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Question for recording artist/engineers

Let's say you have a jazz band who wants to sell cds of their music with the best quality of sound they can achieve at the lowest out-sourced cost or do-it-yourself. If one wants to do a just-in-time type of manufacturing of their cd, how can they improve things?

Currently they are recording at 48k in Pro-tools, mastered in Sonic Solutions by Air Show Mastering, and then they use top of the line cds (Taiyo Yuden) with a Microboards Orbit II Duplicator. This has produced average cds but we want to do better.

What would you engineers do to improve this so it gets closer to audiophile quality? Would you recommend using a different mastering house, different cds, or a different Duplicator? Or would you just bite the money bullet and go directly to a full-scale manufacturer? We are trying not to have that much money tied up in inventory.

If this is the wrong place to post this question, please suggest another message board to post.

Thank you for your feedback and assistance.
lngbruno

Showing 2 responses by lngbruno

lngbruno OP
210 posts
 
Slipknot1 - the band is recording in the studio. 48k is what Air Show Mastering uses with the HDCD format. Could the speed of the Duplicator has a negative effect on the sound quality?? I know on consumer recorders and PC drives it does have a negative effect.

Thanks again for the input to mic techniques.
lngbruno OP
210 posts
 
Thanks indeed. Yes my original post does indicate the material in question was already recordered but I will attempt to revisit that project. We just recorded the latest cd (which we are now finishing for a spring release) into Pro-Tools H.D. at 96k and I used my Avalon Tube pre-amp with a Neumann M 147 Tube Mic ( which I didn't have for last cd. I had a different Neumann at that studio but it wasn't the tube version) and Manley Stereo "Variable-Mu " Compressor on my horn, and the sonic difference is dramatic at 96k . Everything sparkles and the rhodes and synth pads don't decay as quickly. To my ear, there is a pronounced difference at 96K but what you are saying about the front end and what gear is used makes all the difference in the world. I also a/b'd the sonic difference from using an Apogee Rosetta A/D converter at 96K into Pro-Tools versus slaving the Pro-Tools converters to an Aardsync Clock at 96K and experienced a dramatic increase in sonic purity as well. Man, there is a ton of stuff to learn and I am still just trying to get my horn to play!

Thanks again for all your input. You folks are great and that is why I really value your comments, because without them, I am much more prone to repeating mistakes without even realizing it. For me music is the only game in town.

Happy listening.
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