Practical Mastering: A Guide to Mastering in the Modern Studio

✍ Scribed by Mark Cousins; Russ Hepworth-Sawyer

• Publisher: Focal Press
• Year: 2013
• Tongue: English
• Leaves: 261
• Category: Library

✦ Table of Contents

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