- Cover
- Complete Audio Mastering
- Copyright Page
- Dedication
- Contents
- Introduction
- 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
This book is dedicated to the audio mastering engineers who have
helped teach others, such as Bob Katz, who skillfully authored
Mastering Audio: The Art and the Science; Dave Collins, who has always
shared his unparalleled knowledge with others; and Brad Blackwood,
mastering engineer at Euphonic Masters, Memphis, TN.
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