Questions from Listeners :Touching on all topics of mastering and Vinyl records

Scott And KJ Field questions from our listeners - Entertaining - while being mostly random :) 


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Music heard :
Artist - Snarky Puppy  with Lalah Hathaway
Song -  Something
listen on Spotify :  Something from Family Dinner I

Transcript

SPEAKER_00 0:13

Hello again and welcome to Making Vinyl at MasterDisc. I'm Scott Hall, Chief Engineer of MasterDisc, where we've been making records since the 70s. And the whole point of this uh podcast is to answer your questions. And thanks to our listeners and uh and friends, we've got a list of questions. Today we're gonna answer as many of them as we can get to. And today I'm with uh, as usual, my trusted sidekick is KJ from the Odyssey.

SPEAKER_02 0:39

Hello, hello. Happy to be the trusted sidekick.

SPEAKER_00 0:42

We had fun last week uh talking about your new record. I see you've got the record release uh and uh party. And tell us about that one more time.

SPEAKER_02 0:51

Yeah, no, absolutely. It's uh well we're doing a fundraiser and uh it's it's like a little bit of everything. I mean, it's it you know, it's a corticopia of uh of an event. So we're uh September 27th, we're getting together at El Cortez, which is in Bushwick in Brooklyn, and we are one raising money for vocal NY to fight racial injustice. We are premiering our um new video for Bang Bang, which features Chuck D from Public Enemy and now Prophets of Rage. And uh we have our new vinyl for sale, uh, mastered by and mastered and cut by Master Disc by Scott Hull himself, The Incredible Hull. And um that is uh Bang Bang uh side A is Bang Bang featuring Chuck D, of course. And then the other side is our last single that we put out a couple weeks ago, which is called Rage of Love, um, which is about the gnarly nature of love-hate relationships. So uh yeah, all there, uh everybody out in podcast land, if you can come by, then do. It's for good cause, and all proceeds go to vocal NY to fight racial injustice.

SPEAKER_00 1:57

Cool. And as I've seen, you've got all that information on your uh social media. Tell them where to find you.

SPEAKER_02 2:03

Yeah, yeah, absolutely. So um uh social media is at the odyssey, and I'll spell that. It's the odyssey. Odd y-s-y. We're also at the odyssey.com, again, odd ysy. If you search on the Odyssey in that spelling, Google wants to correct you. I guess it's feeling pedantic and wants to call back to Homer. Um, but we have nothing to do with not that Homer. Oh, sorry. But um, but we have nothing to do with that, so force it to give you Od D Y S Y and you will find us and uh come out to the show.

SPEAKER_00 2:39

All right. That's uh that's gonna be great. Looks like it's gonna be a lot of fun and for good cause, of course, and um we throw our support behind the Odyssey whenever possible. So um enjoy this show and get to get to know the band and uh meet some cool people.

SPEAKER_02 2:56

Yes, indeed. So before we get into the questions, I wanna I want to do a little bit of news um because something really interesting has cropped up that you told me about, and I want all the listeners to know that um that Steely Dan is putting out Two Against Nature uh on vinyl, their Grammy award-winning record that Scott mastered and uh now has cut for vinyl. So um what do you think about that after all this time?

SPEAKER_00 3:24

Oh, it's tremendous. Uh it's a record record that should have been on vinyl, and the only reason it wasn't is because it was released in that uh Netherland of years. Uh that was about about 2001, 2000, 2001. The labels had pretty much given up on vinyl at that point. Um they weren't there were no sales, people were you know ditching the record collections and going with CDs as the ultimate, and uh the the record never made it out on vinyl. And so there's uh um a lot of really good reasons to have this record on vinyl, and they they they made a really good decision to uh split the record up onto three sides of a double record so that it's uh cohesive, yet it's nice and loud and and uh and but uh but but not you know not like modern day loud. It's just just sounds good. It's from that from the era where mixes sounded really good. And if you wanted it to be a little louder, you just reached for the volume control and turned it up a little bit.

SPEAKER_02 4:24

Who'd have thought it could be that easy?

SPEAKER_00 4:27

Well, the irony is that we've got remote controls and volume controls everywhere, but we seem to not know how to use them anymore. Um you know, w we don't really need to belabor the um volume wars too much. Um I'm getting of that age when what they used to say, if it's too loud, you're too old. But uh it really isn't the the situation. What we're really talking about is if if the the music is really hyper compressed, it really loses its communication with the audience, in in my opinion.

SPEAKER_02 4:56

And dynamics too, right?

SPEAKER_00 4:57

I mean it's if you don't have softs, then you don't have louds.

SPEAKER_02 5:01

Right. Stands to reason.

SPEAKER_00 5:03

If everything's all one volume, um your brain just kind of tunes it out and you don't really have the impact of of dynamics. And and one of the things that made Steel Eden um and still do make them um um interesting and unique is that you could really with with headphones on, you could you just hear way into their mixes. They weren't covered with layers and layers of of of um accessory parts. Everything that was painted in was was was sort of done in translucent uh tones and colors. And so you could listen to that mix 15 times and hear completely different details. And so it was really fun going back to this record almost 20 years um from when I I first mastered it. Now thinking about, well, how's it gonna fit and how's it gonna work on vinyl? And um it was kind of natural, it was kind of easy to we uh we used the 24-bit um original masters back from that day because they weren't heavily compressed and weren't heavily limited, but they did need to be adjusted a little bit for vinyl. We had one song that um that really had some problematic S's. Um most of his vocals are tucked in pretty well, but this one just had the vocals sitting up on top and they were kind of bright. And uh boy, uh vinyl um was really that that particular song was kind of kicking my kicking my pants. Um trying to uh making me work a little extra hard to to make it sound good. But what we ended up with was a um a subtle subtle compromise. Listeners probably won't even hear it, but what they what they will notice if they're listening for it is that there shouldn't be any uh any vocal distortion or any abnormalities there. That that record should still hand stand up and it will blow away the uh the stream of that record for sure. And uh and should certainly think so, yeah. And coming from vinyl, um it adds a really nice uh a really nice uh depth and impact and and uh and warmth to it. So um the that don't look go looking in the stores for it just yet. It has just left my studio um only um only a few days or a week or so ago, and um it still needs to go out to pressing and have test pressings made and be evaluated and checked and then get manufactured and shipped to the stores and then advertising and marketing and then it might end up someplace where people can find it. But if we uh as we continue doing these um podcasts, I'll have uh obviously mention when I get it in my hands and and uh just share with the listeners how it sounds.

SPEAKER_02 7:31

Yeah, no, absolutely. I think that it probably will deserve uh an episode of its own. There's so much to talk about. And I mean, just you know, just the little you said there, I have 10,000 questions enough to completely push us off track from today's subject. So I'm not gonna ask them, but I think we should come back around maybe to celebrate its actual launch. And I know I will be first in line to get my copy, and I will keep pulling the needle back to the beginning of Cousin Depree about a thousand times.

SPEAKER_00 8:01

That was funny. Yeah, that was a song that um that's really got a story of all of its own. So you're gonna have to wait for our uh celebratory uh podcast to get all those um all those cool little stories. But uh Cousin Depree had a had a life of its own during that session.

SPEAKER_02 8:16

All right, so that said, um, look out for that episode later on, but today we're gonna go through a few uh questions that uh that came in from clients or prospective clients, people just wondering about the mastering process. Um so I'm just gonna hit you with one or two and we can talk them through and uh you know get the answer from the horse's mouth, so to speak.

SPEAKER_00 8:36

Oh, let's see if we can do 20 questions in an hour.

SPEAKER_02 8:41

Uh well, I'll just talk real fast. Um so uh I think the one of the questions that we received m most often is about mix evaluations. This is something that you offer through MasterDisc that not not a lot of other mastering houses offer necessarily. And if they do, they may not necessarily be equipped to handle them. Um but people want to know you know, the the the term mix evaluation, it it gives you some clue as to what it is, but can you give us a little, you know, a little bit a deeper insight into what happens when somebody you know asks you to do that?

SPEAKER_00 9:17

Well the reason why it's appealing, the reason why there's a or there's a desire for it, is that um many, many times now projects are being recorded and mixed um in personal um production studios in their homes, in their living rooms, in their in their spare bedrooms. And that you get to the final mix stage and you're just not sure if it's really done, if it really is missing something. So that's that's one thing. The second thing is um, you know, I I also record and mix and produce my own music and other people's music, aside from being a master engineer. And so I I know pretty well what recording limitations are and what mix limitations are, and you know, how you can take a an average mix and with some craft turn it into a much better mix with some relatively simple concepts and techniques. Um, might I add, you know, you and I did that together on some of your uh earlier recordings where you you brought me mixes and um you know we just systematically went through each track and made them all better and then improved the mix and then voila, it it sounded it sounded better.

SPEAKER_02 10:22

Yeah, it's it's uh you know, they always say it's the ears, not the gear, you know, and it it's it's about um you know from my perspective, it was having it it was the there was a certain there was a certain feeling of confidence having somebody uh with Scott's experience, you know, take a listen and you know having having heard so many you know so many brand name artists that I you know that I I love and respect, Steely Dan, you know, not being nearly the least of them, um, and just you know having somebody who has worked with those songs and and listened to them over the years and uh tell me, well, you know, the the chorus isn't really popping out, and here's why I think that may be. Um you know, and and you bring up a really interesting point. It's about you know bedroom producers, and I'm one of them, um you know, who don't, you know, who who may not have uh you know a um an experienced producer to to tell them, you know, objectively speaking, this thing isn't working, and here's how I think you can fix it.

SPEAKER_00 11:21

It's uh that that collaborative process and also that that mentorship of um of an engineer working through the system, working side by side with a with a a producer um to get their you know to uh cut their teeth and get their experience. Um in a lot of cases that's not an option anymore, or people aren't taking that route uh as often as they used to. But let me say it's also important to note that things that are professionally produced, professionally recorded, um, don't really need, quote unquote, my advice when it comes to how the mix is supposed to sound. When projects really do benefit from my pre-mastering evaluation, um is is when um they're just not sure if what they're hearing or what they feel like their mix is missing is a good mastering job or whether the mix is actually still not finished yet. Uh so it's really easy to just to to read and watch online um uh episodes of of how to mix and how to master, and you get done with your song and go like, well, yeah, but is it done? And uh so let me try let me try applying some basic mastering uh um tools to this and see if it makes it better. It's like, well, yeah, it doesn't, but you know, it'd be kind of like um me deciding to um watch somebody do a uh a surgical operation and then attempt to do it on myself. Um it just it just wouldn't be smart. There's there's a there's a reason why we s we we specialize. Um we can get, you know. My point today is to try to keep the answer simple and and concise. So the point is if you're not a hundred percent certain your mix is finished, a a brief um pre-mastering evaluation can can answer that question for you. Um personally, if the mix doesn't need any changes and it feels like it's great, I uh I actually don't charge for the eval service. I'm so I'm so happy to to hear great mixes and get a chance to master them that um I don't want to penalize anybody for that process. But if you can benefit from my wisdom, you know, then there's a uh a small charge.

SPEAKER_02 13:28

Cool, fair enough. Um and one you know, one one side note sort of follow-up to that is what if you're using a mixer, like you know, a pro mixer, but um have you have you run into that where an artist will come to you with something mixed by a pro and it it needs a little help? And if so, how do you handle that? Where did the egos come in?

SPEAKER_00 13:48

No, next question. I'm sorry. Okay, that's it for our show today. Yes, sorry, sorry, my uh um uh witness protection program. I can't I I can't comment any further. Um got it. Oh, the um to be completely honest, um, it can get awkward. Um mixers are creative beings, uh entitled to their opinions and their and their point of views. Um I do find a problem though when the mixer insists on mixing it a particular way, and he, you know, maybe hasn't taken into consideration what the artist actually wants or is it hasn't listened closely enough to what the artist wants. So I tend to listen really closely, and the artist tells me, Well, I I really kind of want this record that's like this, and then I hear their mix and it doesn't sound like that. Um and then the comments sometimes come back like, well, I told the guy that, but he didn't really seem to listen, and I don't know. So egos aside, I try to do it with no personal ego of my own, uh completely aside. I just want to help the artists get what they want to get out of their record. Um I find two completely different categories. One, um uh an uh an engineer that's absolutely uh eager to hear my input and that might be very, very eager to go in and make some small tweaks if he if he agrees with my my findings, and then another in uh engineer that's completely unwilling to even consider the possibility that the mastering engineer is is going to tell him how to mix a record. So um I um when I'm told, when I'm when I'm introduced to the mixer in that situation, I'll usually have that conversation with the mixer first to see um um where they f fall as a personal professional courtesy to them. I'll say, you know what, I'm kinda hearing this and this and this and thinking I wonder if you, you know, if you're cool with making a little tweak in the mix. And if they're not willing to go after it, or if they've already had a you know, already kind of fed up with this project, or they felt like they didn't charge them enough and they're you know the the the the artist is already running them ragged, you know, uh then then you know, maybe I'll just go ahead and master it as it is and and and n and um and keep my uh opinions to myself. But if the artist specifically says, you know, you know, I want to pay for your time and I want you to tell me what you think, uh what you feel about this recording, I'm gonna be a hundred percent honest. I uh there's um uh occasionally I have to apologize uh in advance for my for my frankness because sometimes I what I've got to say is, you know, this you know this is not the prettiest baby on the block. Right. Right. You know, you've really gotta have to do some more work here to get this to be up to the level that um I think you're you're shooting for. Um, you know, that's that starts a conversation. If they're if they're uh if they're if they're really interested in improving their mix, then you know, then we dive in deep. And um and it's ever all hands on deck and and uh I you know work with the artist and with the mixer and the with the producer to uh to help them any way I can.

SPEAKER_02 17:01

Yeah, I mean bottom line, sometimes you have to have the hard conversation. And that you know, this is true when you're dealing with your mastering engineer or a bandmate or a producer or uh or a mixer or or anybody. I mean, this is this is your art, this is your voice, this is the truth that you want to give to the world, and there's no sense in doing it half-assed. So sometimes you just gotta say, well, you know, my my mastering engineer said that that your chorus is but, and you know, this is how you can improve it, and it's gonna need a little bit more sparkle on top, or this ain't coming out, so there.

SPEAKER_00 17:34

It's I I I think a lot of times creative people have people around them, uh, and maybe even might even say even need to have people around them that are supportive and agree with them and you know keep them po moving in the right direction. And there are times when I feel like, you know, the um this the the parable of the emperor's new clothes. Um, you know, I feel like I'm the only one that'll have that's willing to speak the truth, um and and call it like it it really is. And then once I speak, then usually there's there's someone else that goes, like, yeah, I was kind of feeling that too, but you know, then I'll I'll get some supporting um uh uh some support from other members. But um it's it's best to realize a couple things that we're it's a creative project, everybody's a little fragile, everybody's a little concerned about the fact that this project is now going to become public and and scrutiny uh will abound. Um you know, hopefully positive, but certainly negative uh uh scrutiny will will abound um through all sorts of me um outlets. So, you know, you best I think you best hear it for me before you you're gonna hear it, you know, in public.

SPEAKER_02 18:49

Yeah, and better to hear it than not hear it. Yeah. Um so you know, sometimes the truth hurts. Anyway, okay, cool. So um moving on to the next question then. I think that um you know that when we compiled these these questions uh from you know people who wrote in on social or people who wrote in from the website, the second most um asked um question or category of questions was about prepping um prepping mixes to send to mastering. Okay. Uh because there's it's a little it's a little fraught, you know. I mean there's there's it's it's not com it's not always completely obvious. So let me give voice to a couple of those questions specifically. Starting with um starting with fades. Uh do do um does the does the mix should the mixes include fades or is that your job?

SPEAKER_00 20:06

Um routine sort of fade to silences are probably best kept in my hands just because when uh I I'm sequencing the record. I'm putting songs one, two, and three in order. And how one song fades and finishes, you know, might dictate how the next song starts and vice versa. So routine stuff probably simplest and best to leave in my hands. But but you know, home mixers and newbies take note that doesn't mean you can just forget about the fade. You still have to consider and make sure that additional open and uh auxiliary tracks that you've got in your mix are shut off as the fade's approaching um so that you don't hear the extra noise build up. So you might have a uh a track with thirty-two open tracks, but at the end only you know seven things are playing in the final out chorus. Well those tracks that have you know might have background noise on them should be muted when um when you don't need them. I mean that's just good at engineering practice, but it but it it um it's surprising how often it's forgotten at the end of the fade, um, because someone says, Oh, we'll just fade this song. Well, you can, but it's it I a well-crafted fade sometimes involves fading certain elements or changing the um the direct to reverb balance during the fade. And my own personal preference when I'm listening to a fade, after it gets b past about the halfway point or the three-quarter point, I kind of it's really cool if the fade sort of takes on a new little element right there at the end. Like all of a sudden the one of the instruments falls into the reverb um or or kind of or faints one instrument goes away while something else is left to play. Those are things, those are little subtle creative details that I like to craft when I'm put producing. Um I can't do that by just turning making a fader move. on the um um on the stereo mix so if your song needs or wants to have a you know custom fade then i think you need to do it be really careful about cutting the tops and the tails of your songs too closely um in a workstation you know in the box environment you know if you select the whole file and then say bounce to disc you're gonna the computer's gonna do exactly what you asked it to do and at the end of the file it's gonna stop recording completely ignoring the fact that reverbs and delays are still echoing and uh that the actual fade to silence hasn't completed yet so when you do a bounce out of your mix when you're preparing it for your final master be aware that there might be audio after the end of your last sound file and there and be careful that you don't cut the top too close because uh if that gets cut off then I'm not able to make a a nice clean crisp start um you know the front uh the attack of the of the the first note comes in that would have been rounded off. Um hundreds of times over my career I've had to go into the second or the the third or the seventh bar um or the ninth bar of a piece and take a downbeat um and graft the attack of that downbeat onto the front of the song because someone has uh has cut it too close. It it happens way too often it's just uh uh it's just good engineering I can always tell when I get mixes that that come from somebody that that is really thinking about it there's usually a a three quarters of a second to a second of dead air at the front of the song and the song runs out and then there's a second or two of dead air at the end. That's the way the song should be set for mastery.

SPEAKER_02 23:47

All right and um as far as the artist um as far as the artist communicating what they want to you in terms of a fade let's say are you looking for you know i in and in and out times from them or are you looking for them to do you prefer that they describe well I want this long and slow or I want this you know I want this kind of a curve I mean what you know what kind of a discussion do you have with people?

SPEAKER_00 24:11

I I really have two different types of clients um one that have a general idea of what they want one that a very specific um um idea in their mind of exactly what the fade or cross fade is supposed to sound like so if you've got a very clear idea in your head of what you want go ahead and prepare it um create a um um an assembled master um putting this you know your mixes after you printed your mixes put them back into a new session and put them one after the other and edit them together um so that they so that they meet your needs so that one song goes into the next song with the correct timing and the tops and tails are all good. Send me uh that file as one contiguous long file and recall that you know an example or demonstration sequence and then also send me the individual files because I'll I'll need those to um to to do a really quality professional job with the master. And we you know we'd prefer to not have the audio go back on and off the computer twice. So I I want to use the first generation files if if at all possible so then there's the other type of client who knows that the song probably needs a fade but is willing to um uh is willing to agree that somebody who does this every day for a living might have some cool ideas. So in that regard um I'll often be asked um I think I want it to be done by about 444 um there's a little you know there's a spot right before you know um um the drummer um stops playing you know like right about there is where it should be out and then you know do what you think sounds good. Um I'm often asked to um add my creative input um when it comes to sequencing and and fades and uh I enjoy that part. I've been doing that for many, many many years putting albums together and so it's it's sort of a sort of a second nature for me.

SPEAKER_02 26:08

Cool. Okay staying on the prepping mixes for mastering um topic um let's talk about plugins for a second uh it's a it's a complex thing I mean there's a trillion different plugins out there and um w w what what are artists what are artists or mixers supposed to do with uh with the plugins on on you know as they're preparing it to send for for mastering well there's there's one big caveat um I'll describe it another way one one big um pitfall um that can um that can really mess up a project and that is if if the mixer creates one mix and sends it to the artist for approval but then changes that somehow for some good reason and sends that other file to me for mastering.

SPEAKER_00 27:00

What's absolutely imperative is that I receive both those files. I need to know what the artist and what the producer approved and then I need to also be able to hear what the engineer thinks that I should receive um as a as a final mix. So let me be more specific um we're really not talking about plugins on individual tracks we're not talking about effects and we're not talking about the production decisions that go into making the mix. What we're talking about is master bus compression generally um generally dealing with bumping up the level making things louder more compressed and more limited. And it's of general opinion that you should sort of you should consider taking those things off those compression and limiting tools off of your master bus when you send it for mastering but there's a big problem many times um the mix has been achieved by using those plugins. So when you take those plugins off the mix now sounds terrible and so you you don't want to send me a mix that isn't finished. You don't want to send me a mix that doesn't sound like what the producer approved so um I don't have a I don't have a one size fits all solution in this case. You've got to consider what your goals are. Today you know 2019 some mixers send very very very loud competitive com mixed hypercompressed mixes in for mastering and other mixers mix uh to a uh an output level of about minus 10 or minus 12 um peak level like with plenty of headroom so it's hard for me to give advice um singular advice that would cover both of those instances um the best advice is knowing who your mastering engineer is and communicating your needs and then opening up that dialogue and they'll they'll tell you what you should send what how you should do your final prep um uh if you're working in a vacuum um then maybe you need to cover you know in other words you don't know who is going to be mastering then as a mixer you probably have to cover both bases and um and make sure that anything that you do do on the master bus could be removed if necessary and and and not destroy the mix.

SPEAKER_02 29:18

Yeah it illustrates a big difference between you know sort of the some some out of the box you know digital AI kind of mastering solution you know they're out there or some mastering plug-in um as opposed to having a pro with some experience to talk to and say listen this is what I got you know what before I start spinning my wheels and going around the block in circles tell me tell me what's the best way to do it and um you know and and and and having the answer um not just come back as a sort of a frequently asked question kind of answer but more of hey I'm I'm gonna have an understanding of your music here and tell you exactly what is best for this particular situation.

SPEAKER_00 29:59

Yeah I just had three projects just yesterday and and I would have I honestly if they all asked me that same question I would have given them three different answers. Because in one case the mixer had completely nailed the mix and had and had completely nailed the bump up and loudness and compression thing so much so that the the the mix sounded amazing. But he felt compelled to take that stuff off and send it to me you know uncompressed because of our previous conversations and our previous previous things we've done together. And I couldn't I I honestly couldn't achieve what he had achieved with his in the box tools because he had crafted them very very specifically for his mix um and actually built his mix to sound good with those plugins. So it would be ludicrous for me to tell him to take those off and no that's my job. I'm the one that's supposed to make it loud. That's that's ridiculous. But after asking about it I found out that that was something that was added after the mix had been completed just so that the artist could hear what it would sound like bumped up and when I got his unlimited version I found I was much a much more um able to go in there and um do the fine-tuning and mastering craft that I needed to and then apply the level and limiting you know after that. So um and the third was was literally one foot on both sides of the line. In the third case the mix actually needed to be tweaked a little bit. But uh that was just in one day. So I certainly can't really give you a a singular answer to that. That's that's a that's a um know your master and engineer and and uh and let them help you get to the uh get to the finish line in one piece.

SPEAKER_02 31:44

Yeah absolutely absolutely all right well next on the on the list as far as um prepping uh files for mixes I think that um this is sort of a uh this is a this is a one that that comes in a lot apparently and it's um a question about file type um you know lossless um you know wave versus AIFF versus something else what what is what's the best for the music and what it what kind of file type do you prefer to get?

SPEAKER_00 32:13

Well we generally work with wave WAV files as a universal standard um we can accept files in any other formats and almost any other format but that's the one that we ask people to prepare if they have a choice um and the workstation allows them to do that. AIF files and um are really the only other lossless um format but you know they could they could come in as FLAC files they could come in as um a DST or other exot uh exotic uh file type types and formats but but generally it's 24-bit wave files um we can't accept 32 bit files as well but the um the kind of the important distinction is um the the the artist slash producer engineer establishes the sample rate of their song uh when they first hit record and so you need to put a little thought into that 441 being the standard you know cd quality standard digital audio and a lot of people a lot of people use um 441 or 48k um for their master sessions for the the their recording sessions which uh ultimately then become their mix sessions in the box and um it's never a good idea to then upsample to a higher sample rate to deliver a pseudo high res master because those files are not considered to be true HD files if if we submitted those upsampled files to places like Tidal or HTTracks they'd be rejected so the sample rate that you choose when you start recording is the sample rate that you're going to stay with through your production. And it's the sample rate that I'll stay through stay with uh through the production. It gets a little more complicated when you have mixed sample rates some at 441 some at 48 some at 96k then I have to make a decision whether to upsample some of the tracks to match them up or to downsample some of the tracks to match them up which I I don't prefer I'd prefer to not downsample. But in uh but the point um the the the point being is you want to um send me a uh 24 bit file that's at the same frequency sample rate as your original multi-track session and um uh uh from there uh we'll we'll be able to do our best work.

SPEAKER_02 34:41

Fair enough fair enough um I think that that brings us to the end of um of file prep and um you know rather than you know get on to another topic um and not have enough time to talk about it I think we could probably wrap it up um by saying that uh if you guys out there have uh questions and you think that uh uh that it would be useful for our listeners to know um the answers to those questions and hear a little bit more of a detailed explanation from Scott please do hit up um Scott and the MasterDist team on social media uh Instagram Twitter Facebook whatever whatever you like or go to masterdis.com and just write in there are frequently asked questions on the MasterDisc site and um they are also from the horse's mouth but um hearing you know hearing you talk about this stuff Scott it you know it it tends to make a little bit more sense uh that way and I think that uh you know we I think that we're probably gonna come around to another one of these you know frequently asked question type episodes in the in the fairly near future so um you know write in and get your question answered by uh by Scott and we'll send you a t-shirt no we don't have t-shirt um just why don't we have t-shirts all right we're gonna get t-shirts by the time the next one comes around we're gonna get a t-shirt and we're gonna send it to you I stumped the master and guru t-shirt exactly it's just enough to get your question on the air really well thanks folks uh thanks for listening please give us your feedback tell us uh what you like and don't like about the podcast uh but we're gonna keep doing it anyway so uh so that yeah we don't care if you don't like it have fun keep the record spinning and uh and share your music share um share your your excitement for music with your friends and uh and people around you so well done thanks with that this is uh Making vinyl at MasterDisc and uh thanks for listening to the city