Why is a MASTER better than a TRANSFER?
A transfer sounds just like your original recording, where as a master is your original recording optimized!
Most companies offer “transfer” services and charge extra for separate tracks and noise reduction.
Mastering Process
A digital recording is made of your tape.
Tape noise, hum & hiss is removed from the recording.
The recording is then “normalized” to achieve maximum volume without distortion.
The recording is then edited into separate tracks.
Other manipulations may be required to improve the sound such as “Harmonic Enhancement”, “Compression” “Mic Rumble filter” “Click & Pop removal” or “Fade Outs.”
The “Master” is now ready for CD duplication!
Once your master is made, CD copies can be produced.
Mastering Formats
For many years, the standard professional format was the 3/4 ” Umatic cassette made with the Sony PCM-1630 processor. Another format was promoted by JVC but never gained wide spread acceptance.
Today, other professional formats include Exabyte DDP and the PMCD (developed by Sonic Solutions and Sony).
Each format has its advantages. Professional format masters are also called “cutting production masters”, because the glass master is made directly from them.
Why should you be interested inprofessional CD mastering formats? Because if you aren’t submitting your material in a professional CD mastering format, then you may be paying too much for CD pressing. Some CD service bureaus (when asked to do so) will give cash discounts of up to $300.00 to a customer who supplies a master in a professional format.
PCM-1630
The 1630 format is growing quite old, but is still accepted at someplants. There is a PQ code burst before audio begins in the PCM-1630 format. Some consider the format somewhat fragile, since the U-matic machine requires expert maintenance and precise alignment.
PMCD
The pre-master CD was originally developed jointly by SonicSolutions and Sony, and is now available from others. A true PMCD contains the PQ code burst in the lead out area; for this reason relatively few CD recorders are capable of making a true PMCD. The PMCD has the advantage of being easily played on an ordinary CD player before glass mastering. Some pressing plants and CD service bureaus require PMCDs and other disk-at-once CDRs to be accompanied by a hard copy printout of the PQ code information in order to document its authenticity, and thus to prevent confusion with ordinary recorded CDs which may be track-at-once.
Exabyte DDP
Exabyte DDP is A 8mm data tape format. It robust, but is not easily playable. CD-ROMs are often mastered from Exabyte DDP format.
Special DAT fortmats
There are two special DAT formats which are accepted at certain CD pressing plants:
a DAT striped with SMPTE 30hz ndf timecode with frame accurate ID codes and frame accurate delivery sheet, and a similar DAT, but with the addition of a PQ data burst during audio lead in (accepted only at some European CDpressing plants).
Neither DAT format should be used unless there is a specific arrangement to do so with a CD pressing plant which is capable and willing to accept the particular format.
Previously manufactured CDSCD
Pressing plants may accept previously manufactured CDs received in good condition as masters. CDs Made on an Ordinary CD Recorder – While the manufacture of compact discs is done to stringent standards, economic pressures can force CD pressing plants to take shortcuts when material is supplied in a non-professional CD format (i.e., track-at-once, instead of disk-at-once CDs). Some CD pressing plants will accept CDs recorded on ordinary track-at-once CD recorders, but the glass master might be made from an analog transfer from the customer’s CD. Other plants will reject such CDs outright.
The problem with track-at-once CDs is that there is a digital mute before each track selection and this interruption in digital data causes excessive errors during the glass mastering. Finally, some plants accept masters via the internet, or as image files on CD-ROM or DVD-ROM discs.
Mastering
Mastering is more than afresh set of impartial ears, although this is certainly one advantage. It’s having digital gear that processes at a high enough resolution for the resolution of your project, and gear that doesn’t truncate,and offers you dithering options when you need them, and has tried and tested quality algorithms and proper DSP practice.
It’s quality A/D and D/A and properly maintained and calibrated tape machines.
It’s understanding PQ codes, ISRC codes, noise reduction, and different master formats that will come in and be delivered.
It’s having the proper gear to make masters that glass can be cut directly from.
It’s knowing what glass mastering is in the first place, and why that’s not done at the “mastering” houses we are talking about.
It’s knowing the difference between mastering and pre-mastering.
It’s attention to detail, cleaning heads and tails, adjusting fades when necessary, making the album even from track to track, not thinking normalization will do this for you, understanding emphasis, not losing bits of data that are important or passing bits of data that are incorrect, knowing what to do about DC, phase relationships, balance, clicks, pops, dropouts, and how to prepare a proper log for the replication plant.
It’s knowing when to use analog or digital, how to get to and fromdigital with the least degradation.
It is NOT simply putting an EQand a limiter on the mix bus so your CD is loud and bright. If you don’t understand the difference, you are sadly missing out on one of the most valuable assets in the completion of your project that you have put your heart and hard work into.
