Mastering in Music.

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 -- Introduction -- 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 -- References -- 3. Towards a definition of compression glue in mastering -- Introduction -- 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 -- Conclusion -- References -- 4. Engineering authenticity: The Aesthetics of DSP Modelling in Mastering Plugins -- Introduction -- Background -- Engineering authenticity: Waves Abbey Road TG Mastering Chain -- Engineering authenticity: technology determinism and human agency -- Conclusion -- References -- 5. Mastering for streaming: Exploring a new levelling standard -- Introduction -- Background -- Analysis and findings -- Analysis of streaming platforms -- Industry professionals -- Relevance of the traditional and the new -- Creative practice -- Conclusions of practice and research.

Framework -- References -- Discography -- 6. Mastering audio analysis: Teaching the art of listening -- About the author -- Foreword -- Introduction -- 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 -- Conclusion -- References -- Part Two: Mastering: music and people -- 7. Interview with Darcy Proper -- Introduction -- 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 -- Introduction -- 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 -- Conclusion -- References -- 9. Remastering Sunnyboys -- Introduction -- Remastering definition -- Cultural heritage -- Methods -- Digital audio analysis -- Listening comparison -- Cultural heritage -- Conclusion -- Note -- References -- 10. Mastering success: A roundtable discussion with early to mid-career mastering engineers -- Introduction -- 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? -- Conclusion -- Reference -- 11. Peak-Fi: Have we reached the ultimate reproduction standards needed to make humans happy? -- Introduction -- 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 -- References -- 13. Loudness - the sales gimmick -- 14. Audio mastering facing automation: The embracement of the human -- Introduction -- Background -- 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 -- Conclusion -- References -- 15. Transformations and continuities in the mastering sector -- Introduction -- Transformations and continuities -- Tech colonies -- 'Replacing' the engineer -- 'One Click Fits All': targeting the new amateurs -- The real and perceived threats -- Conclusion -- References -- 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 -- Conclusion -- References -- 17. Signature mastering: New sound aesthetics in post-production and the new role of mastering -- Introduction -- 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 -- References -- Index.

Mastering in Music is a cutting-edge edited collection that offers twenty perspectives on the contexts and process of mastering.

Description based on publisher supplied metadata and other sources.

Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.