TEAM & REFERENCES

Europe - USA - Asia

Creative mind of the MASTERING ACADEMY is Friedemann Tischmeyer, renowned Mastering Engineer with references from Steely Dan to Alan Parsons. Tischmeyer is author of best selling reference books like „Internal Mixing“ and „Audio Mastering“. He has also produced the related and same named DVD series, which are released in four languages and belong to the mandatory list of many audio engineering faculties around the world. The Audio Mastering Trilogy is the most comprehensive and complete work on mastering.

Tischmeyer is also inventor of the Dynamic Range Meters and President of the Pleasurize Music Foundation in California. The Dynamic Range system is used for several studies around the topic „loudness war“ and in the field of psycho acoustics. Tischmeyer is one of the leading experts in the domain of loudness and psycho acoustics.

In one-on-one sessions he has trained professors of audio faculties in Canada, USA, Basil, Europe and South Africa in order to establish and apply his clear and systematical learning methods around audio engineering for countless students.
Tischmeyer gives guest lectures on mastering and other audio engineering topics amongst others at:
– Hochschule für Musik in Vienna (AES Chapter)
– Musikhochschule Köln (Cologne)
– Pop Akademie Mannheim
– CvO Universität Oldenburg

Friedemann Tischmeyer is author of numberous publications in audio magazines on topics like mixing, mastering, audio metering and the latest standardization by ITU & EBU.

Testimonials of MASTERING ACADEMY students:

„Friedemann Tischmeyer is a brilliant Mastering Engineer ,Musician and dedicated teacher.
Moreover his expert understanding in audio production qualify him to inspire clarity in anyone willing to listen.

The combination of the „learn at you own pace DVD´s“ with the hands on seminar, sets a solid foundation for your Mastering skills.

I highly recommend the MASTERING ACADEMY to everybody that wants to get serious about the Art of Mastering.“

Manuel Montanana Lehmann

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We are happy to announce that Alan Silverman from www.Arfmastering.com in NYC has joined the team. Alan has a huge experience as mastering engineer on multiple Grammy records and as lecturer at Clive Davis Institute at NYU’s Tisch School Of The Arts, and to graduate students in the Tonemeister program at NYU-Steinhardt. He joins the group of mastering engineers offering the „Supervised Mastering“ program with subsequent Examination of the Mastering Academy.

We are very happy to have Alan in our team, because he is one of the most advanced and experienced mastering teachers and is dedicated to dynamic sound as one can hear on releases of artists such as Norah Jones and many others. All Mastering Academy students will have the opportunity to book a Supervised Mastering session with Alan, Friedemann or another premium mastering engineer.

Alan has given already more than 100 Supervised Mastering sessions to students and his services achieve highest scores as most favorite lecture.

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Email from Mastering-Academy student Guy James Cohen:

April 23, 2013

(…) I also wanted give u some post feedback – Yesterday i did the first master since the course and i wanted to tell you that i feel it is much better then my earlier masters, much more precise, with less hesitations and that i really feel on top of things now. so, thanks again for your input, honesty, tips and more importantly guidance on how to approach the whole process. it made a big different in my work flow, accuracy, confidence and hopefully business and marketing skills as well:)  (…)

Guy James Cohen

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Read here the field report by Michael Schulze (www.Mischen-und-Mastern.de):

 Januar 28th, 2012 |  Autor: 

Friedemann Tischmeyer is Mastering Professional and during his longtime work in the United States, amongst others working with Alan Parsons, has been recognized internationally, too.

In his recently founded Mastering- Academy, Tischmeyer offers intense seminars in order to transfer his experience and knowledge to his students.

I have had the opportunity to participate on a Mastering Academy seminar from 16th to 20th of January 2012 in Cologne.

It was a really amazing opportunity for me, who is practicing Mixing and Mastering just beneath my main profession,  to dive into the world’s favourite pastime in order to live out my passion and to talk shop with like-minded.

Right after enrollment each participant received the almost 10h lasting DVD trilogy „Audio Mastering with PC Workstations“ which were to study prior to the seminar. The purpose was to de-stress the theoretical input during the seminar. Tischmeyer explained that when we can build on before acquired knowledge during the seminar, to get deeper into the matter by creating real life and hands-on experiences, the knowledge will become applied long-term knowledge without input overkill. This way practical hands-on training is standing in the foreground.

On Monday morning Friedemann welcomed us in his studio in Cologne Ehrenfeld. After an initial warm-up coffee we instantly started with the topic „Optimal Mastering Workflow Models“. The participants  presented their individual workflow practices and Friedemann gave advice in order to enhance and optimize our workflow. Then we started listening to music, so that we got used to the monitors and acoustics.

The first two days were determined to dig deeper into the theoretical basics. The DVDs were a good basis to collect questions so that Friedemann could answer one after the other. We received more and more insight into the relevance of mastering processes and what is possible through mastering (and what not).

The A/Bs and blind tests were particularly exciting for me: Does the digital Plug-in sound different to the analog Hardware pendent? Does anyone hear the difference between PCM, mp3 and AAC? How different sound certain SRCs and dithering algorithms (e.g. Cubase, WaveLab, Weiss etc.). How is the impact of the sum of these differences finally for the mastering. I will not answer these questions here – go to Friedemann and find it out together with him. Here I just want so say this: The results are astounding!

There was one omnipresent topic: the so called Loudness War. Audio Mastering takes place in the gravity center of the loudness war, and despite Friedemann is clearly representing the dynamic side of the scale, he gave hints to deliver the demands of the market.

It was amazing to consciously recognize the degree of compression and distortion of the majority of  nowadays releases.  In a highly professional listening environment these records are unenjoyable.

Tischmeyer is self-confessed representative of dynamic music and founder of the Pleasurize Music Foundation. His TT Dynamic Range Meter matches the degree of dynamic processing of a piece of music into a whole number system. DR3 has a dynamic range of 3 dB and is therefor unpleasant and hyper compressed like Metallica´s Death Magnetic and Garbage´s Bleed Like Me while e.g. songs between DR8 and 14 have much more natural dynamic. The  DR value, which is required for a dynamic and breathing sound experience, depends pretty much on the genre, but generally the DR scale is a very helpful scale in order to quantify the inherent dynamic of a recording. Further information on www.PleasurizeMusic.com

Mixen und Mastern - Loundess War

figure 1: „The sausage gets thicker“. The graph represents the development of the loudness through the decades – the Loundess-War – here a comparison between 1983 and 2008.

By means of a sample song Friedemann introduced a typical mastering chain and explained why he chose which particular gear at a specific spot in the chain in conjunction with the chosen adjustments. Plug-ins and hardware gear was applied. Each piece of gear created a subtle enhancement. After finishing the first song the participants started to maintain the second one.

Quickly it became apparent that a 1:1 adaption of the settings of the first song did not work out. It was good to use the same chain as a starting point, but with most of the adjustments reset to zero. This way we were able to conform the sound picture of the second song to the reference track.

Subsequently the participants had the opportunity to master mixes we brought along while getting constant feedback from Friedemann and the group. As it is sometimes hard to judge the own mixes I found the feedback really helpful.

Because not everyone enjoys such a choice of nice outboard and plug-in gear like Friedemann we were able to pick tools which were owned by the participants. This way everyone was able to connect the learned with real life.

Beispiel für eine Mastering Kette

figure 2: Example of a plug-in chain

The time passed by like nothing – and it was Friday and time to say good by.

Resume: It was a really great seminar which I explicitly recommend. 5 very interesting and instructive days which helped me to understand the complexity of mastering. The high percentage of practical training and Friedemann´s tips will help me to enhance my future productions and lift it to a higher level. Especially the  workflow ideas, tools and dynamic processing have planted the seed for a lot of ideas and inspirations for my further work.

Michael Schulze, Berlin

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Hey Friedemann,

I wanted to personally thank you again for putting this seminar together.
I gained a great deal of understanding that I previously didn’t fully understand even coming from
many years of engineering audio.
Mastering is definitely a craft and I am constantly wanting more knowledge to better my abilities.
It was also great to listen to your insight and your conferring with software developers as well.
There is so many software developers making crap with a pretty graphical interface and engineers
are being suckered into buying just to find out the thing sucks!

Anyway a big thanks for all you did for us this past week!

Also can you send me more info about Supervised Mastering?

Best,
Kevin Lively – KevinLivelyMastering USA

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Hi all,

Yes…it has been an amazing experience!!.
I’ve learned and enjoyed a lot.
And I’m so thankful to you all for share your knowledges in such a natural way. Thanks!!

Best!!,

Carlos Hernandez – Madrid / Spain

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Gentlemen,

It was a pleasure sharing the „stage“ with all of you and learning from each other.
Much gratitude and respect for the time spent getting loads of information and having so many laughs.
Thanks for the great time. Open invitation anytime you all want to come down to Charlotte, NC.

Jorge Espinosa-Cruz

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Hey guys!

I concur as well with everyones comments!
This last week was informative, eye opening and affirming in much of our practices in Mastering.
It was great hanging with you guys, very good times!
Friedemann, Alan & Drew a special thanks for your insight, workflows and processes you guys shared.
I know for myself this week was invaluable for my growth as a Mastering engineer.
And to the other guys, I wish you well in all of your regions of the world with your specific genres of music clients.
With this knowledge we can improve the efforts of making everyones music sound better everywhere!!
😀

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Hello Friedemann

thanks again for this amazing week in NY. Learned plenty of good things.

kind regards,
Lad Agabekov – Caduceus Mastering Geneva/Switzerland

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Hi Friedemann – Alan – Drew – all ,

It was a great mastering week.

Learned a lot from you and as well as all other students across.

Regards,

Sidhanath Buyao Mumbai / India

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Hi Friedemann,
Great week and definitely the best recipe for teaching mastering I came across so far.

Alan Silverman