Mastering singles for radio with new Waves Mastering suite.

[Dimension Zero]

Boink!

[ctmartin]

Hi Monty,

Doug touched on several issues above. I also agree with him that LOTS more goes into getting a song on the radio than it just being a good song (and, yeah, "not-so-great" songs get on ALL THE TIME).

I also don't want to deviate from the thread, but depending on how far you hope to go at radio, your choice of a mastering engineer will possibly matter. While you may not expect to get further than College Radio (no offense, but not with the song you posted), commercial radio is a HARD place. I know from experience that, along with the quality of the song, Commercial Radio considers:

1. Who mixed it (they really like the big boys like TLA, or at least a "name")

2. Who mastered it (lazy asses like to know that it will sound good on the radio before they even spin it)

3. What label (they'll "add" one song over another -- even if it isn't a better song -- because it came from a major as opposed to an indie label)

4. What distributor (applicable to an indie label, as majors have their distribution arms)

5. How much $$ you're paying the "indie promoters" (it costs ALOTTTTTTT!)

6. Other s**t (promotions, tours, press, ad spots, etc.)

You don't need ALL of those, but most.

So, not to pull a cloud over your day, I would urge you to put your focus on songwriting, rather than mastering etc. And if you want radio play (even college radio has its challenges), better make sure the whole package is *really* together before you even go to radio (consider other ways of getting a label's attention unless you've got BUCKS to spend).

Remember too, every time you get "added" to a commercial (not college) station's regular playlist, you're gonna pay $$ to the station -- under the table!! (no credit cards or checks, but American Express Gift Cheques because they're like cash). And then you're gonna pay a commission to the "indie promoter" who "owns" that station. BTW even for a push to small commercial stations you're gonna need you own promoter(sss) working on your behalf. So, once again, know how far you can go, and if you can't do it, don't -- your reputation will be damaged, and it's not such a big world after all.

I would hate to see you spend all kinds of $$ on multiple masters (for radio, retail, etc.) if all you really need is a good sounding demo, and yours is decent. Not crazy about the song though, I'd work on it before you push it.
Peace & Best of Luck,
C

[Bob Olhsson]

The principal tools of a mastering facility are the monitor system and the experience of the mastering engineer with how things will sound on the air and out in the world.

Mastering is also the first step of manufacturing which requires technical knowledge, test and quality control gear, experience with the manufacturing process and the ability to work with a pressing plant to solve problems. There's a lot more to it than just signal processing.

Most mastering engineers have learned by working under other mastering engineers. Their background is usually in broadcasting or working at labels rather than just music.

[Dimension Zero]

Thanks for all of the tips C! I really appreciate you taking the time to give me advice on various aspects of the music business and my music.

Monty

Originally posted by ctmartin:
Hi Monty,

Doug touched on several issues above. I also agree with him that LOTS more goes into getting a song on the radio than it just being a good song (and, yeah, "not-so-great" songs get on ALL THE TIME).

I also don't want to deviate from the thread, but depending on how far you hope to go at radio, your choice of a mastering engineer will possibly matter. While you may not expect to get further than College Radio (no offense, but not with the song you posted), commercial radio is a HARD place. I know from experience that, along with the quality of the song, Commercial Radio considers:

1. Who mixed it (they really like the big boys like TLA, or at least a "name")

2. Who mastered it (lazy asses like to know that it will sound good on the radio before they even spin it)

3. What label (they'll "add" one song over another -- even if it isn't a better song -- because it came from a major as opposed to an indie label)

4. What distributor (applicable to an indie label, as majors have their distribution arms)

5. How much $$ you're paying the "indie promoters" (it costs ALOTTTTTTT!)

6. Other s**t (promotions, tours, press, ad spots, etc.)

You don't need ALL of those, but most.

So, not to pull a cloud over your day, I would urge you to put your focus on songwriting, rather than mastering etc. And if you want radio play (even college radio has its challenges), better make sure the whole package is *really* together before you even go to radio (consider other ways of getting a label's attention unless you've got BUCKS to spend).

Remember too, every time you get "added" to a commercial (not college) station's regular playlist, you're gonna pay $$ to the station -- under the table!! (no credit cards or checks, but American Express Gift Cheques because they're like cash). And then you're gonna pay a commission to the "indie promoter" who "owns" that station. BTW even for a push to small commercial stations you're gonna need you own promoter(sss) working on your behalf. So, once again, know how far you can go, and if you can't do it, don't -- your reputation will be damaged, and it's not such a big world after all.

I would hate to see you spend all kinds of $$ on multiple masters (for radio, retail, etc.) if all you really need is a good sounding demo, and yours is decent. Not crazy about the song though, I'd work on it before you push it.
Peace & Best of Luck,
C

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[Alécio Costa]

friend, take a look at the following:
a) pro sound web
b) intermusic
c) amazon and artist pro sites

Lots of intersting things on here. Look at the DUC library. SOme time ago I wrote a similar thread of yours and many guys presented interesting ideas.

Besides, I also bought the books mentioned here.
Take a look at stuff like Q10, L1, TC Master X, C4, PAZ. Not so expensive, but with gifted ears and love for what you do, you might reach very good results, sometimes similar to high-end gear manupulated by medium mastering engineers.

Alécio Costa
[email protected]
Brazil