You're buying. Find a mastering engineer whose work
>> you have liked. Check some albums that you like the sound of and find who
>> mastered them. Then call and ask for independant rates.
>
>Not all independant bands can afford major label mastering rates; or else
>I'd just pick up the yellow pages. The reason I'm here is that a friend of
>mine did it this way a few years ago, and it spawned a great LD working
>relationship that continues to exist to this day.

Right, and most mastering houses won't charge major label rates to
independant bands either. Get someone you like, and THEN ask about
rates.

You'll find that the rates are negotiable to some extent, and you will
also find that the folks who charge more per hour may be able to turn
the project around for a lot less money than people with a lower rate.

>If the proposal is not for you, then no harm done. But it is what it is.

Find a guy whose work you like and call him. Tell him what your budget is
and what your job is. If he can't do it for the money you have, he will
tell you and hopefully he'll guide you toward someone who can. Possibly
an assistant at his own facility.

>> Location is _very_ important. I strongly recommend attending the
>> mastering session, so pick a place you can get to.
>
>In a perfect world, I'd just take a week off and fly myself to L.A. and
>oversee the latest Grammy winner's work on our material. Unfortunately, the
>ideal scenario isn't always an option, especially at this very early stage
>of the game. But thanks.

Honestly, attending the session will SAVE you money. There will be less
second-guessing and fewer phone calls back and forth and less of a chance
of stuff having to be redone. And most engineers will not charge any more
for an attended session. You don't have to go to LA, but you may want to
drive to a nearby city.

Having a good working relationship with a mastering guy is a fine thing
if you intend on putting a lot of albums out. But it's not really
necessary. You're paying a man to do a job for you. Get someone who can
do the job you want for the price you can pay.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Archived from groups: rec.audio.pro (More info?)

On 3/22/05 1:37 PM, in article ju_%d.50766$aQ.1146918@wagner.videotron.net,
"TCA" <nospam@please.com> wrote:

> My wrongful terminology fills me with shame.

As it should! (just kidding!) I was just being a little tongue-in-cheek,
but I guess it came out a little gruff.

> My apologies for being unclear. This isn't an album. It's "roughly an
> album's worth of material". I was simply trying to quantify what would be on
> the plate. It's mixed songs that have (some of them) been chosen to be
> featured in independant movie productions and/or local production
> soundtracks. One of them won last year's ISC (International Songwriting
> Competition).

Sound's like an interesting project.

> While the mixes sound good, they were mixed by the band itself, and having a
> sound/mastering engineer tweak the EQ/compression of the final wav output is
> just what we feel they need to be decent enough for airplay.

That's probably true, however any full-time ME should be able to do what you
want and make you happy with the finished product.

> As for the sound we're going for, that's already been mentioned.
> Cookie-cutter new metal (Crossfade, Three Days Grace, Linkin Park).

I stand corrected, sorry I missed that part.

Just in case, what part of the country are you in? I know quite a few ME's
around the country and might be able to point you in the right direction.

Again, good luck with your search.

Allen
--
Allen Corneau
Mastering Engineer
Essential Sound Mastering
Houston, TX

Archived from groups: rec.audio.pro (More info?)

Scott Dorsey wrote:
> TCA <nospam@please.com> wrote:
> >"Scott Dorsey" <kludge@panix.com> wrote in message
> >> TCA <nospam@please.com> wrote:
> >>>
> >>>The band has great opportunities lined up this year, and now is a
great
> >>>time
> >>>to spawn a working relationship on the ground floor. Sorry, I
couldn't
> >>>come
> >>>up with a better sales pitch than that. I'm new at this.
> >>
> >> You're not selling. You're buying. Find a mastering engineer
whose work
> >> you have liked. Check some albums that you like the sound of and
find who
> >> mastered them. Then call and ask for independant rates.
> >
> >Not all independant bands can afford major label mastering rates; or
else
> >I'd just pick up the yellow pages. The reason I'm here is that a
friend of
> >mine did it this way a few years ago, and it spawned a great LD
working
> >relationship that continues to exist to this day.
>
> Right, and most mastering houses won't charge major label rates to
> independant bands either. Get someone you like, and THEN ask about
> rates.
>
> You'll find that the rates are negotiable to some extent, and you
will
> also find that the folks who charge more per hour may be able to turn
> the project around for a lot less money than people with a lower
rate.

I've been finding that's very true. People seem to shop by hourly rate,
but right now almost all my current projects are people who have come
to me becuase they've found that it's cheaper to pay me three times
what other places charge. It's taken me years to catch on to that.

Archived from groups: rec.audio.pro (More info?)

On Tue, 22 Mar 2005 11:33:00 -0800, Jay Kadis <jay@ccrma.stanford.edu>
wrote:

> In article <BE65CD45.1B426%acorneau@mac.com>, Allen Corneau
> <acorneau@mac.com>
> wrote:
>
> [snip]
>
>>
>> As Scott has said already, attending the session is one of the best
>> things
>> you can do to ensure you're going to like the mastering work. (90% of my
>> sessions are attended, the other 10% are transfers or other work.)
>>
>> Good luck with your search.
>>
>> Allen
>
> Is this representative of the mainstream of mastering engineers do you
> think?
> It has been my experience, but I wonder if all mastering engineers
> welcome the
> client's presence.
>
> -Jay

It helps lower the anxiety level. I certainly like to work with the artist
or label representative for the first session or two because I like to get
to know their preferences. Whenever I do an unattended session for someone
I've never met I always worry that the final master won't be to their
liking. Fortunately my remote customers have been happy with my work so
far.

Cheers.

James.

Archived from groups: rec.audio.pro (More info?)

But having said that, Glenn actually would prefer to have an experienced
client in the mastering room with him. But an experienced client would know
the work Glenn does and likely not want to rearrange his schedule just to
watch Glenn work.

Besides, the real idea is that even if it's $210 per (which is what Glenn
used to charge, don't know about now since the last I heard he was SAE),
Glenn may well find that it's not a project that needs tweaking or he may be
able to do two hours worth of work that applies to an entire CD. Whatever
it is, you can bet that people like Glenn, the Bobs (Katz and Olhsson),
Scott Hull, Bernie Grundman, etc., are well worth their asking price because
they'll make it right with the least cost they can.

On the other hand, one can look at the fact that the normal charges for a
finished album project will run, on average, about $1800 with a known and
qualified mastering engineer. If one doesn't go into an album project with
that in their budget, they are being mislead by their management or
representation and will get what they deserve.

Mastering engineers with quality work as their reputation don't need to bid
on projects. They have more than they can do in the time they have
available.

--


Roger W. Norman
SirMusic Studio
http://blogs.salon.com/0004478/

"Roger W. Norman" <rnorman@starpower.net> wrote in message
news:GridnTGOho1VLtzfRVn-sw@rcn.net...
> Glenn Meadows, "If I do it, it's $200 per hour. If you do it, it's $100
per
> hour with my equipment. If you help me, it's $350 per hour."
>
> --
>
>
> Roger W. Norman
> SirMusic Studio
> http://blogs.salon.com/0004478/
>
> "Jay Kadis" <jay@ccrma.stanford.edu> wrote in message
> news:jay-151861.11330022032005@news.stanford.edu...
> > In article <BE65CD45.1B426%acorneau@mac.com>, Allen Corneau
> <acorneau@mac.com>
> > wrote:
> >
> > [snip]
> >
> > >
> > > As Scott has said already, attending the session is one of the best
> things
> > > you can do to ensure you're going to like the mastering work. (90% of
my
> > > sessions are attended, the other 10% are transfers or other work.)
> > >
> > > Good luck with your search.
> > >
> > > Allen
> >
> > Is this representative of the mainstream of mastering engineers do you
> think?
> > It has been my experience, but I wonder if all mastering engineers
welcome
> the
> > client's presence.
> >
> > -Jay
> > --
> > x------- Jay Kadis ------- x---- Jay's Attic Studio ------x
> > x Lecturer, Audio Engineer x Dexter Records x
> > x CCRMA, Stanford University x http://www.offbeats.com/ x
> > x---------- http://ccrma.stanford.edu/~jay/ ------------x
>
>

Archived from groups: rec.audio.pro (More info?)

I didn't see a published site for the example you wished to give.

--


Roger W. Norman
SirMusic Studio
http://blogs.salon.com/0004478/

"TCA" <nospam@please.com> wrote in message
news:tu00e.53008$aQ.1212719@wagner.videotron.net...
> "Allen Corneau" <acorneau@mac.com> wrote in message
> news:BE65D82C.1B439%acorneau@mac.com...
> > On 3/22/05 1:37 PM, in article
> > ju_%d.50766$aQ.1146918@wagner.videotron.net,
> > "TCA" <nospam@please.com> wrote:
> >
> >> My wrongful terminology fills me with shame.
> >
> > As it should! (just kidding!) I was just being a little
tongue-in-cheek,
> > but I guess it came out a little gruff.
>
> Don't apologize, the exchange provided my first true guffaw of the day.
>
> >> My apologies for being unclear. This isn't an album. It's "roughly an
> >> album's worth of material". I was simply trying to quantify what would
be
> >> on
> >> the plate. It's mixed songs that have (some of them) been chosen to be
> >> featured in independant movie productions and/or local production
> >> soundtracks. One of them won last year's ISC (International Songwriting
> >> Competition).
> >
> > Sound's like an interesting project.
>
> Well, we like to think so. But then, so do the millions of other artists
> when it comes to their own stuff.
>
> >> While the mixes sound good, they were mixed by the band itself, and
> >> having a
> >> sound/mastering engineer tweak the EQ/compression of the final wav
output
> >> is
> >> just what we feel they need to be decent enough for airplay.
> >
> > That's probably true, however any full-time ME should be able to do what
> > you
> > want and make you happy with the finished product.
>
> I'm getting goose bumps already!
>
> >> As for the sound we're going for, that's already been mentioned.
> >> Cookie-cutter new metal (Crossfade, Three Days Grace, Linkin Park).
> >
> > I stand corrected, sorry I missed that part.
>
> Sometimes, a mere apology simply isn't enough, Allen.
>
> (But this is not one of those times.)
>
> > Just in case, what part of the country are you in? I know quite a few
ME's
> > around the country and might be able to point you in the right
direction.
>
> Montreal, Canada. :-/ Now you understand why we're not just picking up
the
> yellow pages (other than the limited budget). The band's sound is very
> American. People look at us funny when we play them something, here. It's
> not what they're used to. Canadian mixes tend to be one step behind
American
> ones. And given how Quebec is practically a country unto itself, we're
> talking several steps behind (everything produced here is french and
sounds
> like 80's Bon Jovi).
>
> > Again, good luck with your search.
>
> Thanks!
>
>

Archived from groups: rec.audio.pro (More info?)

I'm not a hugely experienced
> mastering engineer, but I am a a very experienced
> composer/musican/sound-engineer, and have an exceptionally good ear.

And this post proves my point. For $60 per hour you can get Jay Frigoletto
who used to have Atlanta Digital until he moved to LA and then Boston and
changed the name to Mastersuite, which can be found at www.promastering.com.
He may have changed his prices, but then he's worked with some fine people,
including Dave Collins (a very fine engineer to learn from). His projects
have included the X-Men 2 soundtrack, INXS, War, Blondie and others just at
his LA location.

The last I talked to him he gave me a $60 per hour price. I bet it's up a
bit now since he's moved on to some different but still great facilities,
but hey, like I said, at least the man can say "I AM a mastering engineer"
not "I'm not a mastering engineer but I can do the job for $60 per hour".
--


Roger W. Norman
SirMusic Studio
http://blogs.salon.com/0004478/

<chris@chris-melchior.com> wrote in message
news:1111659121.254211.292080@z14g2000cwz.googlegroups.com...
> I can Master your album if you wish. >
> I charge 60 dollars per hour. I am willing to Master one track for you
> as a test, then you can pay me for that later only if you like what I
> do.
>
> Anyone else who might like this service from me at any time in the
> future . . . keep my email address handy
>
> my email address is on my website.
>
> http://www.chris-melchior.com
>
> Chris
>

Archived from groups: rec.audio.pro (More info?)

"Roger W. Norman" <rnorman@starpower.net> wrote in message
news:JbednVhjR7w9lt7fRVn-tA@rcn.net...
> I'm not a hugely experienced
>> mastering engineer, but I am a a very experienced
>> composer/musican/sound-engineer, and have an exceptionally good ear.
>
> And this post proves my point. For $60 per hour you can get Jay
> Frigoletto
> who used to have Atlanta Digital until he moved to LA and then Boston and
> changed the name to Mastersuite, which can be found at
> www.promastering.com.
> He may have changed his prices, but then he's worked with some fine
> people,
> including Dave Collins (a very fine engineer to learn from). His projects
> have included the X-Men 2 soundtrack, INXS, War, Blondie and others just
> at
> his LA location.
>
> The last I talked to him he gave me a $60 per hour price. I bet it's up a
> bit now since he's moved on to some different but still great facilities,
> but hey, like I said, at least the man can say "I AM a mastering engineer"
> not "I'm not a mastering engineer but I can do the job for $60 per hour".

Jay mastered a CD for a band that I tracked & mixed last year & he did a
great job.

Neil Henderson

Archived from groups: rec.audio.pro (More info?)

On 24 Mar 2005 02:12:01 -0800, "chris@chris-melchior.com"
<chris@chris-melchior.com> wrote:

>I can Master your album if you wish. I'm not a hugely experienced
>mastering engineer, but I am a a very experienced
>composer/musican/sound-engineer, and have an exceptionally good ear.

From Chris' web site:

"I picked up the violin before I was one year old . . . a little
quarter-size instrument that my father had . . . he played every
evening. By the age of twelve I was at the Royal college of Music
(junior department) and at the age of eighteen leading Britain's top
youth orchestra.
A few years later I was gaining valuable experience in improvisation,
jazz, composition, and arranging skills during my University Degree at
one of England top performance courses, from which I obtained a First
Class Honors Degree, and more importantly, huge amounts of real
practical experience in different facets of creating a very wide range
of music.

During my many years as a professional musician I have worked with
many groups, including playing with members of the London Philharmonic
Orchestra, Emerald Ensemble, London Symphony Orchestra, BBC Symphony
Orchestra, and London Sinfonietta, and conducting members of the Salt
Lake Symphony Orchestra playing some of my own arrangements.

I have played with the foremost guitar player of traditional and
contemporary Indian music in the UK, created highly praised string
arrangements for a guitarist who toured with Stevie Wonder for many
years, and been flown eight thousand miles to add a few hours of my
talents to a particular recording project. I have created the music
(and all sound FX) for a number one in the world computer game (1997),
and have extensive experience in dance music from drum&bass to trance,
hip-hop to ambient, as well as classical, jazz, rock, funk, folk (I
played celtic music with a top London band, for several years), world
music and avant-garde."

The demo is impressive. But you do yourself no favours with all this
coy semi-information.

WHICH youth orchestra did you lead? (Obviously not the National, or
you'd have said so :-). WHICH "top performance course"? WHICH star
guitarists, WHICH "top London band", WHICH "number 1 computer game"?

Why won't you tell us? Did they all say "mention our name and you're
a dead man!"?

And playing IN the LPO, the LSO etc. would be worth mentioning. But
we've all played WITH people who have played in top bands. They do
the occasional cheap gig too :-)

I think you're better than you make out. Tell us about it!



CubaseFAQ www.laurencepayne.co.uk/CubaseFAQ.htm
"Possibly the world's least impressive web site": George Perfect

Archived from groups: rec.audio.pro (More info?)

Laurence Payne wrote:

> And playing IN the LPO, the LSO etc. would be worth mentioning. But
> we've all played WITH people who have played in top bands. They do
> the occasional cheap gig too :-)

I'm installing a church sound system, so I'm adding to my resume that I
shared a stage with god.

Ain't sayin' _which_ god.

--
ha

Archived from groups: rec.audio.pro (More info?)

hank alrich <walkinay@thegrid.net> wrote:
>Laurence Payne wrote:
>
>> And playing IN the LPO, the LSO etc. would be worth mentioning. But
>> we've all played WITH people who have played in top bands. They do
>> the occasional cheap gig too :-)
>
>I'm installing a church sound system, so I'm adding to my resume that I
>shared a stage with god.

I have noticed that in a lot of churches, God doesn't get the top billing
anyway.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."