REQ: MixWithTheMasters Mike Bozzi Mastering Workshop #2
This is a very helpful episode. You can learn a lot about the state of the art of mastering as far as modern Rap and R&B releases go. Can anyone provide?
INFO:
Hosted at Bernie Grundman Mastering, engineer Mike Bozzi introduces you to the specialized facility and its equipment, then gives a synopsis of his professional background, musical influences and mentor Brian Gardener. He discusses the achievement of tasteful loudness in modern mastering, common issues with mixes received, submission advice, mastering single tracks versus albums, sample rate, bit depth, working in dual mono, his monitoring setup, outboard gear and signal path. He proceeds to master three tracks in the style of hip-hop, trap and R&B by artists Kendrick Lamar and SZA. In each case, he critiques the mix, matches overall loudness for comparison and proceeds to master while A-B’ing with the unmastered version. He divulges on precise EQ alterations, de-essing, soft saturation and limiting considerations, and explains why he uses little or no compression or stereo widening. He also comments on streaming platform algorithms and mastering for various formats.
INFO:
Hosted at Bernie Grundman Mastering, engineer Mike Bozzi introduces you to the specialized facility and its equipment, then gives a synopsis of his professional background, musical influences and mentor Brian Gardener. He discusses the achievement of tasteful loudness in modern mastering, common issues with mixes received, submission advice, mastering single tracks versus albums, sample rate, bit depth, working in dual mono, his monitoring setup, outboard gear and signal path. He proceeds to master three tracks in the style of hip-hop, trap and R&B by artists Kendrick Lamar and SZA. In each case, he critiques the mix, matches overall loudness for comparison and proceeds to master while A-B’ing with the unmastered version. He divulges on precise EQ alterations, de-essing, soft saturation and limiting considerations, and explains why he uses little or no compression or stereo widening. He also comments on streaming platform algorithms and mastering for various formats.