Second step: Benchmark measurements methods
Once we identified our key parameters, the question is now : how to measure it ? Otherwise, it’s hard to build a reference and we fall into the subjectivity. At this point, some mastering engineers might disagree and that’s okay. The objective here is simply to propose a different approach, a new perspective. Use it or not but, in both case, consider it. That said, let’s look at the tools we could use for our experiment:
- Tonal balance can be measured via spectrum analysis
- Perceived loudness can be evaluated by RMS measurement
- Stereo can be measured with a vectorscope
What’s missing ? A tool to measure the harmonic content of a mix. We all know what is the problem with exciters. The more you turn the button, better it is… until it sucks ! It is a key parameter that is still based on subjectivity only. For an experienced engineer, it might not be a problem to adjust the “right” amount of harmonic content but, it’s not the case for every newbie home-studio owner that work in an less-than-perfect listening environment.
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Third step: Define a standard range of values by reverse engineering
I really like this part which consists to analyze the key parameters of my favourite best-sounding records. I find it exciting, it’s like finding dinosaur bones. Let’s take the 10 best sounding albums of your musical genre and analyze them, both subjectively and objectively. How does it sound ? What do I like in these records ? Only in terms of sonic perspective, what’s different from other genre ? How the dynamic sounds like ? Does it sound bright, muddy, airy, warm or neutral ? Then:
- Capture the tonal balance with a spectrum analyzer, then compare each of them with pink, brown and white noise
- Measure the RMS throughout the song
- Take a look at the vectorscope; how the mix behave in terms of stereo imaging ?
- Try to print in your mind the degree of harmonic content.
Especially, if you’re testing similar sounding record, you will recognize patterns very quickly. Maybe only 3 records will be enough give you a very precise idea of how it should sound. More specifically:
- Tonal balance: Is it closer to pink noise, brown noise or white noise ?
- RMS: What is the max and min value. Is the range narrow ? Is the average making sense for your needs ?
- Stereo: Does most records behave the same way ? Do you have a good idea of how it should look and sound like ?
- Harmonic content: Are you going to make it shinny or raw ?
Personnally, I learned from this experiment that I like tonal balances that are between the brown and the pink noise, RMS values between -10db and -12db, a medium stereo spread with high harmonic content. This is a very very very powerful statement!
See you for the following next week !
