estoy suscrito al blog de Bobby Owsinski, el autor de varios libros sobre música, producción, audio y en su ultimo blog habla de Oasis Mastering 
http://oasismastering.com/ y de su ingeniero jefe Eddy Schreyer que ha masterizando artistas como Prince, Van Halen, Eric Clapton, Kenye West, Christina Aguilera, Black Eyed Peas, Bob Dylan y etc. se ve que son buenos amigos desde hace tiempo y Bobby en su blog comente, aparte de elogiar el trabajo de Eddy, que Eddy ha dejado el domino analógico a favor de digital trabajando en DAW usado los plugins de UAD. ademas dice que Eddy no usa limitador.
el texto original:
One of the cool things about Eddy is that his method of working is still evolving along with the equipment he uses. It's pretty easy for anyone to fall into a pattern that works and just stay with it, but Eddy's getting better and better and I think he's doing some of the best work of his career. Here's an example of his evolution:
1) He now uses an all digital signal path. Part of both the mystique and ability of the professional mastering engineer used to be the high quality analog and digital outboard gear they had available. Even if a project originally resided in the digital domain, the expensive outboard gear was a key ingredient in the final result, since you couldn't get the same quality any other way. Oasis still has a wide variety of high-quality outboard gear, but it's rarely used these days. Eddy's entire signal path now lies in the DAW, with the excellent UAD plug-ins the ones most used.
2) It's always been pretty normal for a brickwall limiter to sit last in the signal chain to protect from any digital overs, but Eddy has eliminated it completely from his signal path while still getting as much level as ever by using multiple compressors. This results in a competitively loud record that still breathes dynamically and doesn't feel squashed. Getting this much level without the help of a limiter is a feat that only a rare few mastering engineers can accomplish.
3) It sounds so analog. Another reason that the pros used their analog gear whenever they could is because digital just didn't sound that good, but Eddy manages to make it sound so analog even with a signal path that's all "in-the-box."
http://oasismastering.com/ y de su ingeniero jefe Eddy Schreyer que ha masterizando artistas como Prince, Van Halen, Eric Clapton, Kenye West, Christina Aguilera, Black Eyed Peas, Bob Dylan y etc. se ve que son buenos amigos desde hace tiempo y Bobby en su blog comente, aparte de elogiar el trabajo de Eddy, que Eddy ha dejado el domino analógico a favor de digital trabajando en DAW usado los plugins de UAD. ademas dice que Eddy no usa limitador.el texto original:
One of the cool things about Eddy is that his method of working is still evolving along with the equipment he uses. It's pretty easy for anyone to fall into a pattern that works and just stay with it, but Eddy's getting better and better and I think he's doing some of the best work of his career. Here's an example of his evolution:
1) He now uses an all digital signal path. Part of both the mystique and ability of the professional mastering engineer used to be the high quality analog and digital outboard gear they had available. Even if a project originally resided in the digital domain, the expensive outboard gear was a key ingredient in the final result, since you couldn't get the same quality any other way. Oasis still has a wide variety of high-quality outboard gear, but it's rarely used these days. Eddy's entire signal path now lies in the DAW, with the excellent UAD plug-ins the ones most used.
2) It's always been pretty normal for a brickwall limiter to sit last in the signal chain to protect from any digital overs, but Eddy has eliminated it completely from his signal path while still getting as much level as ever by using multiple compressors. This results in a competitively loud record that still breathes dynamically and doesn't feel squashed. Getting this much level without the help of a limiter is a feat that only a rare few mastering engineers can accomplish.
3) It sounds so analog. Another reason that the pros used their analog gear whenever they could is because digital just didn't sound that good, but Eddy manages to make it sound so analog even with a signal path that's all "in-the-box."
((
hoy salgo en vespa por que el ferrari esta vacilando en el parking!!
