This is not a beginner's mastering how-to, but if you have ever tried your hand at mastering, there is so much gold here. Much to be learned in 26 minutes.
This is the best and most concise explanation of mastering I have ever heard in 20 years researching the discipline and having heard and read what most of all the "top" mastering engineers in the world have had to say.
Really informative, great to get an insight into such a broad range of topics, from the structure of a project team and the role of the mastering engineer, the current state of the art, and the ins-and-outs of the audio manipulation. Plus that desk is beautiful!
I feel the same about analog, it was some of the imperfections of analog gear that gave it that field of depth for the ears and has an almost liquid sound to it especially if played back on some high end tube gear. I also loved those Tannoy Gold monitors in the back ground, that era of monitors seemed to make mixing pretty easy on the ears especially the concentric drivers that seem to put off that studio tan effect for an extra hour or two. You know if you were to soffit mount the Tannoy's with a 1/4" layer of dense foam between them and the external soffit cabinet they will go into, then surround that second cabinet with sand you get down about another 5 Hz extra in the lower range just by cleaning up the coupling effects and internal cabinet anomalies. (F Alton Everest r.i.p. goes into detail how to mount soffit speakers properly in his books) Sand is very heavy though. Thank you for the video!
:) it's going to be here for a while. lots of music is being listened to while doing other things, not a large percentage of ppl actually 'audition' songs/albums... and music awards are being won according to the preferences of those listeners. so think about where and on what devices people are generally listening to music and the loudness wars make a bit more sense. one thing we can dream about is the adoption of a system that could provide a few master versions, each optimized for a set of listening devices... the only niche i know of that's currently prepping and distributing music specifically tailored for the intended users are the 'dj pools'. they take a popular track, remaster it, quantize it (so the beat grids can precisely lock onto it), may add an intro and outro for mixing purposes and offer a few versions w/ emphasis on vocals, rhythm, etc. (their current focus is on 'stems' where a track is offered in 4 channels, vocals, drums, bass, and melody/instruments. some softwares are getting pretty decent on doing it on the fly but it's still nowhere close to a clean separation yet). @@TheDUDATION
Yes, yes, yes, the vocals ARE the reference point for everything else! Finally someone gets it, and this very intelligent lady gets it. I can't tell you how many songs I've heard where the vocals are put into a barrel and muted to the point that you have to strain to hear them and the lyrics. Thank you Mandy for your fantastic skills and information!
If you think vocals are important, you might want to check out our feature on Vocal Pre-Production with Grammy-winning Nashville engineer Neal Cappellino. He has some great insights.
Every mastering tutorial / interview: "I listen to the music and then do what's required to make that particular track sound good"... and yes, I did watch this whole one as well, in spite of knowing what it would be :D
I've been mastering for a long time, (Although have been out of practice now for a few years). She is very candid and I can tell knows her stuff. This is art and science. There is no generic formula for good mastering. A big part of it is working with and connecting with people like any other service industry.
wheres the questions? I would ask, What do you like about the EMI? Why did you choose the inward connections eq? what other eq's do you like? Whats the eq on the emi like, if there is one? Did the EMI require much work to get it going? What plug ins do you rate? What does the EMI do to the sound? Why did you choose the monitors that you have? What other monitors do you have? What other speakers do you listen to music on away from the studio? Tell us about the acoustic treatment in the room? did you get it right first time, did you have to tweak it? Who put it together? Where did you buy the EMI ? How easy is it to assemble a record lathe after you purchased it? Do you have any other technical help? Whats your fave Studer? is it varispeed? Where do you get your stuff serviced? Who are your fave service engineers? Whats the most work you ever spent on a project? Whats the least work? Did you ever give up on a project? Do you come under pressure to finish a project? Is it a good thing or too much some times? who has put too much pressure on you? Is a record lathe easy to maintain? How much was the emi desk? whats the history of it? Whats the history of the record lathe? Do you ever get modifactions done to equipment or talk to plug-in developers?
I don't think that interview would appeal to as many people. Those questions are okay for people who are interested in learning more about the specifics of mastering but I think it was perfectly ample and interesting to hear about her job generally, relationship with clients, workflow and artistic input.
I have been trying to master using only plugins in the box and still struggling to achieve acceptable master audio but after watching this l am more convinced that analogue gear limiter, compressor and equalizer do more what the box does in terms of final sound
Syklone It’s so hard to be taken seriously behind the board, especially while you’re trying to learn. It’s already so hard to prove yourself AND overcome a gender bias. Very discouraging.
@@glissandogirl I don't know about mastering specifically, but I know a good few women that are doing great in sound engineering in Scandinavia at least. In my opinion, it's not so much a conscious gender bias, but more the fact that most people working these kinds of roles historically are men, and for reasons I won't go into men and women tend to not communicate so well these days. So it's rather that women who can't break the barrier, and become "one of the guys" (or vice versa), form a small minority where improvement and progress is not as streamlined as in the boys club. But like I said, I've seen women make it, so it's definitely possible. I think that, in the end, the most successful people in any discipline are the ones who are passionately committed to what they're doing, regardless of their gender. They will make it anyway.
Great insight but I'll have to stick to my Zoom R24 as £6.0000 plus for a prism is out of my depth (LOL) Some good advice could be applied at my lower level of mastering.Thanks for posting .
Excellent interview with a "master" Masterer. Am impressed that nothing was mentioned of compression., aside from ONE mention of using a limiter (Waves L2?). Gain staging, modest EQ and LISTENING- the recommended tools for Mastering.
David Papple I find EQ makes the biggest improvement on the projects that come my way. Most stuff is already compressed a lot during mixing so any compression I add is for enhancing detail and bringing out depth rather than squashing.
what she meant to say is that nothing is set to the Mixes that come w/all sort of problems...then Mastering will be limited to what an end production Mix will allow to ve done to it.
That desk looks just like the old TG12410's Tone Control and Filter modules.(much like the TG12412) that board reeks of classic sound. probably came out of Abbey Road studios.
I believe only in good mix. Mastering can not change much things except overall frequencies and loudness, softness. I personally do very little on mastering for my music, sometimes nothing. Most important is mixing, the way you level things, the way you put sounds on stereo picture, quality of recordings, and vision.
Thanks for posting this. I really enjoyed what Mandy had to say: "Your mastering's only going to be as good as your mix" ; "I'm looking for the 'space' between sounds" - what humble and wise viewpoints. That TG12410 desk looks very similar to the TG12345 ('Abbey Road') desk. What is the difference between the two desks?
I've noticed some questions from commenters below about SADiE. Some people have trouble picking up her accent. Amongst other types of software She mentions MAGIX Sequoia a few times and also SADiE.
Give one of these talented producers access to this gear, and I'm positive they'll have good recordings. You'd be surprised what 500k in audio gear can do.
+No Say I hate that everything sounds so flat and pumped at the same time. I'd like to do it the other way, enough dynamics so the instruments can breathe, but also use some of these pumpy things when I make tracks.
CosmicD Yes, I can't listen to a lot of new music for that very reason. I find it tiring after a few minutes and end up switching it off. I don't understand this "has to be loud thing," I have a volume knob. Without dynamics it just sounds like something I've done in the garage.
as I understand it, it's more todo with that they have to pres anything out a saw wave that they can possibly can and the analogy i'd like to make it comes out like canned meat in stead of fresh meat :). The voluntary ducking and side chaining going on is sometimes a nice effect but not when it's done on all tracks and way too intense. Blame eric pryds :p
I like her message there. However, she does proceed to talk about the multiple gain stages that only make such a difference due to the fact that their causing the signal to hit her various outboard at different levels. In that case, rather than just varying the output level, gain is varying the amount harmonic distortion (and other things) imparted to the signal at different stages of the signal chain.
Hay quick question when i mix a song and sounds ok on the headphones and yet on an i phone it shounds like shit :) what level would you mix it at for pc speaken and phone speakers looking forward to reply warmly Johannes appreciate your channel awesome insight video
@@iqi616 it is not an EQ issue....you are confusing a tool with the speakers specification on the frequency response that acts like a filter like...BUT IT IS A SPEAKER SPECIFICATION FREQUENCY RESPONSE ISSUE... : )
Great to see top notch professional women in mastering; hope the numbers increase. Thank you for the broad scope of insight into your mastering process. Sincerely, Useg Diaz-Granados www.oversightentertainment.se
@@skypekai That's right it's the 'fresh ears' that's explained in the video that's important and her approach to mastering. Gender isn't an influence on the mastering.
Anti Phase Only on a stereo buss. If you start adding linear phase EQs on individual tracks/group busses/etc, you're going to start running into major problems! Though I realise that this video is talking about mastering, I thought it's probably worth mentioning, since people are likely to be attempting to learn mastering whilst mixing.
As successful as this lady might be the question still begs to ask........how accurate and precise she and the rest of the industry is/are to the real ultimate mastering results
some could say that if the mixdown needed to be mastered is that bad and needs that heavy of a mastering, the sound engineer previously doing the recording wasnt that good, but big time studios dont look at things that way, the real problem is times and technology have changed , and theres less of a need for mastering- remastering , in the sense that quality was that laxed, it needed to be mastered multiple times , such as they did 30- 40 years ago, just to achive sonic fidelity, and near cd quality. however, this is all just my opinion, and everyone has theirs
Brilliant, thanks to SoS and Mandy Parnell for sharing so much :)
This is not a beginner's mastering how-to, but if you have ever tried your hand at mastering, there is so much gold here. Much to be learned in 26 minutes.
try 20 years+
Mandy, you are a true master in mastering, and it's all about vocal level... I'll keep that one in mind! Love your work.
what do you think che meant it is all about the vocal level when many productions have no vocals?
she specifically referred to tracks that contain vocals... what she meant is the vocals' level has a Huge impact on the listener @@atta1798
This is the best and most concise explanation of mastering I have ever heard in 20 years researching the discipline and having heard and read what most of all the "top" mastering engineers in the world have had to say.
You obviously haven't listened to Greg Calbi.
Do yourself a favour and search his name here. There's plenty.
@@siriusfun Greg is the best. You learn real engineering in Mastering on his videos.
What a wealth of information and insight. Many thanks to Ms. Parnell for taking time to share so much on the way she approaches mastering.
I have been doing this since 1994. I have watched thousands of hours of engineering videos and this is one of the best hands down.
Not the best but quality
I love her she is one of the best in the business! EMI is golden!!!
Really informative, great to get an insight into such a broad range of topics, from the structure of a project team and the role of the mastering engineer, the current state of the art, and the ins-and-outs of the audio manipulation. Plus that desk is beautiful!
Awesome interview... thanks for taking the time to do it for us
I feel the same about analog, it was some of the imperfections of analog gear that gave it that field of depth for the ears and has an almost liquid sound to it especially if played back on some high end tube gear. I also loved those Tannoy Gold monitors in the back ground, that era of monitors seemed to make mixing pretty easy on the ears especially the concentric drivers that seem to put off that studio tan effect for an extra hour or two. You know if you were to soffit mount the Tannoy's with a 1/4" layer of dense foam between them and the external soffit cabinet they will go into, then surround that second cabinet with sand you get down about another 5 Hz extra in the lower range just by cleaning up the coupling effects and internal cabinet anomalies. (F Alton Everest r.i.p. goes into detail how to mount soffit speakers properly in his books) Sand is very heavy though. Thank you for the video!
Thank you for sharing Mandy Gorgeous
Truth! Finally an engineer who calls it how they see it. The loudness wars is in full swing.
tides are slowly turning. at least i hope.
:) it's going to be here for a while.
lots of music is being listened to while doing other things, not a large percentage of ppl actually 'audition' songs/albums... and music awards are being won according to the preferences of those listeners. so think about where and on what devices people are generally listening to music and the loudness wars make a bit more sense.
one thing we can dream about is the adoption of a system that could provide a few master versions, each optimized for a set of listening devices...
the only niche i know of that's currently prepping and distributing music specifically tailored for the intended users are the 'dj pools'.
they take a popular track, remaster it, quantize it (so the beat grids can precisely lock onto it), may add an intro and outro for mixing purposes and offer a few versions w/ emphasis on vocals, rhythm, etc. (their current focus is on 'stems' where a track is offered in 4 channels, vocals, drums, bass, and melody/instruments. some softwares are getting pretty decent on doing it on the fly but it's still nowhere close to a clean separation yet).
@@TheDUDATION
Excellent video once again! Just as my SOS subscription arrived! Lovely job
Thank you SOS and Mandy! I learned so much! xx
Thank you Mandy for the lesson and advice,thank you.
what lesson? advice is totally relative
Yes, yes, yes, the vocals ARE the reference point for everything else! Finally someone gets it, and this very intelligent lady gets it. I can't tell you how many songs I've heard where the vocals are put into a barrel and muted to the point that you have to strain to hear them and the lyrics. Thank you Mandy for your fantastic skills and information!
If you think vocals are important, you might want to check out our feature on Vocal Pre-Production with Grammy-winning Nashville engineer Neal Cappellino. He has some great insights.
bluenetmarketing Yep, I was glad to hear that too. On an album it's the continuity of the vocal level that sets the relative loudness of the songs.
what if no vocals in a production?
@@atta1798 Duh.
@@bluenetmarketing indeed....1+1=2 ...about the vocals comment
Every mastering tutorial / interview: "I listen to the music and then do what's required to make that particular track sound good"... and yes, I did watch this whole one as well, in spite of knowing what it would be :D
Great and really informative!! Thanks SoundOnSound!
Absolutely Massive information, thanks for the Documentary. :)
that is an interview...: )
I've been mastering for a long time, (Although have been out of practice now for a few years). She is very candid and I can tell knows her stuff. This is art and science. There is no generic formula for good mastering. A big part of it is working with and connecting with people like any other service industry.
OF course there is she said it.....balance........low frequency.......etc etc etc
That's great - really useful and interesting. Great studio & gear. Thanks Mandy and SOS : -)
wheres the questions?
I would ask,
What do you like about the EMI?
Why did you choose the inward connections eq? what other eq's do you like?
Whats the eq on the emi like, if there is one?
Did the EMI require much work to get it going?
What plug ins do you rate?
What does the EMI do to the sound?
Why did you choose the monitors that you have? What other monitors do you have?
What other speakers do you listen to music on away from the studio?
Tell us about the acoustic treatment in the room? did you get it right first time, did you have to tweak it? Who put it together?
Where did you buy the EMI ?
How easy is it to assemble a record lathe after you purchased it?
Do you have any other technical help?
Whats your fave Studer? is it varispeed?
Where do you get your stuff serviced? Who are your fave service engineers?
Whats the most work you ever spent on a project?
Whats the least work?
Did you ever give up on a project?
Do you come under pressure to finish a project? Is it a good thing or too much some times? who has put too much pressure on you?
Is a record lathe easy to maintain?
How much was the emi desk? whats the history of it?
Whats the history of the record lathe?
Do you ever get modifactions done to equipment or talk to plug-in developers?
I don't think that interview would appeal to as many people. Those questions are okay for people who are interested in learning more about the specifics of mastering but I think it was perfectly ample and interesting to hear about her job generally, relationship with clients, workflow and artistic input.
I'm drooling over the ATC monitors.
ATC are the best!
Richard Aitken - PMC the "best"????
Illuminating feature on Mandy. Great info! 👍
Excellent interview. congrats
I love this lady! She’s so cool!
very inspiring documentary
If I didn't know any better, I'd think that I just walked into a Baptist church on Sunday with that song.
I have been trying to master using only plugins in the box and still struggling to achieve acceptable master audio but after watching this l am more convinced that analogue gear limiter, compressor and equalizer do more what the box does in terms of final sound
Great video
Intelligent and capable! I think it's like her to master my next vocal recording.
she's cool...so few women in mixing and mastering
There's nothing stopping women becoming mastering engineers. Most just don't want to do it.
@@Syklonus are you saying this as a woman with experience trying to become a mastering engineer?
Syklone It’s so hard to be taken seriously behind the board, especially while you’re trying to learn. It’s already so hard to prove yourself AND overcome a gender bias. Very discouraging.
@@Syklonus according to a man lmao gtfo mate
@@glissandogirl I don't know about mastering specifically, but I know a good few women that are doing great in sound engineering in Scandinavia at least. In my opinion, it's not so much a conscious gender bias, but more the fact that most people working these kinds of roles historically are men, and for reasons I won't go into men and women tend to not communicate so well these days. So it's rather that women who can't break the barrier, and become "one of the guys" (or vice versa), form a small minority where improvement and progress is not as streamlined as in the boys club. But like I said, I've seen women make it, so it's definitely possible. I think that, in the end, the most successful people in any discipline are the ones who are passionately committed to what they're doing, regardless of their gender. They will make it anyway.
love the desk!!! :D
Very clear!!Amazing work!! Thanks!
Wonderful video! Sooo much great insight!
amazing, amazing advice
ITS REALLY WORKED LOL THANK YOU DUDE
she's official
Super video
Love your works Mandy. Great informative vid.
stunning tools, great speach! thank you
11:53 I've been pointing this out for years. Glad to see I'm not the only one.
Thanks great gear Mandy
Great insight but I'll have to stick to my Zoom R24 as £6.0000 plus for a prism is out of my depth (LOL) Some good advice could be applied at my lower level of mastering.Thanks for posting .
Is that the EMI TG mastering console that was at Abbey Road?
Excellent interview with a "master" Masterer. Am impressed that nothing was mentioned of compression., aside from ONE mention of using a limiter (Waves L2?). Gain staging, modest EQ and LISTENING- the recommended tools for Mastering.
David Papple I find EQ makes the biggest improvement on the projects that come my way. Most stuff is already compressed a lot during mixing so any compression I add is for enhancing detail and bringing out depth rather than squashing.
Great stuff
Fascinating, but so far above my level.
How much of this process is art/creative, and how much science/engineering? It seems you must have both.
It’s almost 50/50
thanks for this, very good information!
good stuff thx Mandy and SOS
I really enjoyed this. Good advice.
She seems to know her stuff really well!
"Nothing is set in mastering". Yup. You never know what you get from people.
Great interview.
what she meant to say is that nothing is set to the Mixes that come w/all sort of problems...then Mastering will be limited to what an end production Mix will allow to ve done to it.
excellent !! I learned a lot.
Can relate to the #1 goal being depth and space.
Brilliant insight from a professional Lady. Any chance of an internship? : )
RESPECT!
What is her monitor controller?
Space in between the sound .
Its all about control, the more in control you are the better ... and you know she aint just talking about music ;)
That desk looks just like the old TG12410's Tone Control and Filter modules.(much like the TG12412) that board reeks of classic sound. probably came out of Abbey Road studios.
There no doubt it is a TG which was designed and built by EMI. I wonder how it stacks up sonically to Neve, SSL and Focusrite
I believe only in good mix. Mastering can not change much things except overall frequencies and loudness, softness. I personally do very little on mastering for my music, sometimes nothing. Most important is mixing, the way you level things, the way you put sounds on stereo picture, quality of recordings, and vision.
jesua301 You'd be surprised what can be changed but if things need to be changed rather than enhanced, the mix needs reworking.
ISNT THAT WHAT SHE SAID
hell yea mandy. thank you.
Nice work on this channel. You got skills. Let me know when you upload new clips, maybe we can help somehow.
Her room sound great from what I'm hearing...
what is the song playing when the guy talks?
Tom Jones - Elvis Presley Blues
thanks pal
+Adam Naništa Nurse! NURSE!!!! Adam's talking to himself again... lol
It appears the speaker drivers are line of sight, but I wonder if the computer monitors being forward of the speakers interrupt the image
Thanks for posting this. I really enjoyed what Mandy had to say: "Your mastering's only going to be as good as your mix" ; "I'm looking for the 'space' between sounds" - what humble and wise viewpoints. That TG12410 desk looks very similar to the TG12345 ('Abbey Road') desk. What is the difference between the two desks?
The difference is 65
@@thefly8258 good one
I've noticed some questions from commenters below about SADiE. Some people have trouble picking up her accent. Amongst other types of software She mentions MAGIX Sequoia a few times and also SADiE.
Give one of these talented producers access to this gear, and I'm positive they'll have good recordings. You'd be surprised what 500k in audio gear can do.
What's the monitor controller she's using?
Less is more, but more of it. Good advice there
It would be nice to know the general settings of the EAR 660 she uses for mastering, can you ask SOS ??? :)
Was flabbergasted when she said the last stage was sending the file to LANDR :/
+nikmak As she said, producers aren't interested in dynamics anymore, just loud, hence LANDr.
+No Say I hate that everything sounds so flat and pumped at the same time. I'd like to do it the other way, enough dynamics so the instruments can breathe, but also use some of these pumpy things when I make tracks.
CosmicD Yes, I can't listen to a lot of new music for that very reason. I find it tiring after a few minutes and end up switching it off. I don't understand this "has to be loud thing," I have a volume knob. Without dynamics it just sounds like something I've done in the garage.
as I understand it, it's more todo with that they have to pres anything out a saw wave that they can possibly can and the analogy i'd like to make it comes out like canned meat in stead of fresh meat :). The voluntary ducking and side chaining going on is sometimes a nice effect but not when it's done on all tracks and way too intense.
Blame eric pryds :p
+nikmak Where does she say that? Watched the whole thing and missed that part.
is this kenmeri in a background?
@ 8:25 She's sharing the most inspirational bit of information.
I like her message there. However, she does proceed to talk about the multiple gain stages that only make such a difference due to the fact that their causing the signal to hit her various outboard at different levels. In that case, rather than just varying the output level, gain is varying the amount harmonic distortion (and other things) imparted to the signal at different stages of the signal chain.
is that a pair of sennheiser HD-25 mk2s in the background?
Hay quick question when i mix a song and sounds ok on the headphones
and yet on an i phone it shounds like shit :)
what level would you mix it at for pc speaken and phone speakers
looking forward to reply
warmly Johannes
appreciate your channel awesome insight video
Brotherj22 Stops It's an EQ issue. Remember, every speaker is a filter.
@@iqi616 it is not an EQ issue....you are confusing a tool with the speakers specification on the frequency response that acts like a filter like...BUT IT IS A SPEAKER SPECIFICATION FREQUENCY RESPONSE ISSUE... : )
What software does she mention at 5:00?
SADiE. Same as the female name Sadie.
www.sadie.com/sadie_home.php
Does she cut the master for the vinyl right there?
That's how they do it?
Shouldnt it be some kind of dust free room?
Has a strong vacuum at the cutting head
And they clean it with air before they start cutting
Super smart
Great to see top notch professional women in mastering; hope the numbers increase.
Thank you for the broad scope of insight into your mastering process.
Sincerely,
Useg Diaz-Granados
www.oversightentertainment.se
Useg Diaz-Granados why do you care what gender the person doing mastering is
@@skypekai That's right it's the 'fresh ears' that's explained in the video that's important and her approach to mastering. Gender isn't an influence on the mastering.
Plug ins DSP, EQ, compressors DAC and ADC more times than I have had hot dinners
What monitor controller is Mandy using?
Dangerous Music Monitor ST & SR
Oh boy, I would love to have you as my boss ;)
mandy i would like some pointer on those mastering hardware u have
just keep pressing the number 3 its well good
But if I add linear EQ it doesn`t change phase, right?
Correct, it just adds latency to the output as it has to time align to sort out phase changes.
I think it`s acceptable in most cases
Anti Phase Only on a stereo buss. If you start adding linear phase EQs on individual tracks/group busses/etc, you're going to start running into major problems! Though I realise that this video is talking about mastering, I thought it's probably worth mentioning, since people are likely to be attempting to learn mastering whilst mixing.
***** yep, I meant linear phase using only on stereo buss during mastering.Thanks!
How depressing that she remarks that the Loudness War is still more active than ever [adult words!]
As successful as this lady might be the question still begs to ask........how accurate and precise she and the rest of the industry is/are to the real ultimate mastering results
That's a vague question.
@@kensmechanicalaffair nope if you understand engineering in science.
@@atta1798 There are no ultimate mastering results.
@@kensmechanicalaffair sure there are...
@@atta1798 Okey dokely
Wow 😮
What is this Tom Jones track? Which one?
wat speaker is that monster behind
It looks like a Tannoy
Female engineers thoo.. wanna see more of them
No one gives advice like a seasoned pro! ....and her eyes tho!
The Delia Derbyshire of Mastering
some could say that if the mixdown needed to be mastered is that bad and needs that heavy of a mastering,
the sound engineer previously doing the recording wasnt that good,
but big time studios dont look at things that way,
the real problem is times and technology have changed ,
and theres less of a need for mastering- remastering , in the sense that quality was that laxed,
it needed to be mastered multiple times , such as they did 30- 40 years ago,
just to achive sonic fidelity, and near cd quality.
however, this is all just my opinion,
and everyone has theirs
Wow. She is the most hardcore mastering engineer I've ever seen, I wonder where she can go from here
So many people talk about the importance of references.
ITS FUNNY HOW EVERYONE COMMENTS LIKE THEY ARE EXPERTS ON MASTERING...SHE HAS A GRAMMY THOUGH!
Thats the music industry... every one thinks they know everything n most need school ..
Mastering engineer is't a joke