Congratulations to the Grammy Nominees!

The nominees for the 53rd Grammy Awards were announced last night in Los Angeles, and we’re thrilled to see our clients up for honors!

Jay-Z’s album The Blueprint 3, which was mastered by Tony Dawsey, is up for Best Rap Album, and two of its songs have been singled out for honors too. “Empire State of Mind” is up for Record of the Year, Best Rap/Sung Collaboration, and Best Rap Song. Another album track, “On to the Next One,” is up for Best Rap Performance By A Duo Or Group and Best Rap Song. We did a brief podcast about Tony’s work on The Blueprint 3 back in June, you can listen to that here.

Laurie Anderson’s track “Flow,” from her album Homeland (mastered by Scott Hull) was nominated for Best Pop Instrumental Performance. Competing with Ms. Anderson for that award is “Orchestral Intro” from Gorillaz’ Plastic Beach album, mastered by Howie Weinberg. Can they both win, please?

Finally, Darcy James Argue’s Secret Society is up for the Best Large Jazz Ensemble Album award for Infernal Machines, (mastered by Randy Merrill) which was released on the non-profit-model record label New Amsterdam. We’re thrilled about all of the nominations, but this one is especially satisfying because New Amsterdam is a relatively small operation and it’s great to see independent work recognized. And because it’s a darn good record! We took an in-depth look at the making of “Infernal Machines” back in April. Check it out here.


Read the full list of Grammy Award nominees: http://www.grammy.com/nominees

This Month in Masterdisk History: September (Part 1)

If you’ve followed us on Twitter or on our Facebook page, you’ll be familiar with what is alternately called “Today in Masterdisk History” or “Masterdisk Flashback!” (usually depending on how many Twitter characters I have to spare).

These little updates feature records from the past — some near, some far — that were mastered here at Masterdisk. Consider it a very random reminder of some records you might have forgotten about. Or, if you’re in a more heavy mindset, be amazed at how time flies!

I’m surprised at how many of these records have articles at Wikipedia — I link to them when they do. There’s often some interesting minutia on offer.

So here’s six records mastered at Masterdisk from Septembers past!

Blueprint 31 YEAR AGO
Jay-Z “The Blueprint 3”
(Roc Nation/Atlantic, 9/8/09)
Mastered by Tony Dawsey at Masterdisk.
Wikipedia: The Blueprint 3

Chris Potter3 YEARS AGO
Chris Potter Underground “Follow the Red Line: Live at the Village Vanguard”
(Sunnyside, 9/11/07)
Mastered by Scott Hull at Masterdisk.
Wikipedia: Chris Potter

Room for Squares9 YEARS AGO
John Mayer “Room for Squares”
(Aware Records (original release)/Columbia (re-release), 9/18/01)
Mastered by Scott Hull at Masterdisk.
Wikipedia: Room for Squares

Bone Machine18 YEARS AGO
Tom Waits “Bone Machine”
(Island Records, 9/8/92)
Mastered at Masterdisk.
Wikipedia: Bone Machine

Louder Than Love21 YEARS AGO
Soundgarden “Louder Than Love”
(A&M, 9/12/89)
Mastered by Howie Weinberg at Masterdisk.
Wikipedia: Louder Than Love

Signals28 YEARS AGO
Rush “Signals”
(Anthem/Mercury, 9/9/82)
Mastered at Masterdisk.
Wikipedia: Signals

Interview: Mastering Jay-Z’s The Blueprint 3 with Tony Dawsey

Jay-Z The Blueprint 3

Tony Dawsey is a Masterdisk mastering engineer with a long list of hit records under his belt. In the interview below, Tony discusses his experience mastering Jay-Z’s 2009 hit record, The Blueprint 3.

Tony, you’ve got a lot of fans online — people who love the records you’ve mastered.

I hear that a lot, that people like the way my records sound. And it’s a compliment, it makes me feel good, but I realize it’s not just me, it’s a group of people that come together to make the record sound right.

Did you hear a lot in particular about The Blueprint 3?

Yeah the last Jay-Z album I got a lot of people sending emails and just showing love and saying that they love the way it sounds, that it was loud but not too loud and so on and so forth. It definitely makes you feel good when you’re part of a project that people admire for different reasons.

When you work with Jay-Z does he attend the sessions?

He normally comes at the end to go through everything and make sure it’s the way he wanted the spacings from track to track. Out of the 9 albums we’ve done together, he was only here for the whole album once. That was American Gangster a few years ago. I came in on a Sunday, spent the day with him, and went through the whole record. Other than that normally it’s Guru, his engineer, and myself, and Jay normally comes in at the end just to make sure everything’s okay.

“Empire State of Mind” was huge.

Yeah, it was! Jay was in and we were going through the album just making sure everything was the way he wanted it. We got up to the 5th track on the album — “Empire State of Mind” featuring Alicia Keys. I said to him, “This could be an anthem for New York. With the Alicia Keys hook I find it’s so uplifting and motivating. You need to get the word out to your people!” And little did I know, not only was it Jay-Z’s first #1 record, but the Yankees did pick it up as an anthem for New York on their way to another Word Series championship. They even invited in Jay-Z and Alicia Keys to perform it during the play-offs, so, it was kind of special. I’m not going to tell you I “know” what record’s gonna do well out there, but I know what moves me. I was born and raised in New York and I loved that record — it really moved me in a positive way. It was my favorite record that year. I felt really glad that I got to work on it.

Photo of Tony Dawsey
Tony Dawsey
Did you do anything particularly different in the mastering of that record?

The equipment I used on Jay’s record I tend to use on all records that come my way. I know Guru is a very good engineer, so I know for the most part it’s going to come in sounding very very good, and I’m just hired to enhance what he’s done already. I can’t say I do anything special or use any type of equipment on that record and not on anybody else’s record. Most of this gear you can find in mastering studios all over the world. There’s nothing secretive when it comes to the equipment — it’s how it’s used. People gave a lot of love for that album, winning Grammys, so on and so forth, and I let people know it’s not just me. I’m just one of the engineers that worked on it.

You’re extremely modest.

At my stage, at the mastering stage, I have the last word on the EQ and so forth. But people need to know that Guru has a lot to do with the sound of the record and I just represent the “icing on the cake” which is what I’ve been saying for years when it comes to mastering.

This wouldn’t be an interview about mastering if we didn’t touch on loudness.

Whether or not I use compression really depends on what I’m given. Sometimes you need some compression just to push everything out front and so forth. But these days a lot of people mix very very loud, so a lot of times you don’t end up needing compression because of that. But it really depends on the project. You just gotta take ‘em individually and deal with them. And try things. I use trial and error. I’ll listen to something. I may try to put in the NTP compressor and see if that works, or I may try and use a Manley compressor or something to see if it works. Sometimes it does, sometimes it doesn’t.

Thanks Tony. One last thing: How did your relationship with Jay-Z start?

There was a referral. At the time I had did about 3-4 albums with Ruff Ryders. The artist was DMX. Then Lenny Santiago, who worked over at Def Jam as an A&R man, had asked the guys from the Ruff Ryders who they used for mastering because they liked the way the DMX records always sounded. They told him, “Check out Tony at Masterdisk.” The first Jay-Z album we did was La Familia. That was kind of a collection of different artists under Rocafella Records. It’s been a wonderful relationship, doing a lot of albums for Rocafella Records and 9 albums with Jay-Z.

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