Songs like “Suddenly Last Summer” and “Only the Lonely” were Top 10 hits that remain on playlists to this day, but her varied (and ongoing) career includes solo albums, an acting stint in “Bill & Ted’s Excellent Adventure,” creating music for several films (including “Moscow on the Hudson,” “Teachers,” “The Golden Child, and her “Soul Man” duet with Sly Stone), and working in theater. She still tours—at least when there’s not a pandemic—and amazingly, her voice is better than it was in the 80s. But, it took Studio One’ Project Page to bring a solo album back to life that had been all but written off ten years ago.
The collection of songs on “I Have My Standards” (Fig. 1) was meant to be an album of jazz standards, with orchestration—but the twist was that Martha had written the “standards.” She cut a demo album with longtime musical collaborator Marty Jourard (piano, tenor sax), Allen Hunter (bass), Paul Pulvirente (drums), and Felix Mercer (clarinet). However, the budget to do the orchestration never materialized, and the record was never finished.
When Martha found out I did mastering, she mentioned “the album that never was” and being curious, I asked to listen to it. I was floored. The songs were deep, the vocals flawless, and the instrumentation excellent. I heard the lack of orchestration as an advantage because the sparse, emotional treatments were compelling in themselves.
Except…being a demo, there were technical problems. Among other issues, the acoustic bass overpowered the song on some of the demos, the mic had a boxy quality that was no friend to Martha’s voice, and there were mix and level issues that resulted in a lack of clarity. I asked if she could locate the multitracks so I could remix before mastering, yet no one had any idea where they were. Oh, and the project had to be mastered for vinyl—she wanted to put it out on 180-gram vinyl for her nascent record label, Remarkable Records.
Fortunately, the songs were recorded with the same basic setup. Although I’m usually not a fan of “one size fits all” mastering chains, in this case, there weren’t too many variations among the songs (Fig. 2).
The Splitter separated the frequencies below 178 Hz from the rest of the audio. With vinyl, bass needs to be centered, and the dynamics need to be controlled—hence the Limiter, and the Dual Pan. with both left and right channels set to center.
Another reason for the Splitter was that in some songs, the acoustic bass overpowered the mix. Note the fader at the end of the Dual Pan, set to -9.0 dB to help keep the bass under control. This setting worked for most of the songs but for one of them, I had to pull the level down by -13.8 dB to get the right balance. The frequency splitting was crucial.
For the rest of the audio, EQ was by far the most important process. Fig. 3 shows the setting that was used on most of the songs. Remember that the RIAA curve for vinyl (which boosts treble massively on the vinyl, then cuts it on playback) isn’t a fan of high frequencies, so the highs were often cut on vinyl masters. Although the steep high-cut filter wasn’t needed on all the songs, when necessary this gave a sound that was more consistent with vinyl records.
The substantial dip at 625 removed the muffled quality by making the highs more prominent. The dips at 2.72 and 3.06 kHz were tricky—they were essential in removing a resonance on Martha’s voice that took away from of the openness and intimacy. Almost all the songs needed the dip at 8 kHz, where treble energy from recording the individual tracks “bunched up.” Bass wasn’t an issue, because the split took care of that.
The Binaural pan was set between 124% and 137%, depending on the song. This mainly had the effect of spreading out the reverb more than the instruments, which enveloped the sound in an ambiance it didn’t have otherwise. This also moved the reverb a bit out of the center, so there could be more focus on the voice.
Finally, I’m not much of a believer in “special sauce” processors, but the Scheps Parallel Particles from Waves was ideal (Fig. 4).
After taming the highs to accommodate vinyl mastering, I wanted to restore a perception of high frequencies. Adding a significant amount of the Air parameter, with just a touch of Thick and Bite for a little more midrange presence, did exactly what was needed.
I was aiming for a LUFS of -12. This was a bit of a compromise between vinyl and streaming. A little compression would make it easier for the vinyl cutter to optimize the levels for vinyl, and besides, being a little “hotter” than the typical streaming target of -14 LUFS was fine. For the last stage of dynamics control, I used IK Multimedia’s Stealth Limiter (which is designed for mastering), in the Project Page’s Post slot. It’s a transparent but CPU-intensive plug-in, hence using only one instance as the final limiter. The songs were the levels I wanted, so they needed only very slight tweaks to hit the Stealth Limiter a little harder or softer to reach the -12 LUFS goal.
It was easy to generate timings from the Project Page, so that those cutting the vinyl would know where to put the bands between cuts…and we were on our way. The vinyl hits the world in August (available from themotels.com and specialty record stores). The digital release is available now on iTunes, Apple Music, Spotify, Amazon Music, Amazon Disk on Demand, and you can hear it on Pandora, Shazam, iHeart Radio, and YouTube Music. Most of these have ways to preview the songs, and I think it’s well worth following some of the links to check out music that sounds like it’s frozen in time, yet curiously modern.
I checked out some of the customer reviews on Amazon. While they’re all over-the-top about Martha’s voice and songs, as you might expect my favorite is the one that said “The album is mastered in such a way that you would think that Martha Davis is actually in the same room with you.” Mission accomplished (Fig. 5)!