Mastering in music / edited by John-Paul Braddock [and four others].

Format:

Book

Contributor:

Braddock, John-Paul, editor.

Language:

English

Subjects (All):

Mastering (Sound recordings).

Physical Description:

1 online resource (ix, 302 pages) : illustrations

Edition:

1st ed.

Place of Publication:

London ; New York, New York : Routledge, [2021]

Summary:

"Mastering in Music is a cutting-edge edited collection that offers twenty perspectives on the contexts and process of mastering. This book collects the perspectives of both academics and professionals to discuss recent developments in the field, such as mastering for VR and high resolution mastering, alongside crucial perspectives on fundamental skills, such as the business of mastering, equipment design and audio processing. Including a range of detailed case studies and interviews, Mastering in Music offers a comprehensive overview of the foremost hot topics affecting the industry, making it key reading for students and professionals engaged in music production"-- Provided by publisher.

Contents:

Intro

Half Title

Series Page

Title Page

Copyright Page

Contents

Preface

Reference

Part One: Mastering: practice

1. The creative mastering studio

Introduction

The creative mastering studio

Conclusion

References

2. Surround + immersive mastering

A brief history of surround and immersive audio

Why immersive audio?

Audio formats

Carrier and distribution formats

Digital audio workstations

Room setup and calibration

Mastering

Mastering for discrete formats

Mastering for object-based formats

Mastering for ambisonic formats

Mastering for multiple formats

Deliverables

Deliverables for discrete formats

Deliverables for object-based formats

Deliverables for ambisonic formats

Quality control and client approval

Getting into immersive audio

Final thoughts

With gratitude

3. Towards a definition of compression glue in mastering

Background and related work

Qualitative methods

Defining gel/glue-initial stages

Discourse analysis

Reasons to use compression and compressor types

Web scraping

Delphi Method

Delphi survey stage one

Delphi survey stage two

Delphi survey stage three

Delphi survey final definition

4. Engineering authenticity: The Aesthetics of DSP Modelling in Mastering Plugins

Background

Engineering authenticity: Waves Abbey Road TG Mastering Chain

Engineering authenticity: technology determinism and human agency

5. Mastering for streaming: Exploring a new levelling standard

Analysis and findings

Analysis of streaming platforms

Industry professionals

Relevance of the traditional and the new

Creative practice

Conclusions of practice and research.

Framework

Discography

6. Mastering audio analysis: Teaching the art of listening

About the author

Foreword

In education

Establishing listening principles

Learning to level

Audio referencing

Listening for overview

The problem with visuals

Hearing transients

Back to recording

Loudness and Limiting

Part Two: Mastering: music and people

7. Interview with Darcy Proper

Background and career

Mastering approach

Surround mastering

Remastering

Educating on audio mastering

8. 'Past' masters, present beats: Exponential sound staging as sample-based (re)mastering in contemporary hip hop practice

Staging literature and hip hop sonics

(Illustrating) Sample-staging in discography

Width, height, and media-based staging

Depth/proximity

(Constructing) Sample-staging increative practice

The autonomous sonic object

The multitrack sonic object

Exponential staging in sample-creating-based hip hop practice

9. Remastering Sunnyboys

Remastering definition

Cultural heritage

Methods

Digital audio analysis

Listening comparison

Note

10. Mastering success: A roundtable discussion with early to mid-career mastering engineers

The questions

Participants

Questions

How did you get into audio, and was mastering your first work in the field?

If not, how did you come to know mastering existed and how did you fall into it?

Would you describe yourself as self-taught, or has some form of 'teaching/mentoring/apprenticeship' been at the heart of some of your training?

What are you views of the perceived routes to becoming a mastering engineer?.

If you're self-taught, how have you trained yourself? Has it been organic figuring stuff out, or internet or other methods I've not listed?

What do you think you've missed out on within a apprenticeship or higher education context? One example might be the passing down of vinyl cutting for example

What do you think are the advantages of being self-taught, if there are any?

If you were asked to write a higher education course in mastering what would it include?

What do you see as the future of audio mastering and how you might advise those coming up in the field?

11. Peak-Fi: Have we reached the ultimate reproduction standards needed to make humans happy?

In the olden days

And then it all went wrong

Analog consoles

NE5534s

Digital and the Media

Selling Crookwood gear

Summary

Heresy

The case for the prosecution, So what's the problem with audio quality per se?

What do we know

How to win friends and influence people

Condition #1 - audio level intensity

Condition #2: - clicks and gaps

Condition #3 - listening environment

Condition #4 - What we see

Condition #5 - What we know

Condition #6 - what others think

Getting it right

Selling our wares

I know, let's release Hi-res audio. Again

Bit depth

Sample rates

But I can hear it/the public want it

Where do we go from here?

A return to CD quality

Love your hardware

Niches for everybody

Experiences

More audio design engineers

It's in the air tonight

Back to school

Monitoring

This is the end

Part Three: Mastering: future

12. The shifting discourse on audio mastering

Introduction: what is mastering?

Studying mastering as discourse

AI and creativity

Technology, anxiety, and reputation

Methodology

Data analysis.

Sociodemographic data and labour situation

Attitude towards technology and AI

Social capital, reputation, and the functions of mastering

Conclusions: mastering as a synthesis of technical, aesthetic, and social aspects

13. Loudness - the sales gimmick

14. Audio mastering facing automation: The embracement of the human

A brief history of mastering

Music and technology: an overview

Labour and aesthetics

Findings: mitigation strategies

Informal networks in creative infrastructure

Visceral praxis and the human edge

15. Transformations and continuities in the mastering sector

Transformations and continuities

Tech colonies

'Replacing' the engineer

'One Click Fits All': targeting the new amateurs

The real and perceived threats

16. Mastering in music: A conference, a discussion, and a 'what-if' - a manifesto for an encapsulated audio delivery format

Caveat

A conference

A discussion

Loudness aside

Stresses and strains

A dream

Delivering the dream

Specifications

Benefit analysis

Sleepwalking

17. Signature mastering: New sound aesthetics in post-production and the new role of mastering

Sounds heard on vinyl are changing

The changing self-conception of the mastering engineer

Case studies

From the club to the 'museum of club sounds' on vinyl

Sound research - point of view and starting points

Research on mastering: new attention for a neglected discipline

First conclusions

Case 1: Rashad Becker, Dubplates &amp

Mastering, Berlin &amp

Clunk, Berlin

Case 2: Matt Colton, METROPOLIS Mastering, London

Case 3: Taylor Deupree, 12k Mastering, New York

A history of pop music as sound history?.

More conclusions

Final conclusions - the vinyl record as a museum of club sounds

Index.

Notes:

Description based on print version record.

ISBN:

0-429-27659-1

1-000-28146-9

1-000-28142-6

9780429276590

OCLC:

1229166114