Music Downloads & Lyrics
Manmade Mastering started, I think around 2006.
It was Tim living in Brooklyn, New York,
basically founding the company,
founding the name,
kind of.
And then after his move,
we teamed up in like 2009, 2010,
and now we are here in Kreuzberg,
running the studio
with two studios.
Here at Manmade Mastering,
we have two rooms.
They were both designed by Thomas Jouanjean from Northward Acoustics.
But the acoustic concept is different.
So this one is what he calls
a front to back room, which means
you have an environment
with a glass front wall
and the speakers are Soffit Mount
into the glass, decoupled from the room
and the task is that the glass,
which is a very reflective surface,
doesn't see the information
which is coming from the speakers.
So all frequencies,
all energy needs to be absorbed
so it doesn't reflect back into the
room and against the glass.
It's both like
floating
rooms decoupled from the building.
And the other room looks different.
It doesn't have this front
to back concept,
although there's also soffit mount speakers in a glass wall.
But how the energy distributed from
the speakers is treated
inside the room
with different acoustic elements
is different.
Both rooms are very, very precise.
Very often we master music here
and then we bring it to the other room.
So we have a second reference
in a different acoustic environment.
We do a little test cuts
and see if all the parameters are right.
If the level is right
we basically like the result
before we run a master cut
and compare them to the digital source,
and the room makes it very easy.
Also to decide what flaws
or what transformations
you want to accept and what not.
We definitely have
our sound and we share similar ideals,
sonic ideals and how things should sound
and the end product, etc., etc..
So we've always offered mastering
for technically analog,
mastering for digital and online sales,
as well as,
the cutting of the master lacquers
for vinyl.
And we're very...
We try to press it upon our clients
that they should master
and cut under the same roof.
We're always trying to
improve the tools we are using.
And the tools can be our ears.
It can be the equipment we are using.
The cutting lathe we are using,
but also the room we're using.
So I strongly believe you can only be
as good as an engineer
as the tools you use.
If the acoustic environment
has an impact on the sound, it's
similar to using a compressor
or an equalizer
with tubes or transformers,
which puts then color on the recording.
This room doesn't do it.
This room has no color,
no impact on the sound.
It's a so-called non-existing environment,
and we only hear what's in the production,
what's in the music.
And I think that became our specialty.
And also to offer it to the underground
market, you know.
There are studios around like this,
but most of them are
just out of reach budget wise
for the underground music scene.
And we're coming
both from the underground music scene.
It's kind of my passion.
And our idea was, hey,
if we make a move and if we build new
studios, maybe we can do it in a way
so we can offer it to,
the underground music scene.
What...
Yeah, what makes it special?
We definitely have the computers populated
with, internal digital tools, for sure.
We mainly use Sequoia
for mastering, and we're also using
iZotope RX for Sample Rate Conversion.
Different file, digital work.
There's also,
yeah, a large variety of plug-ins.
Usually
I'll test a plug-in for a week
to see how I like it.
For me,
you know, there's digital
conditioning to the music.
So I'm either, doing deductive work,
so reducing or suppressing frequencies
before the signal reaches
the outboard gear.
So it's like a kind of digital softening,
which is more active in the digital realm.
And you can achieve
more of the suppression
and pushing back frequencies
that, you know,
aren't appealing resonances
and so on and so forth.
This is pre the analog signal chain.
Everything is recorded in a full duplex
back to DAW format. So
after the digital and then analog processing,
we're recording back to DAW and creating
the master with dynamics intact.
However, now
it's a special little snowflake
that's gone through all of its processing,
and the rest after that is just digital
finalizing before the project
or the product goes to the client.
Our motto here is:
Manmade mastering, mastered by humans.
Just because I know if I wanted someone
to work on my music,
I'm not just going to upload it.
I prefer the one to be using the AI tools
rather than letting the AI do the work.
Do you know what I mean?
So I can run an analysis,
and then the AI tool can show me
where I can boost or suppress.
So that's helpful.
But this whole automated thing, I'm
not into that.
I think it's all done within the digital
domain and it's automated.
I mean, that's fine, it can work.
It just doesn't have
that human, the Midas touch.
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