I saved up for a year in order to get my album mastered by Ted. It was a crazy splurge being that I'm not a professional musician, but I put so much effort into the album and I always dreamed of having him master one of my albums. This is the same guy that mastered so many of the albums that I grew up listening to. I couldn't believe my ears. I tried "mastering" it myself for hours, hell probably days on end. It didn't come close to what Ted was able to do. This guy has the magic ears, and he knows how to use the tools to bring out the best in an album.
I could copy/paste this message and it would reflect my experience exactly. Ted is a legend and having him work on your music is a blessing. His master was leagues above all the others I got, even from other pro engineers. The day this man is going to retire is going to be a sad day for audio.
"Your name is gonna go on this thing, and if you can't come up with something that isn't at least passable, there's no upside for us to finish the project." As a newcomer engineer with bills to pay, I'd still like to print this quote and hang it in my studio. In very wide lettering.
Bad re-masters are probably the #1 reason why a lot of people think that LP records are inherently better than CDs. Though, these days we have a lot of re-mastered LPs as well. You can't really trust re-masters without doing your research first. I have so many regrets from blind buys, or from the time when I was a kid and simply didn't even think they'd meddle with the originals the way they do. Those include entire discographies, and trying to replace them now with original LPs or 1980s CD releases would take so much time and money that it's kind of sad - downloading better versions and listening to them instead of your physical media just emphasizes the regret...
"You could ask them to lower the bass, but nowadays this doesn't fly" I produce dance music, techno specifically, and I love when a mastering engineer I am working with goes "Hey can you fix these things?" Because it helps me learn and grow and tailor my mixes even better towards my end goal. Loud low end is cool and all, but most clubs are already driving way more subs than mid or top end speakers anyways so it's not like you're gonna lose the bass haha Granted, I know my genre and the whole field of dance music has different standards than pop or rock, hip hop, whatever
@@marcdanielnelson317 And always listening I assume ;P I love your tutorials on ProduceLikeAPro. ( But I'm still patiently/impatiently waiting for you to team up with Warren for a mix contest...)
@@marcdanielnelson317 And always listening I assume :P I love all your tutorials on PLAP. I'm actually subbed to you haha. I'm just waiting for the day when you'll grace us all with something on your channel too.
Love his work, but little snobby imho to say ”or don’t put it out”. In the end, others trash can be others gold - high fidelity is not always the way to go and reach the emotion of the record.
I think what he means is that people send them horribly recorded/mixed tracks and expect perfect, competitive masters. I imagine that's why they would send them to A listers like Ted Jensen. Like he said, he doesn't want to put his name on something that sounds bad. I think he's talking about artists with a 'fix in the mix/master' mentality.
People like that he should master to quieter days, RMS -18 dBRMS, and use an alt name. I mean that’s why people want him, for the quieter awesome signature. No need to force a mix to something it’s not.. high pass at 60-120Hz, aim for mids, give it some tube EQ, bypass the L2. Let them know it’s a vintage style imperfect submission, is getting a vintage style mastering by “house guy”
Greatest Mastering engineer of all time
Possibly tied with Bernie Grundman.
Agreed. He gets a transient punch and clarity, I haven't heard elsewhere.
I saved up for a year in order to get my album mastered by Ted. It was a crazy splurge being that I'm not a professional musician, but I put so much effort into the album and I always dreamed of having him master one of my albums. This is the same guy that mastered so many of the albums that I grew up listening to. I couldn't believe my ears. I tried "mastering" it myself for hours, hell probably days on end. It didn't come close to what Ted was able to do. This guy has the magic ears, and he knows how to use the tools to bring out the best in an album.
Respect
he's a legend for a reason!
I could copy/paste this message and it would reflect my experience exactly. Ted is a legend and having him work on your music is a blessing. His master was leagues above all the others I got, even from other pro engineers. The day this man is going to retire is going to be a sad day for audio.
Wow, what a pro. Love his ethic and mindset
"Your name is gonna go on this thing, and if you can't come up with something that isn't at least passable, there's no upside for us to finish the project."
As a newcomer engineer with bills to pay, I'd still like to print this quote and hang it in my studio. In very wide lettering.
❤This is what it looks like to be a master of sound making. You have to know sound and people. it’s a gift like you all at Blackbird
"just because you can doesn't mean you should" i feel attacked 😂😂😂
The legend 🙌🙌🙌
Bad re-masters are probably the #1 reason why a lot of people think that LP records are inherently better than CDs. Though, these days we have a lot of re-mastered LPs as well. You can't really trust re-masters without doing your research first. I have so many regrets from blind buys, or from the time when I was a kid and simply didn't even think they'd meddle with the originals the way they do. Those include entire discographies, and trying to replace them now with original LPs or 1980s CD releases would take so much time and money that it's kind of sad - downloading better versions and listening to them instead of your physical media just emphasizes the regret...
"You could ask them to lower the bass, but nowadays this doesn't fly"
I produce dance music, techno specifically, and I love when a mastering engineer I am working with goes "Hey can you fix these things?" Because it helps me learn and grow and tailor my mixes even better towards my end goal. Loud low end is cool and all, but most clubs are already driving way more subs than mid or top end speakers anyways so it's not like you're gonna lose the bass haha
Granted, I know my genre and the whole field of dance music has different standards than pop or rock, hip hop, whatever
I love his mastering work. Mr. Jensen is a genius
2:30 VOCALLY LAUGHED XD
Would love to watch the full video... but can't find it in your link.
Try this one! insideblackbird.com/series/mastering-101-with-ted-jensen
@@insideblackbird Oh, Thanks! It's possible to buy a downloadable version of this one, or It's mandatory to enroll in a subscription plan to watch it?
As of now you have to enroll in a subscription but if you don't like it you can always cancel!
AWE
Amen.
MAGIC TALKS
*A wild Marc Daniel Nelson appears* :O
@@JustinNathanielAdams I am always watching
@@marcdanielnelson317 And always listening I assume ;P I love your tutorials on ProduceLikeAPro. ( But I'm still patiently/impatiently waiting for you to team up with Warren for a mix contest...)
@@marcdanielnelson317 And always listening I assume :P I love all your tutorials on PLAP. I'm actually subbed to you haha. I'm just waiting for the day when you'll grace us all with something on your channel too.
@@JustinNathanielAdams Monday could be real exciting then. Keep an eye and ear open.. ;)
No wonder Skillet chose him
Love his work, but little snobby imho to say ”or don’t put it out”. In the end, others trash can be others gold - high fidelity is not always the way to go and reach the emotion of the record.
I think what he means is that people send them horribly recorded/mixed tracks and expect perfect, competitive masters. I imagine that's why they would send them to A listers like Ted Jensen. Like he said, he doesn't want to put his name on something that sounds bad. I think he's talking about artists with a 'fix in the mix/master' mentality.
People like that he should master to quieter days, RMS -18 dBRMS, and use an alt name.
I mean that’s why people want him, for the quieter awesome signature.
No need to force a mix to something it’s not.. high pass at 60-120Hz, aim for mids, give it some tube EQ, bypass the L2.
Let them know it’s a vintage style imperfect submission, is getting a vintage style mastering by “house guy”