Appendix2 The Tower of Babel-Audio File Formats. . Itell them that the first piece of equipmentthey should download is Bob Katz's MasteringAudio, The Art and the . Science. .. advance ifmakinganything other than version 1.o, PQ at head. Bob Katz - Mastering Audio - Ebook download as PDF File .pdf) or view presentation slides online Audio Measurement Handbook, 2nd ed, , Bob Metzler. Mastering Audio, Third Edition: The Art and the Science [Bob Katz] on ISBN ISBN . Bob, you did a great job with the 2nd edition.
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One of the most famous mastering engineers in the world has written the definitive Bob Katz Mastering Audio book artwork. .. (ISBN ) £ Bevaka Mastering Audio: The Art & The Science, 2nd Edition så får du ett mejl när boken går att Antal komponenter: 1; ISBN: av Bob Katz. inom vardagar. Köp Mastering Audio av Bob Katz på raudone.info x 25 mm; Vikt. g. Antal komponenter: 1; Komponenter:; ISBN:
Chapter eight launches into the 'dark art' of equalisation and the whole question of what constitutes a good tonal balance. There is also technical information about different kinds of equalisers, the functions of their controls, and the strengths and weaknesses of each of these devices in the context of mastering.
The obvious next step from EQ is dynamic control, and this is the subject of chapter nine. Katz divides the subject into two: macrodynamics — the loudness differences between different sections of a song — and microdynamics — the rhythmical dynamic changes throughout a song.
He goes on to explain the four different categories of dynamic processing before describing the benefits of manual dynamic control and the techniques involved. The next two chapters discuss automatic dynamic control in great detail, starting with the downward processors — compression and limiting. Single and multi-band devices are considered, along with the effects and uses of each of the generic controls, and some sage advice about how to avoid making 'hypercompressed' recordings.
Some rather less common dynamics processing techniques are the subject of the next chapter, with upward or parallel compression and the even more rare upwards expansion techniques found in the Dbx Quantum processor and the Waves C4 plug-in, for example.
To close the chapter, Katz brings us back to our starting point by describing ways to change microdynamics manually. Chapter 12 examines noise reduction techniques, both with dedicated processors such as the CEDAR tools, and with more generic solutions such as single-ended filtering and narrow-band expansion. There is also a section on 'remixing' at the mastering session and the importance of the order in which signal processing devices are chained together.
Mastering Audio: The Art & The Science, 2nd Edition
For many readers, one of the most relevant parts of this chapter will be the commentary describing a wide range of 'mastering processors' including high-end equalisers and dynamics devices, 'ambience recovery' units, reverberation processors, de-essers, and so on.
The K-System Explained At this point in the proceedings Katz brings us back to the topic of a calibrated monitoring system — something he feels is an essential element in 21st-century mastering installations in order to bring some objectivity back into the perception of loudness.
He goes on to discuss the correct mechanical and electrical alignment of stereo and surround monitoring systems, subwoofers and bass management. Chapter 15 continues with a review of the traditional metering systems and their inadequacies in a digital environment, before introducing his own K-System of metering — a logical and thoughtful metering system which, if widely adopted, may well help to end the ridiculous 'loudness wars' in which we are currently embroiled.
Most mastering rooms employ analogue processors, and chapter 16 looks at the issues surrounding the use of analogue and digital processing, as well as discussing the issues involved with converting between the two domains.
It also considers various aspects of digital signal processing, single and double precision, floating-point arithmetic, oversampling, dithering, and so on. Katz talks here about mono and stereo masking, the Haas effect and its implications, the importance of microphone techniques and placement, recording environment acoustics, and the deleterious effect that poor-quality digital processing can have on the preservation of depth in a recording.
Chapter 18 discusses high sample rate formats, starting with the concept of oversampling, and then moves on to the issue of up-sampling before investigating the benefits of higher sample rate PCM and DSD systems in general. The next chapter continues the myths and mysteries theme with a look at jitter — what it is, where it comes from, and how it can and can't affect digital audio.
There is a great deal of fascinating technical information here, but it is all related directly to the real-world practicalities of recording, manipulating and monitoring digital audio.
The subject matter naturally leads into discussions of 'de-jitter' and reclocking systems, and central word-clock generators.
There is also some useful information about mastering for vinyl and cassette media, as well as hard disk formatting and digital versus analogue monitor level controls. Throughout the book there are dividing pages between the various sections and chapters which carry pertinent and often amusing quotes.
There is one from Katz himself that reads, 'It's not how loud you make it. It's how you make it loud', and another I particularly enjoyed from Frank Zappa which is a great twist on an all too familiar assertion, 'We'll fix it in the shrink-wrap'.
And so we arrive at the last section of this book, which starts off emphasising the need for education on the importance of dynamic range — not only for the recording and mastering engineers, but also for producers, equipment manufacturers and the record-downloading public. I have to say the final chapter of this book is, well, a little odd!
After the clear technical explanations and superbly detailed practical advice of the preceding pages, it came as a bit of a surprise to find a two-page poem written by Bob Katz, presumably as he waited for the client to arrive for his mastering session one day.
Well, okay, at least Katz has the day job to rely on! The remaining odd pages of the book pick up the original theme again, starting in the first appendix with a fascinating and very thorough treatise on typical broadcast processing techniques — the dreaded Orban Optimod and its peers — with some constructive advice on how to optimise the mastering of material intended for radio play.
Bob Katz - Mastering Audio
Mastering Audio: Spara som favorit. Written by an award winning, highly respected professional, Mastering Audio gives you a thorough introduction to the unique procedures and technical issues involved in mastering.
Suitable for all levels of students and professionals, it is ideal for anyone who wants to increase their mastery of digital and analog audio: Fully updated to cover the latest technologies, Mastering Audio discusses audio philosophy and art: Divided into 5 parts, the book begins with the basics - monitoring, mastering techniques, useful tutorials and the fundamentals of dithering and decibels and moves on to more advanced concepts - jitter and clocking, monitor collaboration as well as multi channel audio, miking and acoustics.
Leading-edge audio concepts are explained in an easy-to-grasp holistic style. Including practical tips and real world experiences, Bob Katz explains the technical detail of the subject in his informative and humorous style.
Mastering Audio Bob Katz.
Extremely technical, and not quite a reference text in that it's difficult to quickly find an answer to a particular problem. Usually audio is taught either in person or at least with a cd or something for everyone to be on the same page sonically - because sound is such a subjective experience, so difficult to pin down with words.
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It is therefore amusing to have only text A great background for mixing and mastering - especially for those of us with a demand to do so but without proper training. It is therefore amusing to have only text to get across dynamics and timbre, including such descriptions as: "it was wimpy-loud, but not better.
It is quite technical in content, and the reason for that is that audio engineering is a very technical subject. However, Bob does what he can to extract the bones out of each subject and to make them accessible to those without the technical background.There is then a handy Q value to bandwidth in octaves converter for anyone whose equaliser of choice uses whichever is the unfamiliar term, and the last two sections cover maximum data transfer rates for different digital media and typical data capacities, costs, and the number of track hours that can be supported.
Chapter eight launches into the 'dark art' of equalisation and the whole question of what constitutes a good tonal balance.
I really like the layout and updated info you put in the book. While many books ostensibly about music mastering discuss the technology involved, Katz talks primarily about how to use the technology, with practical advice and examples in many cases, and all with such down-to-earth common sense and logical argument that even complex issues seem obvious.
What is mastering?