Practical Mastering: A Guide to Mastering in the Modern Studio

Description

Cover Half-Title Title Page Copyright Page Table of Contents About the Authors Dedication Acknowledgments Chapter 1 Introduction 1.1 An Introduction to Mastering 1.2 The Role of this Book 1.3 Can I Master in [Insert Your DAW Name Here]? Knowledgebase 1.4 The History and Development of Mastering 1.5 The Early Days 1.6 Cutting and the Need for Control 1.7 Creative Mastering 1.8 The CD Age Chapter 2 Mastering Tools 2.1 Introduction 2.2 The Digital Audio Workstation (DAW) 2.3 A/D and D/A Converters and the Importance of Detail 2.4 Monitoring 2.5 Mastering Consoles A – Series of Input Sources B – Input and Output Level Controls C – Signal Processing – Including Cut Filters, M/S and Stereo Adjustment D – Switchable Insert Processing E – Monitoring Sources 2.6 Project Studio Mastering 2.7 Project Studio Mastering Software Apple WaveBurner SoundBlade LE Steinberg Wavelab 2.8 Mastering Plug-Ins iZotope Ozone Universal Audio Precision Series IK Multimedia T-RackS 3 Waves L-316 2.9 An Introduction to M/S Processing 2.10 M/S Tools Using Stereo Plug-Ins in M/S Format Dedicated M/S Plug-Ins 2.11 Essential Improvements for Project Studio Mastering Acoustic Treatment Monitoring Conversion Chapter 3 Mastering Objectives 3.1 Introductory Concepts 3.2 Flow 3.3 Shaping 3.4 Listening Listening Interface and Quality Benchmark Knowledgebase Listening Subjectivity Versus Objectivity Holistic, Micro and Macro Foci in Listening Listening Switches 3.5 Confidence 3.6 Making an Assessment and Planning Action 3.7 Assessing Frequency 3.8 Assessing Dynamics 3.9 Assessing Stereo Width 3.10 Assessing Perceived Quality 3.11 The Mastering Process 3.12 Capture 3.13 Processing 3.14 Sequencing 3.15 Delivery Chapter 4 Controlling Dynamics 4.1 Introduction 4.2 Basics of Compression Threshold Ratio Attack and Release 'Auto’ Settings Knee Gain Makeup Beyond the Basics 4.3 Types of Compressor Optical Variable-MU FET VCA 4.4 Compression Techniques Gentle Mastering Compression Over-Easy Heavy Compression Peak Slicing Glue Classical Parallel Compression New York Parallel Compression Multiple Stages 4.5 Using Side-Chain Filtering 4.6 From Broadband to Multiband 4.7 Setting Up a Multiband Compressor Step 1: Setting the Crossover Points and the Amount of Bands Step 2: Apply Compression on all Bands to See What Happens Step 3: Controlling Bass Step 4: Controlling Highs Step 5: Controlling Mids Step 6: Gain Makeup 4.8 Compression in the M/S Dimension Compressing the Mid Signal Compressing the Sides of the Mix 4.9 Other Dynamic Tools – Expansion Downwards Expansion Upwards Expansion Chapter 5 Refining Timbre 5.1 An Introduction to Timbre 5.2 Decoding Frequency Problems Broad Colours – the Balance of LF, MF and HF Balance of Instruments Unwanted Resonances Technical Problems 5.3 Notions of Balance – Every Action Having an Equal and Opposite Reaction 5.4 Types of Equalizer Shelving Equalization Parametric Equalization Filtering Graphic Equalization Phase-Linear Equalizers Non-Symmetrical EQ 5.5 A Journey Through the Audio Spectrum 10–60 Hertz – the Subsonic Region 60–150 Hz – the ‘Root Notes’ of Bass 200–500 Hz – Low Mids 500 Hz–1 kHz – Mids: Tone 2–6 khz – Hi Mids: Bite, Definition and the Beginning of Treble 7–12 kHz – Treble 12–20 kHz – Air 5.6 Strategies For Equalization High-Pass Filtering Using Shelving Equalization Understanding the Curve of EQ Combined Boost and Attenuation Controlled Mids Using Parametric EQ Cut Narrow, Boost Wide Fundamental v. Second Harmonic Removing Sibilance 5.7 Selective Equalization – the Left/Right and M/S Dimension Equalizing the Side Channel Equalizing the Mid Channel 5.8 Subtle Colouration Tools Non-Linearity The ‘Sound’ of Components Phase Shifts Converters 5.9 Extreme Colour – the Multiband Compressor 5.10 Exciters and Enhancers Aphex Aural Exciter Waves Maxx Bass Chapter 6 Creating and Managing Loudness 6.1 Introduction: A Lust for Loudness 6.2 Dynamic Range in the Real World 6.3 All Things Equal? The Principles of Loudness Perception 6.4 Loudness, Duration and Transients 6.5 Loudness and Frequency 6.6 The Excitement Theory 6.7 The law of Diminishing Returns 6.8 Practical loudness Part 1: What You can do Before Mastering Simple, Strong Productions Always Master Louder Don’t Kill the Dynamics – Shape them! Understand the Power of Mono Control Your Bass 6.9 Practical Loudness Part 2: Controlling Dynamics Before You Limit them Classic Mastering Mistakes No. 1: The ‘Over-Limited’ Chorus Moderating the Overall Song Dynamic Moderating Transients With Analogue Peak Limiting Controlling the Frequency Balance With Multiband Compression 6.10 Practical Loudness Part 3: Equalizing for Loudness Rolling Off the Sub The ‘Smiling’ EQ Controlling Excessive Mids Harmonic Balancing 6.11 Practical Loudness Part 4: Stereo Width and Loudness Compress the Mid Channel Attenuate Bass in the Side Channel 6.12 Practical Loudness Part 5: The brick-Wall Limiter How Much Limiting can I Add? Knowledgebase Setting the Output Levels Multiband Limiting 6.13 The Secret Tools of Loudness – Inflation, Excitement and Distortion Sonnox Inflator Slate Digital Virtual Tape Machines Universal Audio Precision Maximizer Chapter 7 Controlling Width and Depth 7.1 Introduction 7.2 Width 7.3 Surround or No Surround? That is the Question Surround-Sound Formats and Current Mastering Practices 7.4 Stereo width 7.5 Phase 7.6 M/S Manipulation for Width 7.7 Other Techniques for Width 7.8 Depth 7.9 Mastering Reverb Chapter 8 Crafting a Product 8.1 Introduction 8.2 Sequencing 8.3 Topping and Tailing 8.4 Gaps Between Tracks and ‘Sonic Memory’ 8.5 Fades on Tracks 8.6 Types of Fades 8.7 Segues 8.8 Level Automation Knowledgebase 8.9 Other Automation and Snapshots 8.10 Stem Mastering 8.11 Markers, Track iDs and Finishing the Audio Product 8.12 Hidden Tracks Chapter 9 Delivering a Product 9.1 Introduction 9.2 Preparation 9.3 International Standard Recording Code (ISRC) Knowledgebase 9.4 The PQ Sheet 9.5 Barcodes (UPC/Ean) 9.6 Catalog Numbers 9.7 Other Encoded Information 9.8 CD-Text 9.9 Pre-Emphasis 9.10 SCMS 9.11 Delivery File Formats 9.12 DDPi and MD5 Checksums 9.13 CDA as Master? Duplication v. Replication 9.14 Mastering for MP3 and AAC 9.15 Delivery 9.16 Final Checks Chapter 10 DAW Workflow 10.1 Introduction 10.2 Method 1: Track-Based Mastering in a Conventional DAW Importing Audio Songs to Tracks Instantiating Mastering Plug-Ins Rendering Pre-Master Files and Applying Fades Final Delivery 10.3 Method 2: Stereo Buss Mastering in an Unconventional DAW MClass Equalizer MClass Compressor MClass Stereo Imager MClass Maximizer A Word of Caution Chapter 11 Conclusions 11.1 The Art of Mastering 11.2 Technology as a Conduit 11.3 Head and Heart 11.4 An Evolving Art Form Index