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Practical Mastering A Guide to Mastering in the Modern Studio In short, it’s your last chance to get it right! Mastering is an essential part of the recording process, giving your tracks punch, loudness, and clarity. You’ve recorded and mixed the perfect song, but now it’s time to transform your music from a raw two-track final mix into a professional, release-quality master.
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He currently writes for Music Tech magazine and has contributed to Pro Sound News Europe and Sound On Sound, and has written many titles for Focal Press. Russ currently lectures part-time for York St John University and has taught extensively at institutions including Leeds College of Music, London College of Music and Rose Bruford College. Through MOTTOsound (Russ works as a mastering engineer, writer and consultant.
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Russ Hepworth-Sawyer is a sound engineer and producer with two decades’ experience and is a member of the Association of Professional Recording Services a fellow of the Institute for Learning (UK) and a board member of the Music Producer’s Guild, whose Mastering Group he helped form. His music has been used in advertising campaigns for brands such as Strongbow, McDonald’s, Stella Artois, Hershey’s and Lipton, and on hit shows like The Apprentice, Top Gear and CSI:NY.Ī Guide to Mastering in the Modern Studio His professional work involves composing music for some of the world’s largest production music companies, including Universal Publishing Production Music.
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Taking a hands-on approach to the mastering process, Practical Mastering shows you how to create a polished, professional sound with the tools already at your disposal. Rendering Pre-Master Files and Applying Fadesġ0.3 Method 2: Stereo Buss Mastering in an Unconventional DAW
Replicationġ0.2 Method 1: Track-Based Mastering in a Conventional DAW
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Surround-Sound Formats and Current Mastering PracticesĨ.4 Gaps Between Tracks and ‘Sonic Memory’Ĩ.11 Markers, Track iDs and Finishing the Audio Productĩ.3 International Standard Recording Code (ISRC)ĩ.13 CDA as Master? Duplication v. Moderating Transients With Analogue Peak LimitingĬontrolling the Frequency Balance With Multiband CompressionĦ.10 Practical Loudness Part 3: Equalizing for LoudnessĦ.11 Practical Loudness Part 4: Stereo Width and LoudnessĦ.12 Practical Loudness Part 5: The brick-Wall LimiterĦ.13 The Secret Tools of Loudness – Inflation, Excitement and Distortionħ.3 Surround or No Surround? That is the Question
Simple, Strong Productions Always Master LouderĦ.9 Practical Loudness Part 2: Controlling Dynamics Before You Limit themĬlassic Mastering Mistakes No. Step 2: Apply Compression on all Bands to See What Happensīroad Colours – the Balance of LF, MF and HFĥ.3 Notions of Balance – Every Action Having an Equal and Opposite ReactionĢ–6 khz – Hi Mids: Bite, Definition and the Beginning of Trebleĥ.7 Selective Equalization – the Left/Right and M/S Dimensionĥ.9 Extreme Colour – the Multiband CompressorĦ.3 All Things Equal? The Principles of Loudness PerceptionĦ.8 Practical loudness Part 1: What You can do Before Mastering Step 1: Setting the Crossover Points and the Amount of Bands Holistic, Micro and Macro Foci in Listeningģ.6 Making an Assessment and Planning Action Listening Subjectivity Versus Objectivity Listening Interface and Quality Benchmark 1.3 Can I Master in ?ġ.4 The History and Development of MasteringĢ.3 A/D and D/A Converters and the Importance of DetailĬ – Signal Processing – Including Cut Filters, M/S and Stereo AdjustmentĢ.11 Essential Improvements for Project Studio Mastering