MITB Mastering in the box English version

Name: MITB Mastering in the box English version
SKU: CT9824
Price: 49.00 EUR
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Concepts and applications for audio mastering
Theory and practice on Wavelab Pro 10

€ 49.00

Marco Massimi

MITB Mastering in the Box

Concepts and applications for audio mastering – Theory and practice on Wavelab Pro 10

ISBN-13: 978-88-99212-18-6
Paperback: 550 pages + companion page
Publication Date: 19/10/2020
Language: English

View the demo version of the book in .pdf format

This book deals with digital sound processing for audio mastering, entirely inside a computer, ITB, In the Box. ITB mode has been chosen for various reasons. The computing power of today’s computers allows a high level of accuracy and calculation. These computers are now within anyone’s reach; such a text may help the reader make things that only a few mastering studios, provided with expensive equipment, could have done before. Nowadays, a home studio can produce good masters. If we consider the parameters and take the precautions to avoid degrading the numeric signal, our master can compete, quality speaking, with any commercial product.
Do not be astonished if you find a copy of this book in a mastering studio, however. The purpose of this book is to analyze and experiment with the various elements of this post-production stage. The reader has the tools to analyze the sonic content and make the right choices for the signal processing within a DAW Digital Audio Workstation.

INDEX

Foreword by Steve Lyon
Introduction

Chapter 1
PRODUCTION, BACKGROUND HISTORY AND DEFINITION OF MASTERING

Music production chain
Direct to disc on wax and Bakelite discs
Vinyl
Transfer
Mastering
Why master a song?
Playback system

Chapter 2
TYPES OF PROCESSING

Spectral processing
Dynamics processing
Time-based dynamics processing
Spatial processing
Noise reduction

Capitolo 3
METERING

dBSPL
dBu
dBm
dBFS
Peak meter
VU meter
Integration time
RMS meter
AES17 scale
KS scale
EBU 128 scale
LUFS

Chapter 4
SIGNAL ANALYSIS

Acquiring from analog support
Acquiring from digital support
Arranging project and folders
Sample rate and bit depth analysis
Floating-point calculations
Stereo balance
Detecting DC offset
Detecting inter-sample distortion
Level, volume and dynamic range
Crest factor
Spectrum analysis
3D FFT analysis

Chapter 5
SIGNAL FILTERING, DC OFFSET REMOVAL AND TIMBRAL CHANGES

DC offset causes
Removal through an inverted voltage
Removal through filtering
Equalizers in mastering
High-pass filter
Low-pass filter
Shelving filter
Band-pass filter
Band-rejection filter
Peaking filter
Constant-Q peaking filter
All-pass filter
Equalizers
Master section
MasterRig plugin

Chapter 6
SPATIAL PROCESSING

Analyzing balance and phase correlation
Stereo image width
M/S spatial processing
Mastering reverbs
Spatial equalization

Chapter 7
DYNAMICS PROCESSING

Downward processors
Downward compressor
Types of downward compressors
Limiter
Downward expander
Noise gate
Ducker
Upward processors
Upward compressor
Upward expander
Multiband processors: dynamic equalization
Parallel processing
Transient designers and time-dependent processing

Chapter 8
DISTORTION AND SATURATION

Distortion
Saturation
Harmonic distortion
Multiband distortion

Chapter 9
NOISE REDUCTION

Dynamic noise reduction
Spectral noise reduction
Off-line spectral editing

Chapter 10
M/S MASTERING

Serial M/S processing
Mastering for vinyl
Parallel M/S processing

Chapter 11
STEM MASTERING

Mixing vs mastering
Acquiring and arranging material
Setting up a stem project

Chapter 12
SURROUND MASTERING

Multichannel bus
Preserving global spatialization
Multichannel phase meter
Multichannel dynamics processing
Multichannel plugins

Chapter 13
DITHER

Bit depth reduction
Adding noise
Noise filtering, noise shaping
Noise level

Chapter 14
AUTHORING

Vinyl
Constant angular velocity
RIAA curve
CD
Why 44.100Hz?
Why 48kHz for video?
Constant linear velocity
SPDIF

Chapter 15
RED BOOK

CD structure
Tracks
Sub-indices
P and Q sub-codes
Bonus tracks
Ghost tracks
Emphasis
SCMS
ISRC
UPC EAN
CD TEXT
Metadata
PMCD
CD-EXTRA
DDP

Chapter 16
MASTERING FOR STREAMING SERVICES AND COMPRESSED FILE FORMATS

Mp3265
AAC
Ogg
Flac
iTunes
Soundcloud
Spotify
Youtube

Reference texts
Subject index

PREREQUISITES

This book alternates between theory and practice on a computer, which is supposed to be studied in close connection. Users with different levels of knowledge can read this text. The following is the minimum level required for those who start studying MITB: a basic proficiency with a computer (how to save, copy and erase a file); being comfortable with terms such as preamplifier, amplifier, mixer, speakers. Each theoretical section needs to be studied in conjunction with its corresponding practical section, including each computer exercise. You can study this tome either by yourself or under the guidance of a teacher.

FOREWORD

by Steve Lyon

I can’t recall over my various years of being a recording engineer and producer how many times I’ve faced the same question, what is Mastering, and is it required? You would think the answers would be quite obvious and easy, however, as we all know that not really how the conversation ends.
Over the years, the changes are well documented and evident as to our listing habits, from good old Vinyl to streaming with new software in particular ready to assault our ears. The technical requirements have required new solutions to challenges still being fought between the various “platforms” and different mediums. However, the basic outcome across all these are the same, and we just want the music to sound good.
That might seem a little simple in its analysis, but it’s so true. You don’t need to be a technical wizard to enjoy music or to have an opinion on the Genre, it’s content, or it’s sound but to those of us battling to get music heard, develop artists and create something new, reliance on experience, our own or especially on others who work in other avenue’s within music has always been essential.
I have great memories of Mastering in various studios around Europe, especially in the UK and NYC. It would take too long to recall them here, but I absorbed as such as possible from the wildly eccentric engineers to the fanatically technical, appreciating that these personalities had it all within their grasp to make sure the tracks I had brought in the door on tape or digital formats would sound great.
Those possibilities to learn and trust from those experiences are sadly limited now, but the desire to find out more about certain issues is still there, especially the mysteries of mastering. Digital requirements are evolving, Vinyl Mastering is making a reassurance, all good, but where can I find a reference to a vast array of questions and endless curiosity, technical or otherwise? Well, you have it in hand laid out in diagrams and formulas for the technical, discussions, and advice for the curious and a wealth of ideas and insight into what is now generally called “in the box.”
Personal taste and feelings are as important if not better regarded than rules and tech jargon, but wouldn’t it be nice to be assured that you can access all of these in one place.

SUPPORT

Where can I find the “MITB Mastering in the box” support page?

Please check the book introduction: the URL address is reported several times.
Please note that you should type the address exactly as you see it on the book. Don’t use google, type it directly on the browser address bar.