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Introduction

I designed this machine at the end of 1989, to evaluate the sound in the mixing and mastering process, compared to the subsequent reproduction in commercial equipment. All my works have been processed by M.R.P. Songs like; The Grail Saint, Spiral, Like Me, Fever Sax, Bombs, etc., and of any style, going from classical, electronic or Jazz music. Many units have been manufactured and work with her both home studios and professionals. In the end I have chosen this model because of its comfortable design because it is of a much smaller size, so that it can be integrated into any work table, very close to the sound engineer.

Its philosophy is based on the generation and emulation of certain frequency curves, reproduced by domestic and professional teams. These curves will be of great help for the correct listening in the studio speakers, both near-field and mid-field, detecting the complex frequencies that our ears do not perceive with small-sized speakers, but that do reproduce the commercial equipment, such as Club or PA and large studio monitors. In this way we will significantly increase the accuracy and quality.

 

 

Mastering Reference Preamplifier 

Currently, the work of musical production "Mixing and Mastering" is done by the same person, who controls the entire process from composition to the Master. Since the beginning of the mix we listen to our work in flat, with speakers from 5 to 8 inches, and in various acoustic conditions that can always be improved. It is advisable to have two pairs of these speakers to compare the different planes they provide. The 5-inch self-amplified, and it is recommended that the 8 ”are passive for mastering with external power stage, to greatly simulate the hi-fi standard. Very good results are also achieved with 8 ”auto amplifiers of medium-high range. The problem we have with the near-field and mid-field speakers in the study, is that the depth and errors in serious frequencies, and the stridency in high frequencies is not controllable (we would need large speakers and an adequate acoustic environment) because we do not hear the amplitude of these frequencies correctly, adjusting the extreme range of the spectrum too much because our ear unconsciously looks for the isophonic curve response.

 

 

Working with M.R.P.

Working with M.R.P. M.R.P. is the listening of frequencies that would reproduce voluminous studio and mastering room speakers. The M.R.P. it detects with excess sound pressure the excess of sub harmonics 40-50-60Hz, bass and bass-media 125, 300, 500Hz, being able to correctly profile bass, drums, percussions, keyboards, guitars, etc., in the 3000 range at 8000Hz correcting the centralization of the strident sound getting the flattening of boxes, charles, harmonic instruments, the correction of the voices, etc., and in the range of ultra-highs up to 20000Hz to be able to give the correct sharpening. Our goal is to achieve a balanced mix, thanks to the correct listening of the frequency bands that give body and brightness to the music. Wanting to listen flat to those bass and treble is wrong.

The large and expensive built-in control room speakers, are capable of reproducing those bass and treble frequencies, as they consist of control in the crossover cuts and can generate those audibility curves that our M.R.P. you can emulate us with very little sound pressure (around 70 - 80dB) and with speakers of only 8 ” 

 

The best choice

The M.R.P. it helps us from the beginning, even in the microphonic search of the sweet sound in the recording stage, detecting frequencies that rumble or have stridency, but that we do not detect in the flat. Listening to any commercial theme, whether pop, electronic, jazz, etc., we observe that the structure of the bass and the brightness of the treble is not practically distinguished, these frequencies are practically hidden, but very balanced with respect to the rest of the spectrum. This is what is called flat sound and is what gives the mix consistency and quality, giving the appearance of a whole, but with the definition and density of all the sounds that compose it. 

If you try your mix and mastering M.R.P. you won't be able to pass without him