Production quality levels

D

DarkRed

New member
Production (audio) quality levels

Non-Commercial
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Quality Level: Amateur (Beginner)
A/D -> Software Processing -> Dither -> 16-bit

Quality Level: Amateur (Advanced)
A/D -> Software Processing -> D/A -> Hardware Processing -> A/D -> Dither -> 16-bit

Quality Level: Pro (Beginner)
A/D -> Software Processing -> D/A -> Hardware Processing -> A/D -> 16-bit



Commercial
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Quality Level: Pro (Advanced)
Hardware Processing -> A/D -> Software Processing -> Dither -> 16-bit

Quality Level: Expert (Beginner)
Hardware Processing -> A/D -> Software Processing -> D/A -> Hardware Processing -> A/D -> Dither -> 16-bit

Quality Level: Expert (Advanced)
Hardware Processing (bulk) -> A/D (high signal capacity) -> Software Processing -> D/A (high signal capacity) -> Hardware Processing -> A/D (high signal capacity) -> 16-bit

The traits of engineering at the advanced expert level is that the bulk of the quality is ensured prior to the first A/D stage, that at each signal conversion stage there is high signal capacity and finally that dithering is bypassed by recording straight to the consumer format. (e.g. wav - 44.1 kHz @ 16-bit)

The reason why engineers in general do not just focus on the advanced expert level is rooted in not being aware of when to do what type of processing, with financial constraints on top the result is a route that means a lot of signal degradation.
 
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DarkRed said:
Non-Commercial
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Quality Level: Amateur (Beginner)
A/D -> Software Processing -> Dither -> 16-bit

Quality Level: Amateur (Advanced)
A/D -> Software Processing -> D/A -> Hardware Processing -> A/D -> Dither -> 16-bit

Quality Level: Pro (Beginner)
A/D -> Software Processing -> D/A -> Hardware Processing -> A/D -> 16-bit



Commercial
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Quality Level: Pro (Advanced)
Hardware Processing -> A/D -> Software Processing -> Dither -> 16-bit

Quality Level: Expert (Beginner)
Hardware Processing -> A/D -> Software Processing -> D/A -> Hardware Processing -> A/D -> Dither -> 16-bit

Quality Level: Expert (Advanced)
Hardware Processing (bulk) -> A/D (high signal capacity) -> Software Processing -> D/A (high signal capacity) -> Hardware Processing -> A/D (high signal capacity) -> 16-bit

The traits of engineering at the advanced expert level is that the bulk of the quality is ensured prior to the first A/D stage, that at each signal conversion stage there is high signal capacity and finally that dithering is bypassed by recording straight to the consumer format. (e.g. wav - 44.1 kHz @ 16-bit)

The reason why engineers in general do not just focus on the advanced expert level is rooted in not being aware of when to do what type of processing, with financial constraints on top the result is a route that means a lot of signal degradation.
Click to expand...

If I sent the latest one in my signature to a high end studio, would there be enough energy in the recording to be processed and come out like a fully polished bomb dropper??
 
Synapsis said:
If I sent the latest one in my signature to a high end studio, would there be enough energy in the recording to be processed and come out like a fully polished bomb dropper??
Click to expand...

In my view I'm afraid no, I find it to be on the Pro (Beginner) level. For a fully polished bomb dropper a.k.a. hit mix production (audio) quality you need a different output of the first A/D. My overall advice to engineers at your level and above is to do more sound creation and processing with hardware - and earlier.
 
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DarkRed said:
In my view I'm afraid no, I find it to be on the Pro (Beginner) level. For a fully polished bomb dropper a.k.a. hit mix you need a different output of the first A/D.
Click to expand...

I am stuck in the box dark master... no A to go to :)
 


And when u compare it to references like this which was a massive hit.. it is not too bad :)
 
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Synapsis said:
I am stuck in the box dark master... no A to go to :)
Click to expand...

Understand, it's just various production (audio) quality levels, the music is still more important overall and I find you are doing some interesting music, so keep it up bro!! :)
 
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DarkRed said:
Non-Commercial
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Quality Level: Amateur (Beginner)
A/D -> Software Processing -> Dither -> 16-bit

Quality Level: Amateur (Advanced)
A/D -> Software Processing -> D/A -> Hardware Processing -> A/D -> Dither -> 16-bit

Quality Level: Pro (Beginner)
A/D -> Software Processing -> D/A -> Hardware Processing -> A/D -> 16-bit



Commercial
--------------------------------------------------------------------

Quality Level: Pro (Advanced)
Hardware Processing -> A/D -> Software Processing -> Dither -> 16-bit

Quality Level: Expert (Beginner)
Hardware Processing -> A/D -> Software Processing -> D/A -> Hardware Processing -> A/D -> Dither -> 16-bit

Quality Level: Expert (Advanced)
Hardware Processing (bulk) -> A/D (high signal capacity) -> Software Processing -> D/A (high signal capacity) -> Hardware Processing -> A/D (high signal capacity) -> 16-bit

The traits of engineering at the advanced expert level is that the bulk of the quality is ensured prior to the first A/D stage, that at each signal conversion stage there is high signal capacity and finally that dithering is bypassed by recording straight to the consumer format. (e.g. wav - 44.1 kHz @ 16-bit)

The reason why engineers in general do not just focus on the advanced expert level is rooted in not being aware of when to do what type of processing, with financial constraints on top the result is a route that means a lot of signal degradation.
Click to expand...
Thank DarkRed for this pure BS with no audio files attached.
 
laurend said:
Thank DarkRed for this pure BS with no audio files attached.
Click to expand...

I know what he means, analogue compressors etc, have a certain character.. digital recording, mixing, mastering, can only go so far.. some analogue compressors are tens of thousands of dollars.. it is for a reason... I still believe that a good mastering engineer with high end gear could get amazing results from a decent digital recording though :)
 
Synapsis said:
I know what he means, analogue compressors etc, have a certain character.. digital recording, mixing, mastering, can only go so far.. some analogue compressors are tens of thousands of dollars.. it is for a reason... I still believe that a good mastering engineer with high end gear could get amazing results from a decent digital recording though :)
Click to expand...

Yes, it is the combination of applying hardware on the signal when it is at a certain quality level, that certain quality level to target is prior to the first A/D stage. The rest is about applying additional processing - software and hardware - with minimal signal degradation on/relative to what was created prior to the first A/D stage.
 
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The Uber Expert Level requires using only chryogenised NOS (New Old Stock) tubes for the analog part. Of course the ME (mastering engineer) needs to be an illuminati of the 33 th level. And the whole operation must be done under the full moon.:cheers:
 
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laurend said:
The Uber Expert Level requires using only chryogenised NOS (New Old Stock) tubes for the analog part. Of course the ME (mastering engineer) needs to be an illuminati of the 33 th level. And the whole operation must be done under the full moon.:cheers:
Click to expand...

lol
 
laurend said:
The Uber Expert Level requires using only chryogenised NOS (New Old Stock) tubes for the analog part. Of course the ME (mastering engineer) needs to be an illuminati of the 33 th level. And the whole operation must be done under the full moon.:cheers:
Click to expand...

This is getting entertaining, just grabbed a beer... :cheers:

So what does an expert (advanced) level mix sound like? Sounds like this:



What I want you to pay attention to about this mix is how the compressors act more gently on the loud portions of the mix, I am pretty sure it is the result of two stage compression, the drums are likely side chained to sit on top. So that's one thing I like about this mix, the transients are not chopped off. Another thing I like a lot is how almost all of the naturally "harsh" hi frequencies are focused towards the center, this makes it possible to boost the volume a lot before it gets really harsh, take note, this is a pro technique. And then you can hear how the stereo image is full of really nice reverb tails, that is because there are a lot of room frequencies left in the elements after all of the processing has been applied. You also have a very sweet low end that does not expand too widely towards the sides, which creates room for background vocal low mid frequencies on the sides. Also think the tambourine was tucked underneath by being introduced late during the gain staging, it has a perfect volume level. The hi-hat is simply just the act of an expert, so incredibly anonymous yet it adds precisely the amount rhythm to make the mix groove. And at the end of each verse you have some really nice mix level volume automation (temporary gaining the reverb of the mix). Very delicate work!
 
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