TIME THEFT STUDIO F.A.Q.
MASTERING is the process where CDs are pressed from a glass master. The glass master is used to press a mother press. The mother press receives the imprint of the glass master and creates clones of it on CD. Though the term Mastering specifically applies to this last step of audio production, it has a larger meaning that become apparent when you consider the CD the glass master was created from the Pre-Master. This would make the process of finalizing all sonic and PQ issues considered Pre-Mastering. Often times this second process is simply called Mastering. This term works because the audio can no longer be changed after Pre-Master hits the Mastering plant.
This "finalizing all sonic and PQ issues" that Pre-Mastering concerns itself with can become quote intensive and expensive. This is because there are specialized tools for every step of the way. These tools manipulate your sound in various ways in order to improve the sound quality. What those various manipulations are, is discussed below:
THE are very different types of Pre-Mastering studios. There are both analog and digital studios. Both have their pros and cons. Analog is the traditional Mastering Studio which racks and racks of equipment around the room. The cost of such equipment made it literally impossible for all but the most dedicated or resourceful independent band to own and operate. With the addition of Digital Signal Processing (DSP) the picture of what a Pre-Mastering studio is has changed dramatically. Today Digital Signal Processing, with its ability to process at up to 64-bit at 192k, can effectively model analog designed signal processors without sacrificing quality. However DSP has not only made huge advancements in the field of analogue modeling, it has developed into pristine digital processors with unmatched clarity, and precision.
NOT ALL DSPS ARE MADE EQUAL:
Just because DSP has reached a point to viably compete with analog processors in the Pre-Mastering market does not many any, or even most DSPs CAN compete with the $100,000 of analogue equipment major labels have at their disposal. Very few DSPs can give the performance of a $50,000 vacuum tube compressor, and those that do it effectively still cost a pretty penny. Time Theft Studio owns and uses only the most professional and trusted DSPs on the market today. For a complete list of Time Theft Studio's equipment click here.
THE easiest way to understand the importance of 24-bit audio for CD audio is to explain a little about digital audio. Digital audio is sampling of audio and coding it into computer language. To give you a very rough idea of the significance of bit depth, imagine a bit is a single digit. In computer language that digit could be a 1 or a 0. So a 16-bit audio sample could look like this:
0101010101010101
There are 16 characters in the string above. Now imagine you are going to add reverb, or chorus to that audio file. The sample is already 16 characters, so additional characters must be written, which could mean the above audio sample could look like this after a simple DSP:
0101010101010101001
The added data gives added clarity and precision. It isn't hard to imagine why 24-bit audio has much greater clarity. The same is true of 32-bit, and 64-bit audio. But the question remains, why does this matter if CD's only play back 16-bit audio? The answer to this question is one of the more mysterious parts of pre-mastering: dithering.
FOR an extended discussion on dithering, see Mastering Audio: The Art and Science by Bob Katz. Very briefly, the process of dithering involves introducing a random variable of noise to an audio file when truncating from a higher bit depth to a lower bit depth. Professional audio should never be simply cut off, but dithered from 24-bit to 16-bit. The process works by introducing a variable into the process of truncating. This allows a file, while still having an average bit depth of 16-bit, to have perceived audio depth closer to 20-bit. Below is a graph of the difference between a non-dithered 16-bit sample and one dithered from 24-bit. (Please note, these graphs are inadequate and only intend to give the general idea of why dithering has become a necessary part of pre-mastering):
*Each individual "-" represents the end of an individual sample in a digital audio clip
Non Processed Audio File Word Length: File Dithered from 24-bit:
18 bit - - - -
17 bit - - - -
16 bit --------------------------------- -- -- -- -- - -- -
15 bit - - - -- -
14 bit - - -
Individual Samples > > > > > >
Digital audio that is not properly dithered could have strange harmonic, distortion, phasing, and high-frequency or low-noise issues. As the above chart shows, Dithering is an inexact science and therefore having the proper tools becomes important.
TYPICALLY expressed in samples per second, or hertz (Hz), the rate at which samples of an analog signal are taken in order to be converted into digital form. A PC’s sound card typically will sample a received analog signal, such as through a microphone, and digitize it for use by the computer. A higher sampling rate provides a better quality reproduction than a lower sampling rate.
Since the sampling rate is determined at the time the analog signal is converted to digital, it is like bit depth in that arbitrarily converting 44.1KHz to 96KHz does not improve the sound in the same way converting a 16-bit file to a 24-bit file does not improve the sound. For most intents and purposes as long as you can record at at least 44.1KHz your music should, as far as sampling rate goes, be comparable to the industry standard.
This being said, Time Theft Studio supports all sampling rates up to 192KHz.
COMPRESSION is one of the most important processes in audio production, if not the most important. This is especially true because it is the use and type of compression that most defines the tonal quality of recorded audio. This point, while it might be intuitively grasped from an understanding of the basics of compression, becomes glaringly obvious when comparing the sound of inexpensive compressors versus high dollar signal processors. Often times independent recording do not had the proper compression know how or tools to give vocals, guitars, or anything really the presence in a mix that distinguishes professional recording from amateur. Compressors like the Teletronix LA-2A or the LN-1176 have defined the warm, smooth tone of professionally produced audio for years. Time Theft Studio uses these classic compressors as well as others to achieve the balance of silky smooth warm tone, clarity, and presence to enhance your music in new and artistic ways.
For a brief example on a more technical level, compression can help tracks like vocals that tend to drop at the end of a phrase or word. A compressor works on the concept of a threshold, or certain dB level, that triggers a gain reduction. That is to say a compressor can be set to reduce any signal of 0dB by a ratio of say 4:1. So an input signal of 4dB would 1dB, a signal of 8dB would be 2dB, etc. What this does for your vocal track is bring down all the loud parts of your music to a closer dynamic range with the quiet parts. This can help to correct drastic contrasts in chorus/verse vocals. Of course, the signal must be boosted since we've only made the loud parts quieter, and not the quiet parts louder. This boosting, usually referred to as "output gain" compensates for the decrease in dB level and causes the compression process to sound like it is boosting the quiet parts, when really it is cutting the loud parts and boosting the entire signal.
There are many different opinions on the amount, type, and ubiquity of compression in audio production. Often referred to as loudness maximizing, compression and limiting can be used to maximize the amount of sound a track puts out while safely preventing clips. Time Theft Studio strives to meet the needs of its clients in this as well as all other artistic areas and would be happy to answer specific questions about your music.
Both the compressors below are used by Time Theft Studios in their Universal Audio DSP emulations. They offer the classic silky smooth sound of generations of hits, and until only recently have not been available in a format even remotely affordable for independent recording:
1176LN CLASSIC COMPRESSOR TELETRONIX LA-2A CLASSIC COMPRESSOR
LIMITING works on the same principal as compression, but with an important distinction. Limiting, while not as important at a mix level as compression can be, is indispensable to mastering. This is due to it's difference with compression. Limiting, unlike compression, does not have a "threshold" that is, there is not level that it allows audio to pass through at a reduced output. If the Limiter threshold was set to 0dB no signal would be able to reach or exceed that level (This is often a definable setting in a limiter).
Therefore limiting can be used as a safe guard allowing you to get even more perceived loudness out of your music. More importantly though limiting should always be used in pre-mastering as it is the last chance to prevent clips and peaks when the album is played back in diverse equipment. A professional limiter gives exceptional clarity and precision which streamlines the process of normalizing average track volume on an album as well ensures playback integrity at high levels.
Time Theft Studio uses the Universal Audio Precision Limiter (pictured below) for clarity, precision, and its superior transparency.
EQUALIZATION is audio process that allows you to cut/boost the output level (measured in dB) at certain frequencies. This allows you to boost the low end of a signal without affecting the higher frequencies. Equalization can be used to correct all sorts of balance problems from flat to boomy, to muddy, to tinny, to harsh, to hollow, to piercing mixes. These terms, though somewhat undefined, give a since of what good equalizing can do.
When equalizing at the mastering level the ramifications of even the tiniest cut/boost extend to the entire mix so it becomes extremely important to have professional tools that allow specific, transparent, and powerful equalization combined with the know how to nurse the right sound out of a mix. Equalization is also an essential step in pre-mastering because it is the last chance to find and isolate problem frequencies that could manifest themselves in unknown listening environments.
The Pultec Pro classic equalizer (shown to the left) can
be used to generate those warm tones of rock and roll history. The
Universal Audio recreation has the original Q filter and presets so that the
characteristic tone is as accessible to a first time as it was when the unit was
first produced.
A slightly
different, and ultimately more powerful, approach to equalizing is graphic
equalizing like the Cambridge EQ (shown to the left). This gives you
definable bands which can allow very fine tweaking which is all the equalization
you should perform at the mastering level, very small and accurate adjustments
to correct unintended errata that detract from the songs tonal balance.
Time Theft Studio uses the Universal Audio's recreation of the Cambridge EQ on
almost all projects because of its smooth treatment of tone, and 5 definable
peak/shelf, Q, and active settings. This gives unprecedented control and
professional sounding results in a DSP.
HARMONIC balancing is a visual approach to mastering. A harmonic balancer creates graphical representations of average and peak levels across the frequency spectrum. This visual approach to mastering allows you to reference other songs and/or previous versions of the song you are working on to visually compare. The results speak for themselves, not only do the songs on an album feel the same, they sound more full and powerful without the muddiness and distortion that come from simply boosting levels. Another benefit of harmonic balancing is that when you are editing the music visually, you are not constrained by the speakers and/or listening environment. This can also eliminate difficulties that different speakers and different stereos can present for your music. The image below shows how reference files can be used to "see" why a track doesn't sound like another track (perfect for matching songs together on albums, especially when one songs mix especially defines the way you want them all to. There are various other creative ways to apply this process to sound shaping):
What is Phase Delay Correction?
BBE has been the industry leader in Phase Delay Correction with their patented Sonic Maximizer. The Maximizer compensates for the loss of the beginning of a signal cause by Phase Delay. This adds clarity and brilliance without punching up the high end into a wash of harsh noise. Helps to restore the sound of live performance to often muddy recordings. Read more on BBE's website, www.bbesound.com. Time Theft Studios uses BBE's Sonic Maximizer to correct phase delay. The graph below is a visual representation of how the process improves the sound.
 |
 |
 |
|
Original live
sound
sound before amplification. First part of transient shown |
Phase Delay Correction
OFF - Same sound as reproduced by
an audio system Note initial transient lost; Envelope distortion |
Phase Delay Correction
ON - Same
sound reproduced with process on
Corrects Distortion, and Corrects phase delay |
*CHART TAKEN FROM WWW.BBESOUND.COM.
STEREO imaging is relatively new DSP that allows a signal to be widened. This "widening" adds greater separation between instruments and more full sounding mix. It can breathe life into crowded mixes, and bring just enough sparkle to make a good mix a great one. Time Theft Studio uses WAVES S1 Stereo Imager, part of the Native Bundle, the industry standard in stereo imaging.
*THE S1 STEREO IMAGER FROM WAVES
What is the difference between analog and non-analog modeled DSPs?
TO answer simply: analog modeled DSPs recreate the warmth and tone of analog recording. They often help to fatten, or warm flat digital signals. This means analog modeled DSPs can breathe life into stale digital recordings.
Non-analog modeled DSPs work to give clarity, precision, and transparency to signal processing that has traditionally been associated with the limits of analog equipment. This means non-analog modeled DSPs can bring the precision and transparency previously unheard of in analog recording without painting the sound in any way.
As you can see different tools for different types of recordings. Time Theft Studio strives to offer the production needs the independent musician might need regardless of whether or not they record in digital or analog or both.
EACH Mastering and Track Optimization quote from Time Theft Studio is unique and designed for the specific services your music needs. This makes it hard to give an general estimate, for this reason we encourage you to contact us at info@timetheft.com with any specific questions. Getting a quote on your music is always free. The form takes about 10-15 minutes to fill out, and has sections to ask questions, or give specific instructions not listed in the form.
That being said, there is a $25.00 minimum charge. Most projects run between $50-$500 depending on the amount of work, and number of tracks.
FIRST you should review the different types of quotes Time Theft Studio offers:
1. Pre-Mastering, Post-Production : This quote is for work to be done on an entire mix, once it has become a single stereo wave file
2. Track Optimization: This quote is for single tracks, or instruments, within a mix that you would like to have worked on.
Then go to our Pre-Mastering Packages page or our Track Optimization Packages page and follow the instructions.
How long does it take to get my music back?
THIS depends on the number of tracks and the type of production being done. On average a 10-12 song album can be completely mastered within 7 business days. Estimates of how long a project will take also depend on the volume of work at the given time, and will be included with your FREE quote.
How am I financially protected?
TIME Theft Studios begins production work on your music as soon as we receive the music, any applicable reference songs, and your security deposit. The security deposit is the greater of 30% of the quote or $25.00. This deposit protects Time Theft Studio. All production work will begin following receipt of the security deposit. This deposit is not refundable. All payment are secured through Pay Pal.
When your project is completed, clips will be placed on the website that you can reach with a password. Please note these versions of the songs will be mp3 quality (due to host restrictions) and have a skip in the music every 15 seconds. If you desire, at no extra charge, Time Theft Studio will also send you a CD containing your music. This CD will be CD quality audio, but will still "skip" every 15 seconds. You may review the CD for up to five business days. IMPORTANT: if you desire any further changes to your music, a meeting (in person, or over the phone) must be scheduled within those five business days. At the end of the 5 business days, Time Theft Studio will bill you for the remainder of your quote. You will receive your final copy of your music once receipt of your payment is confirmed through Pay Pal.
If you have any questions about your music, or would like any additional production, the five business days specified are your opportunity to schedule to meet with the engineer and discuss options. I
Time Theft Studio is committed to creating as professional quality masters or your mixes as possible, but to do this we need you to be very specific when filling out the form for your FREE quote. We would like to work on the front end to make sure we are not wasting your money or our time by not understanding the sound you are looking for. The questions in the quote application are very important. The more thoroughly they are answered, the more efficient the production process will be, and the more importantly: the better the music will be. If you think of any additional information that might be helpful, please send it to us ASAP, however we cannot guarantee information provided after production has begun will be fully integrated into the project. For this reason again we encourage detail and specific notes when filling out the quote form
What equipment does Time Theft Studio use?
TIME Theft Studio is a digital studio, so all signal processing is done digitally. For a list of all hardware and software Time Theft Studio uses click here.
Does Time Theft Studio offer recording services?
AT this time Time Theft Studio does no offer recording services. We are prepared to, if occasion demand, do isolated recordings on a need by need basis at the engineer's discretion. Time Theft Studio is fully ready to record 8 Simultaneous 24-bit, 96khz balanced XLR inputs if occasion warrants. If you have any further questions about recording services please feel free to email us along with any other questions you might have at info@timetheft.com
Does applying for a free quote obligate me financially in anyway?
Absolutely not. A quote obligates neither party. You are not obligated to pay anything, ever, and Time Theft Studio is not obligated to perform services at the price of the quote, only invoices are contractually binding. Time Theft Studio reserves the right to change a quote based upon new information, unforeseen complication (to be discussed before any additional charges occur), additional tracks, or processes to be performed. For these reasons, you should adhere to your Invoice for all official and final figures. This being said, the price on the quote will not change on the invoice without reason which will be provided on a per instance basis, and as always we can negotiate to meet your budget if new concerns, issues, or songs prevent become increasingly expensive. We want to work proactively on the front in so there are no surprises for anyone and to foster an atmosphere that encourages repeat business. Please feel free to email us at anytime with any questions or concerns at info@timetheft.com.
TO apply for a free mastering or post production quote, either go to the Mastering Packages page or click here.
To apply for a free track optimization quote, either go to the Track Optimization page or click here.