Bob Katz - Mastering Audio - Ebook download as PDF File .pdf) or view presentation slides online. Bob Kat - Mastering Audio. Bob Katz - Mastering caite.info - Ebook download as PDF File .pdf) or view presentation slides online. Bob Katz Mastering Audio book artwork. There is now a huge number of published books covering all aspects of audio engineering and music production.
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When a recording artist I produced heard a great song on the radio he would turn to me and say,. "Iwas goingto write that song!” After reading this bookmy. When a recording artist I produced heard a great song on the radio he would turn to me and say caite.info You Were Born Rich, Bob Proctor. Author: Bob Katz. downloads Views 61MB Size Report. DOWNLOAD PDF The Mastering Engineer's Handbook: The Audio Mastering Handbook.
You can change your ad preferences anytime. Including practical tips and real world experiences, Bob Katz explains the technical detail of the subject in his informative and humorous style. Be the first to like this. The next four appendices provide raw technical information. Old question, revisited.
This is the concluding chapter of the first section of the book, so with a good understanding of the basic concepts, technologies and philosophies, we are ready to start learning about the science and art of the mastering techniques. If you'd like to get a taste of Bob's ideas before you get hold of the book, surf over to his Digital Domain web site, because there's an extensive archive of technical articles about audio, and mastering in particular, which are free to view.
In addition there's a fascinating CD Honour Roll, providing a set of great references when you're recording and mixing your own material.
If you're after the Bob Katz treatment for your own material, then you can get details about the mastering, graphic design and CD manufacturing services his company offers from here as well. Then there's also a Products link, which includes information about Bob's mysterious proprietary K-Stereo processor.
Katz's masterclass begins in chapter seven, with a look at the art of sequencing tracks together to make an album — choosing the right track to end the album, how to deal with a track which is stylistically different from the rest, and how to determine the gaps between the tracks. The chapter continues on the subject of editing: The final section deals with the basic levelling of tracks.
A section of colour plates towards the middle of the book illustrate some of the technical points raised in the text. 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: 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.
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. 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. Mastering the art of French cooking. The Art, Science, and Technique. The science and fine art of fasting.
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Completely reorganized to focus on workflow, this third edition details mastering by providing a step-by-step approach to the process.
The book s new approach is especially suitable to accompany a one- or two-term course in audio and mastering. Completely rewritten and organized to address changes that will continue to influence the audio world, this third edition includes several new chapters addressing the influence of loudness measurement and assessment and provides explanation of how mastering engineers must integrate loudness measurement and PLR assessment in their mastering techniques. The Art and the Science, Third Edition also includes the newest approaches to equalization, monitor response measurement and correction, the psychoacoustics of clipping, an extended discussion of restoration and noise reduction techniques, an extended set of listening examples, and an updated chapter on surround mastering including coverage of Pure Audio BluRay.
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