Renowned educator and mastering engineer David Rosenblad recently wrapped on the latest sonic collective by jazz-pop songwriting duo The Brehms – the latest full-length album featuring the singles, “Red Dress” & “You & Me” - crafted in 4 days at David’s DRM studios in Dallas, Texas. “Red Dress” – a sultry, slinky jam with a swinging Julie London style vibe – required Rosenblad to be careful in how he left his mark.
“The Brehms like their mixes a lot and wanted it hot.” Offers Rosenblad of his primary directive from the self-producing artists and producers, David & Stephanie Brehm. “Having worked with David & Stephanie on film scores such as “A Noble Way,” I knew how important music is to them. We discussed what I believed to be the appropriate enhancements and worked our way toward their ultimate mastering goal.”
The subdued frequencies on the top end of the track could have led some mastering engineers down the wrong path. “Upon first hearing it, my first impulse was to lift the highs and brighten a bit,” explains Rosenblad. “In the end it turned that the correct approach was in direct service of the vocal.”
For limiting, Rosenblad looked at his arsenal of compression tools and picked what he knew would be best for the job…but he likes to keep trade secrets just what they are, secrets. “There are many look-ahead limiters,” he explains. “They all sound different and they are all not created equal.” These various compressors are properly instigated with only certain types of songs. That is the biggest secret to mastering: knowing and understanding the sound of each tool in the box. You hear what you need and apply it appropriately…mastering isn’t just making it loud. It is finding that sweet spot between ‘competitively loud’ and the most crafty and satisfactory result for the client. In this case, the artists were very clear per their material, particularly the songs “Red Dress,” “No Turning Back,” and “You & Me.”
- The Brehms Blogger
staffwriter@bluelogicentertainment.com
