The Mastering Show

Getting your music "synced" for licensing in TV, movies or ads can be an amazing opportunity for indie musicians to make money and gain exposure. But is it just a pipe dream, and is mastering a necessary part of the process ?Chris SD from Sync Songwriter is an expert in this topic – just in the last year they've had artists get songs placed in the soundtrack for the Oscar-winning movie "Anora", for example! And this episode I talk to him about this whole topic, including:What sync licensing isWhy song supervisors might be interested in hearing your musicHow people normally submit their music for possible sync opportunitiesA better way that you can connect with them to improve the odds of getting your music taken on for use in film, TV and advertsWhich types of songs and artists are most likely to be taken on andThe role mastering and audio production play in this processAnd lastly we talk about the free Sync Songwriter Music Supervisor Panel that he's put together to help you find out more about all this - which is taking place this January. For more details, click here – if you decide to give it a try, you'll be helping support The Mastering Show at the same time.Mentioned in this episode:Learn to master !Click HERE to see Ian's courses and mastering resourcesMasteringClick HERE to work with IanLeapwingFind out more about Leapwing's plugins

This started out as a Q&A episode, but one way or another there turned out to be a real theme to many of the questions, namely - how do you choose between technical and creative considerations, when mastering ?Questions like:When the client wants songs to sound differentWhen to use mid-side processing (or not)Transient shaping - hardware or software ?How much distortion ?When is unbalanced EQ am artistic choice ?What to do when the "correct" thing to do goes against the emotion of the songTake a listen and find out how these questions all connect !Full links on our website:www.themasteringshow.com/episode-103Mentioned in this episode:MasteringClick HERE to work with IanLeapwingFind out more about Leapwing's pluginsLearn to master !Click HERE to see Ian's courses and mastering resources

Translation is one of the main goals of mastering - make the music sound great on any platform, and any delivery format.But how is that possible ? How can we optimise the audio to sound great on both a huge PA and crappy earbuds, or via any data-encoded stream, when we don't have any control over those playback systems or streaming platforms ?The answer to this paradox is deceptively simple - and powerful. In this episode I explain the common misconception of what 'translation' is; what the term really means to me, and share three simple suggestions to help you get your music to translate - on any playback system.Full links on our website:www.themasteringshow.com/episode-102Mentioned in this episode:LeapwingFind out more about Leapwing's pluginsLearn to master !Click HERE to see Ian's courses and mastering resourcesMasteringClick HERE to work with Ian

Brian Eno is probably the musician, producer and artist who has had the single biggest influence on my music taste and enjoyment over the years. His work speaks for itself and needs no introduction ! So when I heard Emre Ramazanoglu talking on the Working Class Audio podcast about re-mixing and mastering many of Brian's classic albums for Dolby Atmos, my ears immediately pricked up. I just couldn't miss the chance to talk to him in more detail about working with Brian - and the amazing detective work that it involved.So in this episode Emre and I take a deep dive into this fascinating subject, talking about things like:"Audio archeology" – the challenges of mixing Eno's older material, and the unexpected solutions Emre foundHow mixing for Eno is different from Emre's usual workflow, even with brand new releasesThe lessons Emre learned - and why this might be what makes Eno such a great producerNew immersive strategies Emre developed specifically for these albums......and how they're helping his stereo mixing as well !Full links on our website:www.themasteringshow.com/episode-101Mentioned in this episode:Learn to master !Click HERE to see Ian's courses and mastering resourcesLeapwingFind out more about Leapwing's pluginsToolsFor Ian's mastering plugins, click HERE

I wanted to do something a little different to mark the 100th episode, but wasn't sure what. I was wondering about interviewing myself but that seemed a little weird... And then Matt Boudreau from the excellent Working Class Audio podcast invited me back onto his show, and it occurred to me - I could get Matt to interview me, which would be way more fun and get some much more interesting questions !So here it is. Matt and I talk about all kinds of things including:My background in music, production and music technologyHow I got my start as a mastering engineerThe responsibilities of the mastering engineer (and the mistake that nearly cost me my job)My first mastering chain, and how it inspired my Perception AB pluginHow I feel about being 'The Loudness Guy'Hardware versus 'in-the-box' masteringWhy mastering mattersAnd loads more !Full links on our website:www.themasteringshow.com/episode-100Mentioned in this episode:Learn to master !Click HERE to see Ian's courses and mastering resourcesToolsFor Ian's mastering plugins, click HERELeapwingFind out more about Leapwing's plugins