The physical differences between plaster and drywall, wood floors or carpet, standing waves and ricocheting reflections, as well as the varying shapes and sizes of the rooms themselves are a Pandora’s box of sonic unpredictability. The problem in getting to that point is that every single space sounds unique, regardless of the strictest adherence to technical and acoustical standards.
Certainly the ears, tools and skills of an excellent mastering engineer are well worth the time and money when it comes time to ready your music for release, but presenting to them something that at least sounds close to what you want is a primary goal. Maybe there’s waaaay too much bass, or excessively harsh sibilance around 5k, or the whole mix just sounds like someone pulled a thick wool sock down over it.įor many of us, the answer to this malady has long been to seek out the input, advice, and listening environments of studio professionals, which can be inconvenient or even costly.
This is definitely not the sound you were expecting, much less wanted. Finally, its opening strains begin to pour out and wash over you like…tepid snot. A couple of seconds roll endlessly by, as you wait to hear your music coming through your favorite listening environment, the one you base all of your musical preferences and decisions on-your analytical happy place. You pop in the CD or Mp3 and turn the volume up. Anyone who has tirelessly toiled in the studio on their own music or someone else’s can tell you that one of the worst feelings in the entire universe can befall you upon first listen to your mixes outside of the studio they were created in.
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