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I dont take that lightly as a mastering engineer.
They can really go to anybody.
Merrill compares the process to photo editing.
Thats basically what I do with sound.
(Hes up in that category again this year, forHarrys House.)
With Adele, focus on (what else?)
Its not something I could do in just five minutes.
It might be through some dynamic management.
Everyones perspective counts for Coldplay
I did a lot of the mastering on Coloratura up front.
Really, by that point, the adjustments were pretty minor.
Every person involved has a different perspective on it.
Max, hes listening to everything.
Chris, as a songwriter and a vocalist, hes listening more to his voice.
AtHarrys House, just stay out of the way
That album was pretty straightforward.
The mix that came in sounded really good.
Thats a lot of what mastering is about: knowing how much or how little to do.
A lot of engineers may want to put their own sonic thumbprint or signature on it.
I tend to not be like that.
And most of the time, that happens somewhat naturally in her recording process.
Her voice sounds incredible these days.
And as far as the mastering end goes, Im constantly comparing it to the old versions.
The main thing Im listening to is that the new ones are competitive loudness-wise with the old ones.
Sometimes that involves a mix change, and sometimes its a mastering change.
Sometimes were editing between different versions of mixes and mastering.
Thats why theres such a back-and-forth because its like looking through a camera.
Every step of the way is moving the lens until its in focus.
