内容

目次

Introduction Background Snapshot Who Am I, How Did I Get into Mastering? B. What Defines a Master? C. What is Mastering? 1. Why is it Mission Critical in the Audio Production Process? 2. The Skills, Habits and Tools of This Discipline D. This Book Will Study Evren’s Major Label Mastering Process PART ONE–The Qualities and Key Functions of a Mastering Engineer Chapter 1: The Mastering Engineer Key Qualities to Develop Bean Audiophile Expert at Critical Listening Being a Musician is a Bonus Expert at Frequency to Instrument Relationships Knowledgeable About Equipment Components/Electronics Expert at Differences in Music Genre Personable/Entrepreneurial Master of the Tools and Techniques of the Trade Expert at Recording and Mixing Understand Sampling Theorem Understand (Analog vs. Digital) Processing Domains Key Understandings to Possess a. Sampling Theorem! b. Digital Signal Processing (DSP) c. Analog vs. Digital Considerations Chapter 2: Our Main Concern: The Listening Experience A. The Wizard(s) Behind the Music B. A Sonic Journey 3 Chapter 3: The Mastering Studio A. Critical Listening Environment(s) B. Key Room Components 1. Speakers 2. Amplifiers 3. The Room 4. Monitor Section 5. Signal Path 6. Console Considerations 7. Connections/Cabling 8. Clocking C. Anatomy of a Mastering Studio 1. How Does Audio Travel Through The System? 2. Block Diagram Chapter 4: Fundamental Mastering Tools A. AD/DA(s) B. EQ(s) C. Compressor(s) D. Brick Wall Limiter(s) E. DAW(s) F. What Time is It? (Clocks and Clocking) G. Hardware and Software [plug--‐ins] Chapter 5: Foundations of Mastering A. The Flat Transfer B. The Assembly C. Quality Control (QC) PART II –Setup/Preparing to Master (Kick the Tires of The Mix) Chapter 6: Step I: Objective Assessment of Source Mix A Summary of Sampling Theorem Sampling Frequency Bit Depth Peak/RMS DFS Levels VU Meter Level File Type Waveform Inspection Chapter 7: The Target Levels of Modern Mastered Audio Where are you going? (Destination) Musical Genre Specific Considerations Purpose (Downstream) Considerations Chapter 8: Step II: Subjective Assessment of Source Mix A. Heart of the Discipline--‐Where Effective Critical Listening is Essential B. What Determines Good Fidelity? C. Listening Experience 1. The Sonic Payoff 2. Image Quality/Integrity 3. Instrument Balances 4. Frequency Balances 5. Frequency Extension 6. Clarity 7. Definition 8. Distortion/Artifacts 9. Impact D. Summary: Congratulations – we now know where we’re starting, where we’re going, and what we will affect along the way. PART III –The Mastering Process - ­Macro Considerations Chapter 9: The Game Plan A. Gain (How Much/Gain Structure) B. Signal Path C. Decide on Mastered SF and BD D. Monitoring Points in the Signal Path E. Verify L/R Integrity (Analog Chain) F. A/B with Flat Source to Honor Mix Decisions G. Be Conscious of Target Levels H. Work Priorities 1. Gain Structure 2. Compression 3. EQ (LF First) 4. Advanced Enhancements I. The Critical First Mix to Master a. Begin with the Best Sounding Mix (engineer, studio quality) b. The Most Instrumentation c. Organize the Mixes J. The Rhythm of the Mastering Process a. Repeat: Objective assessment, Subjective assessment, Gain/Limiting, compression, EQ, Advanced Enhancements. b. A/with flat mix, and all previous mastered mixes. c. Monitoring Sequence (Alternate speakers, headphones, etc.) Chapter 10: Assembly–Links in a Chain A. Verify you’ve matched impact, level, frequency balances and particularly vocal level. B. Of secondary consideration: Image and Fidelity. C. Conceptualize The collection of songs as a cohesive work, so that if you set your volume and listen top to bottom, you would not reach for the volume or EQ knobs, and the songs would flow from one to the other with no jarring quiet introductions, no distracting artifacts, and EQ balances would primarily match song to song; much like links in a chain. D. Edit tops, tails, and set spacing between songs E. Enter Metadata Chapter 11: Generate the Master A. Select Format 1. PMCD 2. DDP 3. Digital File 4. Files for Vinyl B. Dither/Render/Burn C. Quality Control D. Delivery Chapter 12: Can We Talk? Before Beginning a Mastering Project Dialogue with the client (artist, engineer, producer, label) 1.Genre Specific Considerations (Listening Experience) 2. Source considerations (Mix & File evaluation) a. How was the project recorded and mixed? 3. Organize the mixes! a. By mixer b. By Tempo c. By Instrumentation 4. Setup and Implement Your A/B Monitoring Systems Chapter 13: The Inner Game – What are You Thinking? Mastering is either effective at enhancing the listening experience, genre appropriate, and well executed, or it isn’t! 1.Psychoacoustics B. Lead the Listener C. Bea Meticulous Perfectionist 1. Develop Good Work Habits a. System for Notes b. Listen to both the client and the music c. If there is a problem, re-do the mastering D. Be Alert 1. Catch Inconsistencies/Problems in the Audio 2. Triple Check Clocks, Connections, Levels, etc. E. Provide Value, Solve Problems, Build your Reputation Chapter 14: Evren’s Life Saving Mastering Secrets A. Oscillator Sweep your Analog Chain B. Do a Frequency Analysis of the Mastered Audio C. When ‘in‐the‐box’ is your Friend D. Reject a Sub‐Par Mix E. What If Your Client is Cray-Cray? F. Good Mastering Habits Will Save You PART IV–The Mastering Process – Micro Considerations Chapter 15: General Guidelines for Processing Audio A. Select Converters and Signal Path 1.EquipmentSequencingConsiderations a. EQ before compression to affect compressor response b. EQ after compressor for more pure EQ response B. Target Level First C. Dynamics Next D. EQ Adjustments Last and Lo frequencies first F. Parallel Gain structure from Mix to Mastered Audio Chapter 16: Basic Mastering Chain Tools A. Gain B. Compression C. Equalization D. Brickwal(Peak)Limiting Chapter 17: Advanced Mastering Chain Tools A. Multi band Compression/Limiting B. Saturation C. Parallel Compression D. Parallel EQ E. Mid–Side Processing F. Hybrid Domain Mastering (Both Digital and Analog) G. Analog Tape and Modern Mastering Chapter 18: Mid­Side – An Elixir of Mastering Hope A. Alan Blumlein/History & Origins B. Encoding C. De‐coding D. DAW Setup E. Practical Applications Chapter 19: In­The­Box Considerations A. No Need for DA or AD in Channel Path B. Quick Recall/Adjustments C. Less of a ‘mastering footprint’ D. Depth and Dimensional it may be Compromised Chapter 20: Out Damn Spot! De-noising Audio A. EQ B. Sonic Solutions C. Cedar D. On–Board your DAW E. Izotope RX Chapter 21: Conclusions/Summary Chapter 22: Interviews A. Capitol Archive Engineers (David McEowen or Perry Cunningham) B. Custom Equipment (Ian Sefchick or Tom Schlum) C. Converters and High Definition Audio (Daniel Lavry) D. On Cutting Vinyl (Pete Lyman/ Kevin Gray/ Chris Bellman) Appendix I: Mastering at A Major Label Studio the Fundamental Skills/ Competencies of a Mastering Engineer Appendix II: Mastering Tips, Tricks and Pitfalls to Avoid Appendix III: Common Mastering Terms Appendix 4: Self–Quizzes.