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CHAPTER 10 MIXING AND MASTERING
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In contrast, not only does the Snoop Dogg recording peak at 0dBFS on every kick-drum hit and hand clap, but the average level is many, many times higher than the Satie recording. True, you can hear the song clearly, even when the volume control on your amplifier is turned down low; but the hand claps sound very harsh, and any dynamics present in the studio mix have been squashed flat. What you re aiming for is a happy medium between these two extremes, with enough processing to enable your mix to be heard, but without damaging the qualities that you were able to hear for yourself during the recording. Of course, some records deserve to be played loud. But by over-using limiting techniques, the mastering engineer makes that decision for you. Excessive processing during the CD mastering stage may be one reason why many critical listeners still prefer the warm and natural sound of vinyl, even though the vinyl mastering process can produce artifacts of its own. Consider that a complex musical waveform is the product of many superimposed sound waves of various shapes and frequencies. It usually ends up looking something like a sine wave, but with lots of smaller ripples in it. Using hard limiting, all the musical information over 0dBFS is lost, and only a flat-topped waveform remains. It s a bit like having the complete works of Shakespeare, except with every fourth word replaced by blah:
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Shall I compare blah to a summer s blah Thou art more blah and more temperate: Blah winds do shake blah darling buds of Blah, And summer s lease blah all too short blah date
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You d get pretty sick of hearing the word blah by the end of a three-hour play. Your ear feels the same way about square waves.
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The core tools of the digital audio mastering engineer aren t all that different from those used in the mix compression, limiting, and equalization again. The main difference is that mastering plug-ins are generally less invasive, because they re not meant to have an obvious effect. You re only supposed to notice the increase in average level and how much better the mix translates to different playback systems, not any change in tonal color or increase in distortion. It s possible to master a session using Ardour s LADSPA plug-in support, but the Ardour mixer isn t geared to the task. Instead, you can use JAMin (GNU/Linux), the name of which stands for the JACK Audio Mastering Interface. JAMin is available from http://jamin.sourceforge.net or in most good GNU/Linux distributions. Ubuntu users can install the jamin package with the Add/Remove Applications tool. Because it s a stand-alone program, you can use JAMin with any JACK application, not just Ardour. JAMin provides a custom interface for a collection of the most frequently required stereo mastering plug-ins and provides global preset save and recall facilities for them. It includes a 1023 band equalizer with parametric controls and a neat hand-drawn frequency curve feature. There s also a more traditional 30-band equalizer with faders and a built-in spectrum analyzer. Next in the signal chain is a three-band mastering compressor, which means you can adjust bass, middle, and treble frequency bands independently. On the output stage, a look-ahead brick-wall limiter catches any transient peaks that exceed 0dBFS. The look-ahead feature means the effect of limiting isn t as harsh and obvious as a simple hard limiter that square-waves every peak. You must have JACK running before you attempt to start JAMin, or it won t work. Next, open your previous Ardour session. You need to use JAMin s bypass button to make subjective comparisons between processed and unprocessed sound, which means JAMin has to sit in the signal chain between Ardour s master bus outputs and your soundcard s playback ports (see Figure 10-11).
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