A guide to industry standard mastering deliverables.
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- Опубліковано 17 чер 2024
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Hello, I'm Nicholas Di Lorenzo, Studio Owner, Mixing and Mastering engineer at Panorama Studios.
I'm an Italian-Australian born and raised in Melbourne. I've been a creative professional for 10 years managing some pretty awesome projects for artists, labels and producers all around the globe.
What motivates and drives me?
My family,
Good food,
Great coffee.
You can find me on many platforms:
Instagram: / panorama_mastering
Facebook: / panoramamastering
Twitter: / panoramamasters
Kit: kit.co/Panorama_Mastering
Saved to my mastering playlist! Thanks man, I know you discussed this in another video (I prob have it saved too), but to put it all together in this short video is GOLD! I created "dummy" folders for each of these, inside another "dummy" folder, put in a location I frequent.
Great video. To continue on that topic it would be great to see a video about adding ISRC codes, creating DDPs (a bit outdated now, but some still request it), and in general what sort of metadata would you add to the master.
Your TV prints, are they just removing any swears etc., or are you printing them at much diferant lufs measurements more inline with Tv standards (or both, and/or more than that)?
thanks for your guidelines it is very useful for me
Always love your content. Thank you!
Question..do you create the mp3 from the 0dbtp version or the -1dbtp version. I have been typically using the 0dbtp while monitoring the delta of the artifacts in ozone. Curious if you just make the mp3 from the apple master.
I think your forgot live versions. At least for me, all my clients want a version to perform to with the main vocal down or muted. So I deliver both as standard practice
I'm hoping you may put a site link, reference, to the Technical Documents you refer to 1:50-2:00; the AESTD references. The macro site would also be really handy-dandy if your OK to provide it. I am punting that this refers to an International Engineers Standards...
No worries!
here you are !
www.aes.org/technical/documents/AESTD1002.2.15-02_1.pdf
Why not a 32bit wave?
Short, sweet, insightful and to the point 🤌
Have you ever noticed harsness in the High end at 320kbps because we do here
Actually in ABX testing an 320kbps file that was converted from a decent .wav is indistinguishable in nearly all studies (edit: including over 400 audio engineering students who managed 51% identification). It is possible to learn to distinguish between them, and some people can get 18/19 out of 20, but those people are rare) The difference certainly does not include a change of the frequency response or balance in any obvious way. Try ABX testing if you haven't already. The science would suggest that you are almost certainly falling prey to confirmation bias, but you might just have golden ears. For industry purposes, 99.9% of your audience cannot even tell a 128kbps file from a .wav file.
Rendering a mix to a compressed version like mp3 always increases the peak level. Use something like Sonnox Fraunhofer codec to check the peak level and artifacts introduced by encoding. Or make sure your peak level is around -1 db 😊