Book description
Learn the art of professional audio mastering
"Gebre Waddell covers this all-important subject in greater depth than has ever been done in a book." -- Dave Collins, mastering engineer for The Nightmare Before Christmas, Jurassic Park, Soundgarden, War, Ben Harper, and others
"Gebre provides students and educators with all the practical advice and hands-on tools they need to be successful." -- Jeffrey Rabhan, Chair of the New York University Clive Davis Institute of Recorded Music
Written by a professional mastering engineer, this detailed guide reveals world-class methods for delivering broadcast-ready masters. In Complete Audio Mastering: Practical Techniques, Gebre Waddell of Stonebridge Mastering explains every step in the process, from room and gear configuration to distribution of the final product. Find out how to put the final sheen on your mixes, work with DAWs, tweak loudness, use equalizers and compressors, and handle sequencing and fades. You'll also get tips for starting and running your own mastering studio.
Features full coverage of:
- Mastering concepts and equipment
- Room setup and speaker placement
- Session workflow and organization
- DAWs and audio interfaces
- Analog-to-digital and digital-to-analog converters
- Loudness optimization and dynamics
- Digital and analog EQs and filters
- Professional compressors and limiters
- Fades, crossfades, spacing, and sequencing
- Red Book CD, WAV, MP3, and DDP formats
Includes insights from the world’s foremost experts in audio mastering, including:
-- Robin Schmidt of 24-96 Mastering
-- Scott Hull of Masterdisk
-- Jaakko Viitalähde of Virtalähde Mastering
-- Dave Hill of Crane Song, Ltd., and Dave Hill Designs
-- Brad Blackwood of Euphonic Masters
-- Pieter Stenekes of Sonoris Software
-- Cornelius Gould of Omnia Audio
-- Jeff Powell, Grammy award–winning engineer; direct vinyl transfer engineer; engineer for Stevie Ray Vaughn, Bob Dylan, and others
-- David A. Hoatson of Lynx Studio Technology, Inc.
Table of contents
- Cover
- Complete Audio Mastering
- Copyright Page
- Dedication
- Contents
- Introduction
- Acknowledgments
- 1 Overview of Mastering and the Typical Session
-
2 Do-It-Yourself Guide for Basic Mastering
- The Most Basic CD Mastering
- Selecting a Digital Audio Workstation
- Basic Mastering Processing Chain
- Processing Packages
- Basic Equalizer
- Basic Compression
- Basic Limiting
- Compare the Processed Version with the Original
- Sample-Rate Conversion
- Dithering
- Export to CD
- Exporting for Internet Release
- This Portion Is Only a Basic Guide
- 3 Preparing a Mix for Professional Mastering
-
4 Accepting Mixes, Workflow, and Client Interfacing
- Receiving/Importing Digital Recordings (Bit Rate, Sample Rate, and Levels)
- Data Integrity: CRC and Checksums
- Requesting Information from the Client
- Receiving/Importing Analog Recordings
- Attended versus Unattended Sessions
- Organizing Our Work
- Each Recording Is Processed Individually
- File Compression
- File-Transfer Options
- Focus on Customer Service
- Time Frame for Revisions in Mastering
-
5 Mastering Gear
- Gear Lust
- Equipment Demos
- Stepped versus Continuously Variable Controls
- Detented Potentiometers versus Rotary Switches
- Analog Components
- Software Plug-ins versus Analog Processing
- Mastering Software Bundles
- Native Processing
- Retailers, Auctions, and Classified Ads
- Acoustic Treatment
- Monitoring Control Systems
- Monitors (Speakers)
- Subwoofers
- Monitor Amplifiers
- A/D and D/A Conversion
- Audio Interfaces
- Wordclocks/Master Clocks/Distribution Amps
- Analog Equalizers
- Plug-in Equalizers
- Dynamic Equalizers
- Compression/Expansion
- Maximizers/Limiting
- Stereo/Mid-Side Processors
- De-Essers
- Restoration and Noise Reduction
- Harmonic Enhancement and Saturation
- Routers/Patchbays
- Consoles
- Headphones
- Acoustic Environment Simulation for Headphones
- Digital Audio Workstation Software
- Playback Sources
- DDP Software
- Sample-Rate Converters
- 5.1 Mastering
- Meters
- Mastering DSPs
- Combination Processors
- Metadata-Embedding Software
- Forensic Audio Software
- Connections and Cables
-
6 Mastering Acoustics and Monitoring
- Hiring a Professional Acoustician
- Room Modes
- Absorption
- Absorption Coefficients
- Diffusers
- Front-Wall Treatments
- Treating First Reflection Points
- Clouds and Ceilings
- Narrowing the Front of the Room
- Minimizing Noise
- Rear Diffusers
- Early Reflections
- Listen to Tones with an SPL Meter
- Parallel Surfaces
- Console/Desks/Surfaces
- Symmetry
- Decoupling Monitors
- Bass Traps
- Minimal Objects in the Room
- Ideal Room Dimensions
- Angled Walls Behind Monitors
- Monitor Visibility
- Correcting Acoustic Problems with Equalization
- Speaker Placement
- Speaker Decoupling
- Integrating Subwoofers
- Subwoofer Placement
- Subwoofer Calibration
- RT60/RT30/RT20
- Listen to Translations
- Acoustic Methods/Techniques/Design Concepts
- Selecting Monitors
- High-Quality Amplifiers
- Biwire
- K-Meter Explained
- K-20, K-14, and K-12
- Stepped Monitor Gain Control
- K-System Criticisms
- Consistency as a Result of Reference Levels
- Monitoring at a Variety of Loudness Levels
- Ear Sensitivity
- Alternative Reference-Level Selection
- Workplace Safety
- Headphones
-
7 Mastering Practices: Techniques, Problems, and Approaches
- Technique: Listening
- Technique: Working with Intent and Vision of the Result
- Technique: Only Making True Improvements
- Approach: Destructive versus Nondestructive Processing
- Technique: Working with Reference Recordings
- Technique: Minimizing the Delay Between Comparisons
- Technique: Avoiding Ear Fatigue
- Technique: Processing Sections of a Song Separately
- Technique: Minimizing Processing
- Technique: Making Client-Requested Changes Properly
- Technique: Processing Based on First Impressions
- Technique: Turning Things Off/Listening in Bypass Mode
- Technique: Relationships with Mixing Engineers and Producers
- Technique: Concurrent Processing
- Technique: Processing in Stages
- Technique: Stem Mastering
- Technique: Reverb Processing
- Technique: Mastering Equalization
- Technique: Using a Graphic Equalizer
- Technique: Basic Frequency Balancing Using an Equalizer
- Technique: Order of Frequency Adjustment
- Technique: Substractive Equalization
- Technique: Using Less Common Equalizer Filters
- Technique: Frequency Roll-Off on Both Ends
- Technique: Extra Equalizer After Compression
- Technique: Monitoring the Middle and Side Channels
- Technique: Mid-Side Processing
- Technique: Checking Mono Compatibility
- Technique: Using Unique Mid-Side Processors
- Technique: Understanding Distortion/Coloration/Saturation
- Technique: Using Digital Emulations of Classic Gear
- Technique: Running Through Twice
- Technique: Adding Distortion to the Side Channel
- Technique: Using the Same Character Processors on All Songs
- Technique: Using Dither
- Problem: Jitter
- Problem: DC Offset/Asymmetrical Waveforms
- Technique: Bass Enhancement
- Problem: Bad Mixes
- Problem: Hum in the Analog Signal Chain
- Problem: Sibilance
- Technique: Raising Levels Before Analog Processing
- Technique: Adding Noise in the “Air” Band for Brilliance
- Problem: Limiting Distortion
- Problem: Intersample Peaks
- Technique: Using Sample-Rate Conversion
- Problem: Using Unbalanced-to-Balanced Connections
- Problem: Unbalanced Left and Right Channels
- Problem: Unbalanced Bass in the Mix
- Technique: Upsampling
- Technique: Digital Limiting
- Problem: Lack of Vocal Clarity
- Problem: Matching Equalizers
- Problem: Harsh/“Digital” Sound
- Problem: Muddiness
- Problem: Part of the Frequency Spectrum Is Out of Balance During Loud Passages
- Problem: One Part of the Frequency Spectrum Is Too Dynamic
- Problem: A Broad Part of the Frequency Spectrum Is Too High
- Problem: Less Than Full Sounding
- Problem: Fast/Medium Transient Sounds Stick Out Too Much
- Technique: Manually Reducing Peaks
- Technique: Reducing Level Before a Part Change
- Technique: Analog-and-Digital Gain Staging
- Technique: Mastering with a Focus on the Vocal
- Technique: Working with a Vocal-Up Mix
- Problem: Lacking Depth, Needs a Three-Dimensional Sound
- Problem: Recordings Sound Different in the Car
- Technique: Mixing Down to Tape/Mastering with Tape
-
8 Shaping Dynamics
- Types of Dynamics Processing
- Compression Settings and Meters
- Setting Attack/Release/Threshold
- Macrodynamics/Microdynamics
- RMS-Sensing Compressors
- Peak-Sensing Compressors
- Compressor Response
- Character versus Transparent Compression
- Mixbus Compressors
- Punchy Compression
- Serial Compression
- Volume Automation for Macrodynamic and Microdynamic Adjustments
- Gain-Reduction Meters
- Compressor Input Levels
- Compressor Output/Makeup Gain
- Linked versus Unlinked Compression
- Expansion/Expansion Before Compression
- Analog Compressors
-
9 Achieving Loudness
- Apparent/Perceived Loudness
- Beyond Ideal Loudness, There Is Quality Loss
- When Did the Loudness War Begin?
- Why Does the Loudness War Exist?
- Future of the Loudness War
- Loudness Potential of a Recording
- Digital Clipping
- Compression Before Limiting
- Digital Limiting
- Operating a Limiter
- Sensitivity of the Ear
- Clipping a High-Quality A/D Converter
- Serial Limiting
- Digital Limiter Ceiling of –0.3 dBFS
- Maximizers/Multiband Limiters/Inflators
- Ideal Loudness
- Processing While Focusing on the Loudest Passages
- True Peak Ceilings
- Broadcast Loudness Standards
- 10 Fades, Sequencing, and Spacing
- 11 Visualizations/Metering
-
12 Preparing the Final Output
- Providing Client a Preview for Approval
- Making Revisions
- Quality Control
- Red Book/Rainbow Books
- Red Book CD Specifications
- Setting Track Markers
- CD Pause Length
- Track Offsets
- International Standard Recording Codes
- MCN/UPC/EAN Codes
- CD-Text
- Premaster CD
- Writing Speed
- Disk-at-Once/Track-at-Once
- Error Checking with Plextor/Plextools
- CD Error Levels
- DDP File
- Mastering for Vinyl
- Shipping to the Client
- PQ Sheets
- Shipping to the Replicator/Duplicator
- Checksum/MD5
- Nonlossy: WAV, AIFF, FLAC, Etc
- Nonlossy Metadata
- Lossy: MP3
- DVD-V, DVD-A
- SACD
- Blu-ray Audio
- Mastered for iTunes
- Enhanced CD
- Ringtones
- 5.1 Audio
- 13 What Happens After Mastering?
-
14 DAW/Computer Optimization and Interfacing
- Do Not Let a DAW Dictate the Workflow
- Save Early, Save Often
- Keyboard Shortcuts/Hotkeys
- DAW Functions
- Wacom Tablets/Trackballs/Mice
- RAID and Online Backup
- Solid-State Drives (SSDs) versus Hard-Disk Drives (HDDs)
- Ending Nonessential Processing and Services (Windows)
- User Accounts
- Faulty Drivers
- Plug-in/Interface/DAW Conflicts
- Other Typical Problems/Regular Maintenance
- DPC Latency Checker
- Computer Hardware Problems
- Operating System Tweaks
- Disable Onboard Sound in BIOS
- Disable Internet and Antivirus
- Second Hard Drive for Audio
- FireWire
- Startup
- System Registry
- Latency/Buffers
- Driver Systems
- Spyware/Badware/Viruses/Malware
- Be Serious About Technical Problems
-
15 Starting a Mastering Studio as a Business
- Challenges Faced by New Mastering Studios
- Benefits of Starting a Mastering Studio
-
Rising to the Challenge
- Seek an Internship
- Take a Course
- Collect Resources
- Learn Aggressively
- Learn About the Legends
- Add Mastering Services to an Existing Studio
- Leverage Existing Opportunities
- Reach New Markets
- Visit the National Association of Music Merchants (NAMM), Join the Audio Engineering Society (AES) and Grammy Recording Academy
- Working for Notable Acts
- Insure Your Studio
- Hiring Interns
- Other Opportunities
- 16 Contributions
- A Decibel Units of Measure
- B Mastering Resources and References
- Index
Product information
- Title: Complete Audio Mastering: Practical Techniques
- Author(s):
- Release date: July 2013
- Publisher(s): McGraw-Hill Education TAB
- ISBN: 9780071819589
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