Making a surprise return after a ten-year break from the recording studio, David Bowie satisfied both both critics and fans with The Next Day.
The album saw Bowie reunited with long-time collaborator Tony Visconti, and introduced him to mastering/mixing engineer Dave McNair – who has worked with Visconti in the past. With credits including Iggy Pop, Los Lobos and Tina Turner, McNair was quick to use his Sonnox Fraunhofer Pro-Codec on the project: ‘I’ve been using the Pro-Codec to preview encoded files in real time since it was introduced,’ he says. ‘It’s become invaluable in previewing various codecs on the mastered higher-resolution files for clients who will be making MP3s or lower-resolution files for digital distribution. I’ve found that the higher the bitrate, the fewer overs are created when making an MP3 or AAC.’
McNair uses the Pro-Codec with a Sequoia mastering rig, which allows him to hear (and visualise) how an encoded file will sound: ‘A miniscule amount of red in the NMR [Noise-to-Mask Ratio] display in the FFT window – or no red at all if I back the Bitstream level down – means there’s less or no audible distortion created in the encode stage,’ he explains
‘This recording was captured at 96kHz and also encoded for the Mastered for iTunes format.’ McNair adds. ‘The CD target level was -0.6dB for the 96kHz session. After sample rate conversion to 44.1kHz, it probably ended up closer to -0.1dB. Based on what I was seeing with the Pro-Codec and a later check using the Apple Mastered For iTunes software, the 96kHz files sent to iTunes were delivered at -0.8dB.
‘Overall, the Pro-Codec is a great tool. It really helps with my workflow. It was an honour and a great personal pleasure to be associated with this incredible project.’
More: www.sonnox.com
See also:
David Bowie is – at the V&A
