Continuing from last week’s interview with Michael Romanowski, we continue discussing the creative aspects of mastering. If you missed the first part you can read it here.
Michael Romanowski is a professional mastering engineer working out of the Bay area in California. He’s been mastering for the better part of two decades and has worked with a multitude of high profile clients. In this second part we discuss the different aspects of the home studio revolution as well the experience with working with creative rock-groups such as Dredg.
What’s the main difference between a mixing room and a mastering room?
Well, beyond the sonic-ness of it, a mixing room is hopefully treated so that it gives the listener a good perspective of what’s happening no matter what room you’re in. However, in a mixing room, you’ve got way more things going on. During mixing you got way more choices to make per track. You also have all of the equipment there per track that you have to have to be able to use. There are generally compromises because of that. The cost of creating a mixing room that had all the same tolerances and everything a mastering room had would be ridiculously expensive. And most people don’t have the option to do that.