Index
Please note that index links point to page beginnings from the print edition. Locations are approximate in e-readers, and you may need to page down one or more times after clicking a link to get to the indexed material.
3D (three-dimensional) sound, dealing with lack of, 108
–3dBFS
receiving/importing recordings, 19
setting peaks at, 13
5.1 audio
home theatre systems, 152
monitors (speakers), 29
16-bit format
gain staging and, 106
receiving/importing recordings, 19
24-bit format
gain staging and, 106
receiving/importing recordings, 19
32-bit format
gain staging and, 106–107
software plug-ins and, 26
64-bit architecture, 26
1394 (FireWire)
audio interfaces, 158–159
connections, 54
A
AAC (Advanced Audio Coding), 147
absorption, in acoustics, 58
absorption coefficients, 58
acoustics
absorption and diffusion, 58
acoustic environment simulation for headphones, 47
aspects of mastering sessions, 4–5
dance clubs, 152
devices for, 27–28
equalization, 62
hiring professional in, 57
noise minimization, 59
room dimensions and, 61–62
speaker and subwoofer placement, 63–66
techniques/design concepts, 66–67
translation and, 66
treatments, 58–61
active monitors, vs. passive monitors, 28–29
A/D (analog-to-digital)
clipping A/D converter, 122
converters, 32–33
DSPs (digital signaling processors), 185–186
raising levels prior to analog processing, 98
ADAT Lightpipe optical connections, 54
adjustments/improvements
comparing in bypass mode, 74
making at same level of loudness, 74–76
minimizing delay between comparisons, 77–78
passes during mastering sessions, 5
revisions to output, 136
time requirement for editing, 22–23
Advanced Audio Coding (AAC), 147
Advanced Television Systems Committee (ATSC), 124–125
AES (Audio Engineering Society), 166
AES/EBU
audio interfaces, 34
connections, 53
wordclocks and, 35–36
AIFF (Audio Interchange File Format), 145
“air” frequencies
adding noise for brilliance, 99
balancing, 86
balancing with bass frequencies, 16
albums
clearinghouse for album credit information, 150
sales at all time low, 162
sequencing songs on, 129
algorithms, for differing, 95
AllMusic Database, 150
AM radio, radio processing, 151
amplifiers
quality of, 67
types of, 31–32
analog
analog-to-digital. See A/D (analog-to-digital)
components, 26
dealing with harshness of sound, 104
de-essing, 44
digital-to-analog. See D/A (digital-to-analog)
gain staging and, 107
harmonic distortion and, 182
harmonic enhancement and saturation, 45
Jaakko Viitalähde on connection and calibration of analog mastering chain, 175–180
locating hum in analog chain, 97–98
meters, 50
M/S (mid-side) processors, 43
multiband compression, 41, 169–172
raising levels prior to analog processing, 98
receiving/importing recordings, 20
software plug-ins vs. analog processing, 26–27
XLR cables, 52
antivirus software, disabling during mastering, 158
archiving DDP files, 142
ASIO (Audio Stream Input/Output), 198–200
asymmetrical waveforms, 96
ATSC (Advanced Television Systems Committee), 124–125
attack/release threshold settings, 113–114
attended sessions
receiving/importing recordings and, 20–21
vs. unattended, 4
Audio Engineering Society. See AES (Audio Engineering Society)
audio forensics, 167
Audio Interchange File Format (AIFF), 145
audio interfaces
FireWire (1394), 158–159
overview of, 34–35
Audio Stream Input/Output (ASIO), 198–200
autos
quality of recordings in, 109
speaker placement in, 151
B
backup options, for DAWs, 154–155
badware, 159–160
Bantam/TT (Tiny Telephone) connections, 54
bass
balancing bass frequencies, 84–85, 100–101
balancing with “air” frequencies, 16
dealing with harshness of digital sound, 103
enhancing bass frequencies, 96
bass traps, 61
Baxandall shelves, 89
BD (Blu-ray Disc), 146–147
Bessel filters, 88
BIN files, as alternative to DDP, 142–143
BIOS, disabling onboard sound, 158
bit rate
meters, 132
sample range and, 11
biwire connections, between amplifiers and speakers, 67
Blackwood, Brad
bio section on, 184
on Mid-Side processing, 184–185
Blue Book standards, 137
Blumlein shuffling, 42
Blu-ray Disc (BD), 146–147
BNC connections, 54
boundary effects, in speaker placement, 64
brilliance, adding noise in “air” band for, 99
broadcast processors, 192
broadcast standards, 124–126
Broadcast WAV (BWAV), 145
buffering issues, DAWs (digital audio workstations), 159
Butterworth filters, 87–88, 189
BWAV (Broadcast WAV), 145
bypass mode, listening in, 79–80
C
cabling, connections and, 52–55
CALM (Commercial Advertisement Loudness Mitigation), 124–126
cars. See autos
CDs
basic processing, 7–10
comparing processed version with original, 10–11
DAW (digital audio workstation) and, 8
disc life of, 151
dithering, 11–12
enhanced, 148
error levels, 141–142
exporting, 12
issues with, 7–8
mastering plug-in packages for, 8–9
mastering processes for, 1
overview of, 7
pause length between tracks, 137–138
premaster CDs, 140
refractive index levels, 151–152
replication vs. duplication, 150–151
sample rates, 11
track offsets, 138
ceilings (audio), basic limiting and, 9–10
ceilings (physical), acoustics and, 59
changes. See also adjustments/improvements
making client requested changes promptly, 79
making revisions to output, 136
channels
balancing, 100
correlation meters, 133
monitoring, 90
characters
tonality and, 115
using same character on all songs, 94
checksums
checking data integrity, 20
final output and, 144–145
clicks, noise reduction and, 129
clients
customer service and, 22
importance of timeliness to, 21
making client requested changes promptly, 79
previewing final output, 135–136
requesting information from, 20
clipping
A/D converter, 122
loudness and, 121
clocks, 35–36
clouds, acoustic absorbers, 59
coloration
Dave Hill on, 180–184
understanding, 92–93
Commercial Advertisement Loudness Mitigation (CALM), 124–126
competition, challenges facing new mastering studio, 161
compression
adding warmth, 104
analog compressors, 117–118
basic mastering and, 9
equalization following, 90
equipment for, 38–41
file compression, 22
input and output, 116–117
before limiting, 121
linked and unlinked, 117
as mastering process, 1
processing tools for, 5
pros/cons of requesting removal of mixbus processing, 14
settings and meters, 113
types of compressors, 114–117
computers, audio playback quality on, 152
concurrent processing, 80
connections
balanced to unbalanced, 100
types of, 52–55
consoles
acoustics and, 60
for mastering, 46–47
patching order and, 176
controls, stepped vs. continuously variable, 26
converters
to/from analog and digital, 32–33, 185–187
clipping A/D converter, 122
sample-rate converters, 49
correlation meters, for comparing left/right channels, 133
courses, for getting started in mastering, 165
CRC (cyclic redundancy checks), 20
cross-fades, 128
crossovers, monitors (speakers), 30
CUE files, as alternative to DDP, 142–143
customer service
challenges facing new mastering studio, 162
receiving/importing recordings and, 22
cyclic redundancy checks (CRC), 20
D
D/A (digital-to-analog)
converters, 32–33
DSPs and, 186–187
intersample peaks and, 99–100
raising levels prior to analog processing, 98
daisy-chaining (point-to-point wiring) patching method, 177–178
dance clubs, acoustics and PA systems in, 152
DAO (disk-at-once), vs. track-at-once write method, 140
data integrity, checking, 20
databases, submitting information to online, 149–150
DAW (digital audio workstation)
A/B comparisons, 176
backup options, 154–155
basic mastering, 8
displaying sample rate, 11
dithering feature of, 12
driver issues, 156–157
fades and cross-fades and, 128
hardware issues, 157–158
hardware options, 154
maintaining, 157
not letting dictate workflow, 153
optimizing, 157–160
plug-in issues, 157
receiving/importing analog recordings, 20
spacing songs and, 127–128
stopping nonessential processes and services, 155
techniques and functions for working with, 154
types of, 47–48
user account settings, 155–156
dB (decibels)
monitor calibration, 68
units of measure, 201–202
dBFS (decibels relative to full scale)
digital limiting and, 123
monitor calibration, 68
receiving/importing recordings, 19
setting peaks at -3dB, 13
units of measure, 201
dBSPL (decibel sound-pressure level)
monitor calibration, 68
units of measure, 201
DC offset, 96
DDP (Description Protocol)
final output options, 135, 142–143
manufacturing CDs, 1
output of mastering process, 5
software, 48–49
deadlines, allowing time for mastering, 15
decibel sound-pressure level (dBSPL)
monitor calibration, 68
units of measure, 201
decibels (dB)
monitor calibration, 68
units of measure, 201–202
decibels relative to full scale. See dBFS (decibels relative to full scale)
de-essing
analog and digital, 44
dealing with harshness of digital sound, 104
premastering for vinyl and, 197
Deferred Procedure Call (DPC), Latency Checker, 157
depth/three dimensional sound, dealing with lack of, 108
design concepts, acoustics, 66–67
desks, acoustics and, 60
destructive processing, vs. nondestructive, 76
detents, potentiometers and, 26
device drivers
driver system options, 159
overview of, 156–157
diffusers
acoustics and, 58
rear diffusers, 60
digital
to analog. See D/A (digital-to-analog)
analog-to-digital. See A/D (analog-to-digital)
clipping, 121
de-essing, 44
equalizers, 83
files. See files
gain staging and, 107
harmonic enhancement and saturation, 45
meters, 50
multiband compressors, 41
stereo processors, 43–44
storing digital files, 149
digital audio workstation. See DAW (digital audio workstation)
digital signaling processors. See DSPs (digital signaling processors)
direct hardware monitoring, ASIO feature, 200
disk drives
for DAWs, 155
using second drive for audio, 158
disk-at-once (DAO), vs. track-at-once write method, 140
distortion
Dave Hill on, 180–184
limiting, 99
quality loss due to loudness, 120
technique for dealing with, 93
understanding, 92–93
distribution amps, 35–36
dithering
basic mastering and, 11–12
technique for use of, 94–95
DIY (Do-It-Yourself) mastering, 162
DMG EQuality plug-in, 8
downward compression, 112. See also compression
DPC (Deferred Procedure Call), Latency Checker, 157
DSPs (digital signaling processors)
A/D (analog-to-digital) converters, 185–186
D/A (digital-to-analog) converters, 186–187
for mastering, 51
dummy runs, 197
DVDs, 146
dynamic equalizers, 38, 103–104
dynamics processing
analog compressors, 117–118
attack/release threshold settings, 113–114
compression and limiting and, 5
compression settings and meters, 113
compressor input and output, 116–117
compressor types, 114–117
expansion, 117
gain-reduction meters, 116
linked and unlinked compression, 117
macrodynamics and microdynamics, 114
RMS sensing and peak-sensing, 114
types of, 111–113
volume automation, 116
E
EAN (European Article Number), 138–139
ear fatigue, avoiding, 78
ear sensitivity, to loudness, 71, 122, 124
early reflections, acoustics and, 60
EBU (European Broadcast Union), 124–125
Eclipse systems, for replication of CDs, 150–151
editing. See adjustments/improvements
effects, multieffect processors, 51
emulator plug-ins, 93
enhanced CDs, 148
equalization/equalizers
acoustics and, 62
analog equalizers, 36–37
basic mastering and, 8
dynamic equalizers, 38
filters and, 88–89
frequency balancing with, 84–87
as mastering process, 1
matching equalizers, 102–103
order of frequency balancing, 88
parametric, analog, and digital equalizers, 83–84
plug-in equalizers, 37–38
processing tools, 5
pros/cons of requesting removal of
mixbus processing, 14
subtractive, 88
testing different settings, 173
uses of equalizers, 82–83
using following compression, 90
equipment
5.1 mastering, 49–50
acoustic devices, 27–28
amplifiers, 31–32
analog components, 26
audio interfaces, 34–35
clocks and distribution amps, 35–36
compression and expansion, 38–41
connections and cabling, 52–55
consoles, 46–47
controls, 26
converters, 32–33
DAW (digital audio workstation), 47–48
DDP software, 48–49
demos, 25
DSPs (digital signaling processors), 51
equalizers, 36–38
forensic audio software, 52
harmonic enhancement and saturation, 45
headphones, 47
limiters, 42
metadata embedding software, 51
meters, 50
monitoring control systems, 28
monitors (speakers), 28–31
multieffect processors, 51
playback systems, 48
restoration and noise reduction, 44–45
retailers, auctions, and classified ads, 27
routers and patchbays, 45–46
sample-rate converters, 49
software plug-ins vs. analog processing, 26–27
stereo/mid-side processors, 42–44
subwoofers, 31
errors
error sheets, 5
final output and, 140–142
European Article Number (EAN), 138–139
European Broadcast Union (EBU), 124–125
expansion
before compression, 117
loudness and, 38–41
technique for dealing with lack of depth, 108
exporting, 12
F
fades, 128–129
fast Fourier transforms (FFT), 131–132, 192
fast/medium transient sounds, dealing with sounds that stick out too much, 106
Fastsum, checking data integrity, 20
FET (field-effect transistor) compressors, 118
FFT (fast Fourier transforms), 131–132, 192
field-effect transistor (FET) compressors, 118
files
file compression and file transfer, 22
organizing, 21
filters
equalization, 88–89
Pieter Stenekes on, 185–191
premastering for vinyl and, 196
types of, 187–190
FIR (finite impulse response), 189–190
FireWire (1394)
audio interfaces, 158–159
connections, 54
FLAC (Free Lossless Audio Codec), 145
FM radio, radio processing, 151
forensics
forensic audio software, 52
opportunities in audio forensics, 167
format conversions, audio and video over Internet, 152
Fourier transforms, 131–132
Free Lossless Audio Codec (FLAC), 145
frequency balancing
balancing bass with “air” frequencies, 16
dealing with harshness of digital sound, 103
distortion and color and, 181
equalization, 84–87
frequency spectrum and, 105
order of, 88
roll-off on both ends, 90
frequency spectrum, 105
front-wall, acoustic treatment for, 58–59
fullness, of sound, 105
full-range monitors, 29
furniture/objects, acoustics and, 61
G
gain
basic limiting, 9
clipping to raise, 122
gain-reduction meters, 116
makeup gain, 116
staging, 106–107
stepped monitor gain control, 70
gClip, 121
Gerzon shelves, 89
Gibbs phenomenon, 183
Gould, Cornelius
bio section on, 191
on optimizing audio for radio, 191–193
Grammy Recording Academy, 166
grounds/grounding, hum and, 97–98, 178–179
H
hard-disk drives (HDDs), 155
harmonics
distortion and color and, 181
equipment for harmonic enhancement, 45
harshness of digital sound, dealing with, 103–104
HDDs (hard-disk drives), 155
headphones
for mastering, 47
monitoring and, 72
hearing, sample rates and, 16
high frequencies
balancing, 86
dealing with harshness of digital sound, 103–104
Hill, Dave
bio section on, 180
on distortions and coloring, 180–184
hiss, noise reduction and, 129
Hoatson, David A.
on ASIO vs. WDM, 198–200
bio section on, 198
home theatre systems, 152
hotkeys, 154
Hull, Scott
bio section on, 172
on full-range monitoring, 172–174
hum
grounds/grounding and, 178–179
locating in analog chain, 97–98
I
IEEE 1394 (FireWire)
audio interfaces, 158–159
connections, 54
IIR (infinite impulse response) filters, 187–189
impedance, 179
importing recordings. See receiving/importing recordings
impulse response
FIR (finite impulse response) filters, 189–190
IIR (infinite impulse response) filters, 187–189
overview of, 187
infinite impulse response (IIR) filters, 187–189
International Organization for Standardization (ISO), 59
International Standard Recording Codes (ISRC), 138
International Telecommunications Union (ITU)
loudness standards, 124–125
speaker placement guidelines, 63
Internet
exporting MP3s to, 12
streaming and format conversions, 152
internships, 165
intersample peaks (ISPs), 99–100
ISO (International Organization for Standardization), 59
ISPs (intersample peaks), 99–100
ISRC (International Standard Recording Codes), 138
ITU (International Telecommunications Union)
loudness standards, 124–125
speaker placement guidelines, 63
iTunes, mastering for, 147
iZotope Ozone, mastering plug-in package, 8–9
J
jackfields. See patchbays
jitter
inaccurate clocks producing, 35
technique for dealing with, 95
K
keyboard shortcuts, 154
K-Meter, 69
K-System
criticisms of, 70
K-20 (film), K-14 (rock), K-12 (broadcast and pop), 69
monitor calibration, 68
L
latency issues
DAW (digital audio workstation), 159
DPC Latency Checker, 157
layback, tape machines and, 109
learn feature, noise reduction and, 129
legal liability, challenges facing new mastering studio, 163–164
levels
making adjustments at same level of loudness, 74–76
premastering for vinyl and, 196
reducing before part changes, 106
reference level. See reference level
limiting/limiters
basic mastering and, 9
dithering and, 12
equipment for, 42
loudness, 121–123
mastering processes, 1
mixing into limiters, 14
operating limiters, 122
premastering for vinyl and, 196
processing tools, 5
serial limiters, 123
as type of compression, 111, 113
linked compression, 117
listening
in bypass mode, 79–80
skill needed for audio engineering, 74
lossy output, 146
loudness
apparent/perceived, 119
basic limiting, 9–10
broadcast standards, 124–126
clipping and, 121
compression and expansion, 38–41
ideal level of, 124
issues with basic mastering, 7
limiting and, 121–123
loudness war, 120
making adjustments at same level of, 74–76
peaks, 124
processing based on loudest passages, 124
recording potential for, 121
units of measure, 201–202
workplace safety and, 72
L/R balance, 90. See also channels
M
macrodynamics
overview of, 114
volume automation, 116
malware, 159–160
marketing, 164
master bus (mixbus)
compressors, 115
pros/cons of requesting removal of mixbus processing, 14
master clocks, 35
mastering engineers
assisting with mix issues, 17
choosing based on genre, 2–3
role of, 2
mastering overview, 1–3
mastering sessions, 4–5
mastering software bundles, 27
mastering studios
benefits of, 164–165
challenges facing, 161–164
help in getting started, 165–167
hiring interns, 167
opportunities in audio forensics, 167
overview of, 161
related fields, 167–168
maximizers, in limiting, 42, 123
MCNs (Media Catalog Numbers), 138–139
MD5 (Message-Digest Algorithm), 20, 144–145
metadata
embedding software, 51
MP3s and, 20
nonlossy, 145
meters
action and speed of meters, 134
analog and digital, 50
bit meters, 132
correlation meters, 133
FFT/Fourier transforms, 131–132
overview of, 131
reconstruction meters, 134
spectral analyzers, 132–133
vectorscope, 133–134
mice, input options for DAWs, 154
microdynamics
overview of, 114
volume automation, 116
middle channels, monitoring, 90
middle signal, M/S (mid-side) processors, 42
midfield monitors, 29
midrange frequencies
balancing, 85–86
dealing with harshness of digital sound, 103
Mid-Side processing
Brad Blackwood on, 184–185
overview of Mid-Side processors, 42–43
technique for, 91
using unique Mid-Side processors, 92
minijack connections, 53
mixbus (master bus)
compressors, 115
pros/cons of requesting removal of mixbus processing, 14
mixes/mixing
balancing bass and “air” frequencies, 16
dealing with bad mixes, 97
fades during, 128
limiting, 13–14
mixbus processing and, 14
multiple mono vs. stereo interleaved, 14
not performing mastering on own mixes, 3
overview of, 13
problems with, 16
sample rates, 15–16
stages of production, 1
stem mastering 14–15
tape and, 16
working relationship with mixing engineers, 80
monitoring
aspects of mastering sessions, 5
control systems for, 28
headphones and, 72
loudness levels and, 70
middle and side channels, 90
Scott Hull on full-range monitoring, 172–174
zero-latency monitoring, 200
monitoring D/A converter, 32
monitors (speakers) 5.1 systems, 29
acoustics and, 62
active vs. passive, 28–29
amplifiers, 31–32
biwire connections, 67
calibration, 68
crossovers, 30
decoupling to eliminate sympathetic resonances, 61, 64
full-range, midfield, and near-field, 29
in mastering sessions, 5
selecting, 67
stepped monitor gain control, 70
types of, 28–31
why small monitors are not ideal, 173
mono
cables, 53
compatibility checks, 91–92
stereo interleaved vs. multiple mono, 14
MP3s
audio playback quality with MP3 players, 152
encoding without other processing, 8
exporting to Internet, 12
lossy output, 146
mastering processes for, 1
metadata, 20
MPEG-1/MPEG-2 Audio Layer III. See MP3s
M/S (mid-side) processors. See Mid-Side processing
muddiness, of sound, 104
multiband compression
applying compression to specific frequencies, 41, 111, 113
Robin Schmidt on, 169–172
multiband limiters, 123
multiband processors, 97
multieffect processors, 51
multi-pin connectors, 53
multiple mono, vs. stereo interleaved, 14
N
NAMM (National Association of Music Merchants), 166
native processing, 27
NC (noise criterion), measuring noise levels, 59
near-field monitors, 29
Niveau/Tilt Filter, 89
noise
equipment for reducing, 44–45
minimizing, 59
out-of-band noise, 86–87
reducing, 129–130
noise criterion (NC), measuring noise levels, 59
noise rating (NR), 59
nondestructive processing, 76
nonlossy output, 145
NR (noise rating), 59
NyquistShannon sampling theorem, 16
O
Omnia radio broadcast processing, 151
online backup, for DAWs, 154
Opto/ELOP analog compressors, 117–118
Orban radio broadcast processing, 151
out-of-band noise, 86–87
output
5.1 audio and, 148
aspects of mastering sessions, 5
CD-Text and, 139–140
checksums applied to, 144–145
client preview of, 135–136
as DDP files, 142–143
as enhanced CDs, 148
error checking and error levels, 140–142
international recording codes and, 138–139
in iTunes mastering, 147
lossy output, 146
media options for, 146–147
nonlossy output, 145
overview of, 135
pause length between tracks, 137–138
PQ sheets, 144–145
as premaster CDs, 140
quality control and standards, 136–137
revising, 136
ringtone mastering, 148
shipping, 143–144
track marker settings, 137
track offsets, 138
vinyl mastering, 143
write method options, 140
Ozone IRC III, 14
P
parallel compression, 39, 111–112
parametric equalizers, 83–84
passband filters, 87
passes, making adjustments during mastering sessions, 5
passive monitors, 28–29
patchbays
for mastering, 45–46
patching methods, 177–178
patching, 176–178
pause length, between tracks, 137–138
PCI (Peripheral Component Interface), 55
PCM (pulse-code modulation), 32
peak program meters (PPMs), 134
peaks
loudness, 124
manually reducing, 106
setting at –3dB, 13
units of measure, 202
peak-sensing compressors, 114
Peripheral Component Interface (PCI), 55
phase rotators, in broadcast processing, 193
playback systems, 48
Plextor, error checking with, 140–141
PluginAlliance Big4 Bundle, 8–9
plug-ins
for basic mastering, 8–9
compressors, 41
DAW conflicts, 157
emulation of, 93
equalizers, 37–38
software plug-ins vs. analog processing, 26–27
PMCDs. See premaster CDs
point-to-point wiring (daisy-chaining) patching method, 177–178
pops, noise reduction and, 129
potentiometers, for continuously variable controls, 26
Powell, Jeff
bio section on, 194
on premastering for vinyl, 194–197
PPMs (peak program meters), 134
PQ sheets
album and track info on, 5
final output and, 144–145
DDP vs., 142
media options for output, 5, 140, 146–147
replication vs. duplication, 150–151
processing
based on loudest passages, 124
for basic mastering, 7–10
comparing versions, 10–11
concurrent, 80
dealing with bad mixes, 97
dealing with harshness of digital sound, 103–104
destructive vs. nondestructive, 76
dynamics processing. See dynamics
processing
native processing, 27
raising levels prior to analog processing, 98
receiving/importing recordings, 22
reverb processing, 82
saving, copying, pasting configurations, 21
in stages, 80–81
techniques, 78–79
tools for, 5
using same character on all songs, 94
producers, working relationship with, 80
production stages, 1
pulse-code modulation (PCM), 32
punchy compression, 115
PWM (pulse-width modulation), 39–40, 118
Q
Q values, shelves and, 87–88
QRDs (quadratic residue diffusers), 58
quality control, 136–137
R
radio processing
AM and FM, 151
Cornelius Gould on optimizing audio for, 191–193
RAID (redundant array of independent disks), 154
rainbow books standards, 136
RAM (random access memory), 157–158
random access memory (RAM), 157–158
RAR file compression, 22
RCA connections, 53
rear diffusers, 60
receiving/importing recordings
analog recording, 20
attended/unattended sessions, 20–21
CRC and checksums for checking data integrity, 20
customer service and, 22
file compression and file transfer, 22
organizing digital files, 21
overview of, 19–20
processing, 22
requesting information from clients, 20
time requirement for editing, 22–23
reconstruction meters, 134
recording A/D converter, 33
recordings
loudness potential of, 121
receiving/importing. See receiving/importing recordings
sound quality in cars, 109
working with reference recordings, 77–78
recording/tracking stage of production, 1
Red Book
CD error levels, 141–142
output standards, 136–137
Red Book audio CD
exporting WAV file to CD, 12
output of mastering process, 5
redundant array of independent disks (RAID), 154
reference CDs, 135
reference level
acoustic environments and, 66
alternative selections, 71–72
consistency resulting from use of, 70
reference recording
minimizing delay between comparisons, 77–78
working with, 77
refractive index levels, CDs, 151–152
registry issues, 159
reproducing (pitching) D/A converter, 33
resonance
dealing with harshness of digital sound, 103
resonance processors, 96
resources
classes, 205
help in getting started, 165
offline resources, 204–205
online resources, 203–204
video, 205
restoration equipment, 44–45
reverb processing, 82
revisions. See adjustments/improvements
ringtone mastering, 148
RMS (root-mean-square)
analog compression and, 39–40
in broadcast processing, 193
monitor calibration, 68
types of compressors, 114
room dimensions, in acoustics, 61–62
room modes, in acoustics, 57
root-mean-square. See RMS (root-mean-square)
routers, for mastering, 45–46
RT60/RT30/RT20, acoustic targets for mastering rooms, 66
S
SACD (Super Audio Compact Disc), 146
sample rates
basic mastering and, 11
converters, 49
preparing mixes for mastering, 15–16
receiving/importing recordings, 19
technique for sample-rate conversion, 100
upsampling, 101–102
samples, 11
saturation
equipment for, 45
understanding, 92–93
saving work on DAWs, early and often, 154
Schmidt, Robin
bio section on, 169
on multiband compression and audio gear, 169–172
self-terminating digital devices, 35
sequencing songs, of albums, 129
serial compression, 116
serial limiters, 123
sessions
aspects of mastering sessions, 4–5
receiving/importing recordings and, 20–21
shedding, in tape deteriorization, 110
shelves. See also filters
Baxandall shelves, 89
Gerzon shelves, 89
Q values and, 87–88
when to use high shelf, 103
shipping final output, 143–144
shoulder frequency, in Baxandall shelves, 89
shuffling, mid-side processors and, 42
sibilance, 98
side-chain compression, 111–113
side-chain feature
adding warmth, 104
in compressors, 39
side channels, 90
side signal, 42
Slate Digital FGX, 14
smart phones, audio playback quality, 152
software plug-ins, vs. analog processing, 26–27
solid state drives (SSD), 155
solo modes, in seamless comparisons, 78
songs
premastering for vinyl, 195
processing song sections separately, 78–79
sequencing on albums, 129
spacing between, 127–128
using same character on all songs, 94
songwriting stage, of production, 1
sound cards, disabling onboard sound, 158
sound pressure-level (SPL) meter, 59–60
S/PDIF
audio interfaces, 34
connections, 53
wordclocks and, 35–36
speakers. See monitors (speakers)
spectral analyzers, for visualizations, 132–133
spectral dynamic processors, 97
spectral editing, noise reduction and, 130
SPL (sound pressure-level) meter, 59–60
spyware, 159–160
SSD (solid state drives), 155
startup costs, challenges facing new mastering studio, 163
startup settings, DAWs (digital audio workstations), 159
stems/stem mastering
preparing mixes for mastering, 14–15
technique for, 81
Stenekes, Pieter
bio section on, 185
on digital filters, 185–191
stepped controls
on mastering gear, 26
stepped monitor gain control, 70
stereo cables, 53
stereo interleaved, vs. multiple mono, 14
stereo processors, 43
sticky shed, in tape deteriorization, 110
storage, of digital files and tape, 149
streaming audio and video, over Internet, 152
studios. See mastering studios
subsonic frequencies, balancing, 84
subtractive equalization, 88
subwoofers
calibrating, 64–66
crossovers, 30
placement of, 64
types of, 31
sumdifference, M/S (mid-side) processors, 42
Super Audio Compact Disc (SACD), 146
surfaces, acoustics and, 60
sympathetic resonances, 59
T
tablets, hardware options for DAWs, 154
tape
harmonic distortion and, 181
mastering to, 16
mixing down to or mastering with, 109–110
receiving/importing analog recordings, 20
storage, 149
Task Manager, 155
Thunderbolt (Light Peak) connections, 54
time-domain problems, distortion and, 183
Tiny Telephone (Bantam/TT) connections, 54
tip-ring-sleeve (TRS) connectors, 53
tip-sleeve (TS) connectors, 53
tonality
characters and, 115
issues with basic mastering, 7
track-at-once, vs. DAO (disk-at-once) write method, 140
trackballs, input options for DAWs, 154
tracks
pause length between, 137–138
track marker settings, 137
track offsets, 138
T-Racks mastering plug-in package, 8–9
transformers, balancing inputs and outputs with, 178
translation
acoustic environments and, 66
goals of mastering, 1–2
transparent processors, 115
TRS (tip-ring-sleeve) connectors, 53
TS (tip-sleeve) connectors, 53
U
unattended sessions
vs. attended, 4
receiving/importing recordings and, 20–21
unlinked compression, 117
UPC (Universal Product Code), 138–139
upsampling, 101–102
upward expansion, 112. See also expansion
USB connections, 54
user account settings, 155–156
V
Variable mu compressors, 118
VCA (voltage controlled amplifiers), 39–40, 117–118
vectorscope, 133–134
Viitalähde, Jaakko
bio section on, 175
on connection and calibration of analog mastering chain, 175–180
vinyl
Jeff Powell on premastering for vinyl, 194–197
mastering for, 143
viruses, 159–160
visual media, differing and, 94
visualizations/metering. See meters
vocals
dealing with lack of clarity, 102
mastering with focus on, 107
vocalup mix, 108
voice biometrics, in forensic audio software, 52
voltage controlled amplifiers (VCA), 39–40, 117–118
volume automation, in dynamics processing, 116
Voxengo Elephant, 14
W
WAV (Waveform Audio File Format)
exporting to CD, 12
manufacturing CDs, 1
nonlossy output, 145
PCM (pulse-code modulation) and, 32
receiving/importing recordings, 19
waveforms, dealing with asymmetrical, 96
Waves Masters Bundle, 8–9
WDM (Windows Driver Model), 198–200
WinMD5, 20
wordclocks, 35
workflow, not letting DAWs dictate, 153
write method options, 140
X
XLR cables, 52
Z
ZIP
DDP files, 142
file compression types, 22