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Mixing and Mastering in the Box: The Guide to Making Great Mixes and Final Masters on Your Computer [Pehme köide]

(Instructor of Recording Arts, Los Medanos College, San Francisco, CA, USA)
  • Formaat: Paperback / softback, 320 pages, kõrgus x laius x paksus: 213x274x23 mm, kaal: 680 g, 115 illustrations
  • Ilmumisaeg: 02-Oct-2014
  • Kirjastus: Oxford University Press Inc
  • ISBN-10: 0199929327
  • ISBN-13: 9780199929320
Teised raamatud teemal:
  • Formaat: Paperback / softback, 320 pages, kõrgus x laius x paksus: 213x274x23 mm, kaal: 680 g, 115 illustrations
  • Ilmumisaeg: 02-Oct-2014
  • Kirjastus: Oxford University Press Inc
  • ISBN-10: 0199929327
  • ISBN-13: 9780199929320
Teised raamatud teemal:
Mixing and mastering, the two final steps in the complex process of sound engineering, require both artistic finesse and technical facility. Even the slightest difference in the way a sound is processed can lead to a shift in the overall aesthetic of a piece, and so sound engineers must work towards an understanding of sound engineering that is particularly oriented towards the artistic and aesthetic. In order to create effective mixes, a sound engineer must maintain a distinct set of artistic goals while drawing on an in-depth understanding of the software involved in the process. Creating final masters requires specialized aural skills and a similarly advanced understanding of the software in order to fine-tune the product with respect to these goals. Mixing and Mastering in the Box addresses the practical and technological necessities of these two final steps without neglecting the creative process that is integral to the creation of high-quality recordings. Savage focuses primarily on creating mixes and masters in the Digital Audio Workstation (DAW), or "in the box," currently a popular platform in the field of sound engineering due to the creative advantages and advanced technological capabilities it offers to its users. However, much of the information presented in Mixing and Mastering in the Box is also applicable to analog mixing gear or a hybrid system of digital and analog tools. This book, which features over one hundred illustrations and a comprehensive companion website, is ideal for beginning or intermediate students in sound engineering with a focus on DAW, recording artists who do their own mixing and mastering, or musicians who wish to be better informed when collaborating on mixes and masters.

Arvustused

Steve Savage is not only a superb music producer, mixer and mastering engineer, but also an excellent educator and communicator. His books manage to cover the most complex aspects of music production in a manner that is engaging and clear, bringing expert insight to both beginners and advanced music makers. Steve manages to find a perfect blend between discussing the creative and technical aspects of music technology, whilst keeping things concise, relevant and up to date. Everyone interested in creating and producing music can learn something from Steve Savage! * Dr. Rob Toulson, Music Producer and Director of the Cultures of the Digital Economy Research Institute at Anglia Ruskin University, Cambridge UK * Steve and I have worked on countless records together; he's mixed and mastered most of the records I've produced, including my own. He also taught me a lot about mixing and mastering - he's one of those rare guys who works at a very high level but can also explain what it is he's doing and why. If you want to know more about making your recorded music sound better, get this book! * Bonnie Hayes, Chair of Songwriting, Berklee College of Music *

About the Companion Website xiii
Introduction xv
Part I Mixing and Mastering
1 The Starting Point: Fundamentals of Mixing and Mastering
5(15)
1.1 Preparing to Mix and Master
5(2)
1.2 Where to Mix and Master
7(4)
1.3 The Tools of Mixing and Mastering
11(7)
1.4 Introduction to the Quick Guide
18(2)
2 Quick Guide to Great Mixes and Masters: Five Best Practices
20(17)
2.1 Have a Concept
20(8)
2.2 Monitor Level
28(3)
2.3 Monitoring Options
31(1)
2.4 Revise, Revise, Revise
32(1)
2.5 Live with Your Mix or Master
33(4)
3 Quick Guide to Great Mixes and Masters: Four Common Mistakes
37(26)
3.1 Poor Control of the Low End
38(6)
3.2 Overly Bright Mixes and Masters
44(4)
3.3 Overly Compressed Mixes and Masters
48(7)
3.4 Trusting Inadequate Monitoring
55(8)
Part II Mixing
4 Building a Mix: The Concepts and Tools in Detail
63(60)
4.1 Starting Concepts and Setting Level
63(10)
4.2 Panning
73(6)
4.3 Processing: EQ
79(11)
4.4 Processing: Dynamics
90(10)
4.5 Processing: Effects
100(14)
4.6 Processing: What Else Is in the Box?
114(8)
4.7 The Stereo Buss
122(1)
5 Automation and Recall: Fine-Tuning
123(14)
5.1 Online versus Off-line Automation
124(1)
5.2 Details of Online Automation
125(1)
5.3 Details of Off-line Automation
126(3)
5.4 Time Line of Automation
129(1)
5.5 From Simple to Complex Mixes
130(2)
5.6 Fades
132(2)
5.7 Advanced Automation Techniques
134(1)
5.8 Recall
135(2)
6 Mixing Piece by Piece: How to Approach Individual Elements
137(37)
6.1 Drums and Percussion
138(13)
6.2 Bass
151(2)
6.3 Guitar
153(5)
6.4 Keyboards
158(4)
6.5 Vocals
162(9)
6.6 Horns
171(2)
6.7 Strings
173(1)
7 Mix Collaboration: The Mix Team
174(12)
7.1 How to Communicate About Mixes
175(4)
7.2 Levels of Mixer Intervention
179(2)
7.3 Managing Remote Mixing Projects
181(5)
8 Delivering Mixes: Formats, Mix Types, and Multiple Mixes
186(11)
8.1 Digital Formats for Mix Delivery
186(7)
8.2 Full Mixes, TV Mixes, and Clips
193(1)
8.3 Multiple Versions of a Single Mix
194(3)
Part III Mastering
9 Setting Up to Master: Tools and Files
197(6)
9.1 Tools
197(4)
9.2 Creating a Template
201(1)
9.3 Building the Time Line
202(1)
10 How to Listen for Mastering: From Your Ear to Action
203(9)
10.1 Level
204(3)
10.2 Frequency/EQ
207(1)
10.3 Dynamics and Effects
208(2)
10.4 Consistency
210(2)
11 Creating a Master: The Concepts and Tools in Detail
212(30)
11.1 Creating a Reference Track
212(1)
11.2 Processing: EQ
213(13)
11.3 Processing: Level
226(8)
11.4 Processing: Dynamics and Effects
234(3)
11.5 "Mastered for iTunes," Spotify, Pandora, etc.
237(1)
11.6 What Else Is in the Box?
238(4)
12 The Final Master: Creating and Delivering
242(12)
12.1 Creating a Master
242(9)
12.2 Formats and Delivery Options
251(3)
13 Mastering Collaboration: The Mastering Team
254(9)
13.1 How to Talk About Mastering
254(3)
13.2 Levels of Mastering Intervention
257(2)
13.3 Managing Remote Mastering Projects
259(4)
Appendix A Notes on Surround Mixing and Mastering 263(14)
Appendix B Why Mixing and Mastering Can No Longer Be Separated 277(4)
Audio Sources 281(4)
Index 285
An active producer, recording engineer, and music technology instructor, Steve Savage has been the primary engineer on seven Grammy-nominated CDs. He is the author of numerous books, including The Art of Digital Audio Recording: A Practical Guide for Home and Studio (OUP, 2011) and Bytes & Backbeats: Repurposing Audio in the Digital Age (Michigan, 2011).