For this week’s MTF, the class visited Disk-Edits Mastering Studios, located close to the Entertainment Center, Bowden. After frolicking at a nearby deli, we entered Disk-Edits and then the mastering room, and the difference between it, and the outside world was very distinct. Hearing the rustle of people getting comfortable waiting for Neville Clark (the director, and our guide), I noticed how flat the room was. It was, different from the studio control rooms we had previously visited, this room while small, was so flat, acoustically, and it didn’t take my “amateurish” audio skills long to realise
it either.
So. After getting a very informative talk from Clark on mastering and his experiences, one thing hit me more than anything - Clark mentioned and demonstrated many times the idea of keeping at a reference level, as in sound level. This is something which actually makes a lot (and I mean a lot) of sense, but it just never occurred to me.
His advice was somewhat different from other guides from Mixmasters and Paradise Studios. The control room was also different. Instead of a full house console, a rather small console was used, a System6000. This too makes sense as one would usually receive projects in a stereo format, so no need for lavish consoles, and more need for good equipment and good room acoustics. And the lack of ProTools was also a change, with Clark stating that the SADiE 24-96 software is what works best for him and he likes it. This is comforting to hear, because even though I love ProTools, and Logic Pro *cough* one shouldn’t be confined to the space of one software company or idea set.
Being a pre-mastering engineer seems like it would be just as interesting as being a producer, or general sound engineer. And what Clark demonstrated to us inspired my willingness further to move into a career involved with sound.
References:
Neville Clark, (August, 2007) Disk-Edits, MTF Forum
Other Links
TC Electronics (Makers of the System6000)
Sadie
Disk-Edits
His advice was somewhat different from other guides from Mixmasters and Paradise Studios. The control room was also different. Instead of a full house console, a rather small console was used, a System6000. This too makes sense as one would usually receive projects in a stereo format, so no need for lavish consoles, and more need for good equipment and good room acoustics. And the lack of ProTools was also a change, with 
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