ANALOG MASTERING IN AUDIO PRODUCTION
WHAT IS ANALOG MASTERING?
The analog mastering works the mastering engineer in audio production with external hardware (sg analog hardware). The signal to be processed is fed to the external devices via high-quality AD converter channels. Artifacts can be partially bypassed by using analogue devices. The basic disadvantage of analog technology compared to digital technology is reproducibility (the so-called "total recall"). Due to the large number of buttons and rotary controls, which often do not have a grid, it is extremely time-consuming to adjust the processed audio material in analog mastering restore to allow for a consistent sound across all versions. In many cases, this only happens with time-consuming photography of the device settings in the mixer.
“Pure” analogue mastering is actually no longer done in the studio these days. Hybrid solutions are used today. This means that the delivered audio material is already available digitally after mixing. Using the DAW, it is sent to the analog devices via the AD converter and, after processing, is recorded again in the DAW and ends up as a stereo master. This has the advantage that the audio material can be digitally prepared or post-processed, regardless of the analog processing steps in the online mastering.
The clear advantage of analog mastering is the unique sound, which makes sound processing in the mastering studio an experience thanks to the processing of high-quality components and sound conductors in the analog devices. Many hardware users swear by the feel of buttons and controls rather than pressing buttons with the mouse. In addition, analog sounds much more musical than digital, which is based on the fact that it is incredibly difficult to represent something imperfect in digital form. You can find more information about this in our blog post analogue vs. digital.
As a disadvantage, the difficult reproducibility of settings is the main problem with the mischi and mastering with analog hardware during the audio production. a vg total recall is difficult to do here. This can be remedied by taking photos of the settings on the devices and the tedious reconstruction should have to be changed. Which may well be the case in the case of the digitalization of the music industry.
As a rule, the format (if it is uncompressed) does not play a major role. Bit depth and sample rate are more decisive. Usually you play titles that use the den Mixing process have passed through in at least 24 bit and 44,1 khz. A higher resolution and bit depth is possible and even desired, since you always work with the best resolved version in mastering. The final output format is only determined and played out after mastering.
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