Practical Mastering: A Guide to Mastering in the Modern Studio

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