Complete Audio Mastering by Waddell, Gebre -- Read -- Imperial Library of Trantor

Index

Cover Complete Audio Mastering Copyright Page Dedication Contents Introduction Acknowledgments 1 Overview of Mastering and the Typical Session

Overview of Mastering

Goals of Mastering Role of the Mastering Engineer Choose an Engineer Based on Genre? Who Needs Mastering? Don’t Master Your Own Mixes Balance of Benefit and Sacrifice Creativity in Mastering Subtlety Mastering Is an Art

Typical Mastering Session

The Engineer Receiving Attended/Unattended Sessions Acoustics and Monitoring Passes Processing Final Output

2 Do-It-Yourself Guide for Basic Mastering

The Most Basic CD Mastering

Issues with Such a Basic Approach MP3 Encoding Without Other Processing

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

Maximum Peaks at –3 dB Mixing into a Limiter Requesting the Removal of Mixbus Processing Multiple Mono versus Stereo Interleaved Selecting Stem Mastering Allowing Time for Mastering Sample Rate Mastering to Tape Bass and “Air” Mix Problems

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

Saving/Copying/Pasting Processing Configurations Importance of Timeliness

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)

Ideal Monitors Passive versus Active Monitors Full-Range versus Midfield versus Near-Field Monitors Upgrading to 5.1 Crossovers General Placement Monitor Positioning

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

Compression Expansion Parallel Compression Side-Chain Selecting a Compressor Analog Compressors Plug-in Compressors Multiband Compressors

Maximizers/Limiting Stereo/Mid-Side Processors

What Is Mid-Side? Stereo Processors Analog M/S Converters Digital Stereo Processing

De-Essers

Analog De-essers Digital De-essers

Restoration and Noise Reduction Harmonic Enhancement and Saturation

Analog Digital

Routers/Patchbays Consoles Headphones Acoustic Environment Simulation for Headphones Digital Audio Workstation Software Playback Sources DDP Software Sample-Rate Converters

Software Hardware

5.1 Mastering Meters

Analog Digital

Mastering DSPs Combination Processors Metadata-Embedding Software Forensic Audio Software Connections and Cables

Analog XLR AES/EBU S/PDIF 1/4th, 1/8th, and Minijacks Multi-Pin Connectors RCA BNC Wordclock Bantam/TT ADAT Lightpipe USB FireWire Thunderbolt PCI/PCIe

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

Method A Method B Method C Method D Subwoofer Phase Excerpt from the Dolby 5.1-Channel Production Guidelines (the LFE Channel Is the Subwoofer)

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

Parametric Equalizer Controls Analog Equalizers Digital Equalizers: Minimum Phase Digital Equalizers: Linear Phase

Technique: Using a Graphic Equalizer Technique: Basic Frequency Balancing Using an Equalizer

Subsonic (~0 to ~25 Hz) Bass (~25 to ~120 Hz) Lower Midrange (~120 to ~350 to 400 Hz) Midrange (~350 to ~2,000 Hz/2 kHz) Upper Midrange (~2 to ~8 kHz) Highs (~8 to ~12kHz) “Air” (~12 kHz to the Limit of Hearing) Out-of-Band Noise Filters, Shelves, Bells, and Q Values Final Word

Technique: Order of Frequency Adjustment Technique: Substractive Equalization Technique: Using Less Common Equalizer Filters

Baxandall Shelves Gerzon Shelves Niveau/Tilt Filter

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

DDMF Metaplug-in/Mid-Side Plug-in iZotope Ozone Brainworx Mathew Lane’s DrMS

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

Dithering in the Visual Realm Audition Different Types Impact of Dither on the Sound Dithering Should Be Kept to a Minimum Dithering for Digital Processing

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

Addressing Resonances Raising the Lower Midrange or Bass Rolling Off the Highs Using a High Shelf Dynamic Equalization on Upper Midrange/Refinement Using a De-Esser Analog Processing with Tubes or Transformers Warming with a Compressor

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

16-, 24-, and 32-Bit Formats Digital Gain Staging Analog 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/Downward Compression Expansion/Upward Expansion Parallel Compression Side-Chain Compression Multiband Compression Limiting

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

Voltage-Controlled Amplifier (VCA) Opto/ELOP Variable Mu Field-Effect Transistor (FET) Pulse-Width Modulation (PWM)

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

Using 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

ITU-R BS.1770 EBU R128 ATSC A/85 CALM Act

10 Fades, Sequencing, and Spacing

Spacing Between Songs Performing Fades/Cross-Fades Fades During Mixing Stage Fades During Mastering Stage Performing Fades During Mastering Has Its Own Set of Benefits Sequencing an Album Noise Reduction

Denoise First Noise at Beginnings and Endings Learn Feature Noise/Hiss/Clicks/Pops Spectral Editing Careful Application

11 Visualizations/Metering

FFT/Fourier Using Spectral Analyzers Bit Meters Correlation Meters Vectorscope Reconstruction Meters Meter Action/Speed

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

DDP versus Premaster CD Zipping/Archiving the DDP BIN/CUE (An Alternative to DDP) Other DDP Alternatives Drawbacks to DDP Alternatives

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?

Storage and Returns Database Submission All-Music Credits Replication versus Duplication Eclipse Systems Disc Life Radio and Broadcast Processing Car Stereo CD Refractive Index Clubs Growing Home Theater 5.1 Systems Internet/Streaming/Format Conversions Smart Phone/MP3 Player/Computer Playback

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

Entrenched Competitors Do-It-Yourself (DIY) Mastering Customer-Service Challenges False Advertising and Scams Album Sales at All-Time Low Nonscalable Low Growth Rate High Startup Cost No Points Limited Scope Legal Disclaimers/Limited Liability

Benefits of Starting a Mastering Studio

Talent in Practice Marketing Without Limitation Surge of Independent Artists Shorter Projects Less Band Politics Local Attended Sessions Being a Sole Proprietor

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

Opportunities for Audio Forensics Consider Related Fields

16 Contributions

On Analog Multiband Compression and Audio Gear The Case for Full-Range Monitoring

What Is That? But What About the Consumer? What Are My Goals in Monitoring?

Connection and Calibration of an Analog Mastering Chain

Prologue Building Up a Chain Patching Methods Installation, Calibration, and Operating Levels Closing Words

Distortions and Coloring

Introduction Distortions as Color Nonlinear Time Domain Coloring

Mid-Side Processing Digital Filtering

What Is a Filter? Digital Signal Processing Filter Types Design and Implementation Conclusion

Optimizing Audio for Radio Premastering for Vinyl Cutting

What If the Songs Will Not Fit? Processing for Master Lacquer Cutting the Master Lacquer

ASIO versus WDM

History and Implementation Sonic Differences Zero-Latency Monitoring

A Decibel Units of Measure B Mastering Resources and References

Online Resources Offline Resources Print Video Classes

Index

← Prev
Back
Next →

← Prev
Back
Next →