8Sided Blog

the scene celebrates itself

‘Ways of Hearing’ Explores Listening in the Digital Age

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I’m excited about this new Radiotopia podcast named Showcase. Mostly because the first season consists of the six-part series Ways Of Hearing, hosted by Damon Krukowski who you may know as the drummer for Galaxie 500 and a member of Damon & Naomi.

Apparently inspired and culled from Damon’s recent book The New Analog, Ways Of Hearing explores how listening has changed as audio delivery moves from analog to digital. It looks to go much deeper than that, touching on subjects like modern changes in the sharing of information and how audio affects our sense of time. So far the podcast doesn’t go down the tired analog vs. digital rabbit hole, and I don’t expect that it will. Listen to the first episode HERE.

On a side note: certain bands or songs send waves of melancholy down the spine. For me, Galaxie 500 is one of those bands. When “Tugboat” starts playing in the first episode of this podcast I’m overcome with tingles. The song evokes a time and a place, an overwhelming nostalgia, a part of my life (my early 20s) filled with loneliness and sadness. I recorded a Galaxie 500 copycat song, complete with my imitation of Dean Wareham’s first album wail, and played it for a girl I liked. She asked me why I was so sad and then I never heard from her again.

And if you’d like to read the harrowing tale of a great band dissolving then you should check out this oral history of Galaxie 500 on Pitchfork.


Update: If you’re having trouble listening from the player on the show’s site then try this player on PRX’s page.

So What Is Mastering Anyway?

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LinkedIn Pulse:

There are many definitions of audio mastering. Most commonly, though, the term mastering is used to refer to the process of taking an audio mix and preparing it for distribution. There are several considerations in this process: unifying the sound of a record, maintaining consistency across an album, and preparing for distribution.


I’ve had clients ask me why mastering is necessary, stating things like, “my mixdown sounds great … why would I need to master it?” This article is useful in explaining the need and reasons for mastering, as well as giving an interesting historical timeline of the practice.

I feel mastering is as important (and underrated) in the recording and release process as having a good studio monitor set-up. If you intend to stick with ‘the music thing’ then you will someday look back with deep regret if you allow an unmastered (or improperly mastered) release out into the world, I assure you. It’s important to keep in mind that mastering can’t fix a bad mixdown, but it will provide a sonic cohesion that will help make sense of your mix, both in context of its own sounds as well as among other professionally regarded releases.

I’m of the school of thought that you should not master your own music, though I do know some people who do this with good results. I believe you can get a much better master from someone who listens to your songs without bias (or who hasn’t heard the music a thousand times like you have). You also have an advantage when using a mastering engineer who does this as an area of focus, rather than as a side-job.

It’s a huge bonus if you can sit in with your mastering engineer and observe the process. You’ll learn much not only about the art of mastering, but also how your music and mixdowns are perceived by a professional. I once was lucky to have a three day mastering session on my music with the renowned Bob Katz who is based here in Orlando. It was like audio bootcamp … illuminating. The experience definitely shaped the way I think about sound.

Update: