Bouncing tracks, mastering tomorrow, and other important boring stuff

I never know if this bores the shit out of people to learn that we're "tracking" or "overdubbing" or "bouncing" or "mastering" but I figure it lends some credibility to the process of making an album. Suffice it to say that when you hear the word "mastering", you know we're really close to the finish line. Today Michael bounced the final tracks to disc ... we're listening tonight for any mix flubs. Tomorrow we head into RFI in Seattle to master the record. That's the black magic part of record making ... where a smart dude (in this case Ed Brooks) with loads of crazy gear does the following:

1) matches all the volume levels of the songs and makes the album "loud"
2) compresses & EQs the mix to make it sound tasty to human ears (the black magic part)
3) fades songs and puts the desired artful gaps inbetween with the final song order
4) hands us the master CD with all the files burned as AIFFs (I believe that's the file type)
4) asks for money, which we then pay

I'll take a picture or two tomorrow and show you all the socerers gear that Ed will use to tame the beast which is Cozzi's mix. Actually, the music already sounds good ... it just needs a presentable Easter Sunday suit and a cowlick or two slicked back with the caring spittle of an outside ear.

Cozzi pointing as he bounces (caught him with a strange face):

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