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CHF68.80
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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!
Auteur
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).
Texte du rabat
Mixing and mastering are the final challenges in creating great recordings. Great mixes require both creativity and a practical understanding of process, while final masters require both a clear sense for purpose and specialized ears for achieving artistic goals. Mixing and Mastering in the Box gives readers the practical tools for accomplishing both of these tasks while highlighting the artistry of the creative process. While much of the information presented in Mixing and Mastering in the Box is applicable to those using analog mixing gear, or a hybrid of digital and analog tools, the book focuses directly on working completely within the Digital Audio Workstation (DAW). Author Steve Savage lets readers in on such topics as the secrets of collaboration and using EQ, compression, delay, reverb, and brickwall limiting to improve the sound of records, each topic illustrated with a myriad of concrete examples. Mixing and Mastering in the Box is the ultimate reference manual for the home recordist and the perfect basic to intermediate text for any DAW (Digital Audio Workstation) training class in mixing or mastering. The book is also ideal for readers who handle their own mixing and mastering or who wish - or are professionally required - to be better informed when collaborating on mixes and masters.
Résumé
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.
Contenu
Contents
Introduction
Part I - Mixing and Mastering
Introduction to Part I
1.1 Preparing to mix and master
1.2 Where to mix and master
1.3 The tools of mixing and mastering
1.4 Introduction to the "Quick Guide "
2.1 Have a concept
2.2 Monitor level
2.3 Monitoring options
2.4 Revise, revise, revise
2.5 Live with your mix or master
3.1 Poor control of the low end
3.2 Overly bright mixes and masters
3.3 Overly compressed mixes and masters
3.4 Trusting inadequate monitoring
Part II - Mixing
Introduction to Part II
4.1 Starting concepts and setting level
4.2 Panning
4.3 Processing: EQ
4.4 Processing: Dynamics
4.5 Processing: Effects
4.6 Processing: What else is in the box?
4.7 The stereo buss
5.1 Online versus off-line automation
5.2 Details of online automation
5.3 Details of off-line automation
5.4 Timeline of automation
5.5 From simple to complex mixes
5.6 Fades
5.7 Advanced automation techniques
5.8 Recall
6.1 Drums and percussion
6.2 Bass
6.3 Guitar
6.4 Keyboards
6.5 Vocals
6.6 Horns
6.7 Strings
7.1 How to communicate about mixes
7.2 Levels of mixer intervention
7.3 Managing remote mixing projects
8.1 Digital formats for mix delivery
8.2 Full mixes, TV mixes, and clips
8.3 Multiple versions of a single mix
PART III - Mastering
Introduction to part III
9.1 Tools
9.2 Creating a template
9.3 Building the timeline
10.1 Level
10.2 Frequency/EQ
10.3 Dynamics and effects
10.4 Consistency
11.1 Creating a reference track
11.2 Processing: EQ
11.3 Processing: Level
11.4 Processing: Dynamics and effects
11.5 What else is in the box?
12.1 Creating a master
12.2 Formats and delivery options
13.1 How to talk about mastering
13.2 Levels of mastering intervention
13.3 Managing remote mastering projects
Addendum I: Notes on surround mixing and mastering
Addendum II: Why mixing and mastering can no longer be separated
Index