Bob Katz Mastering Audio Deutsch Pdf 14

The practice of focusing on loudness in audio mastering can be traced back to the introduction of the compact disc,[3] but also existed to some extent when the vinyl phonograph record was the primary released recording medium and when 7-inch singles were played on jukebox machines in clubs and bars. The so-called wall of sound (not to be confused with the Phil Spector Wall of Sound) formula preceded the loudness war, but achieved its goal using a variety of techniques, such as instrument doubling and reverberation, as well as compression.[4]

Because of the limitations of the vinyl format, the ability to manipulate loudness was also limited. Attempts to achieve extreme loudness could render the medium unplayable. Digital media such as CDs remove these restrictions and as a result, increasing loudness levels have been a more severe issue in the CD era.[6] Modern computer-based digital audio effects processing allows mastering engineers to have greater direct control over the loudness of a song: for example, a brick-wall limiter can look ahead at an upcoming signal to limit its level.[7]

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In the 1990s, electro-mechanical processes were largely superseded by digital technology, with digital recordings stored on hard disk drives or digital tape and mastered to CD. The digital audio workstation (DAW) became common in many mastering facilities, allowing the off-line manipulation of recorded audio via a graphical user interface (GUI). Although many digital processing tools are common during mastering, it is also very common to use analog media and processing equipment for the mastering stage. Just as in other areas of audio, the benefits and drawbacks of digital technology compared to analog technology are still a matter for debate. However, in the field of audio mastering, the debate is usually over the use of digital versus analog signal processing rather than the use of digital technology for storage of audio.[2]

The process of audio mastering varies depending on the specific needs of the audio to be processed. Mastering engineers need to examine the types of input media, the expectations of the source producer or recipient, the limitations of the end medium and process the subject accordingly. General rules of thumb can rarely be applied.

This two channel digital De-esser / Compressor/ Limiter features linear-phase crossover filters covering the whole audio band. The controls for the two channels can be ganged or unganged (useful for M/S compression). Similarly, sidechain linking can be turned off. Double-precision up- and down-sampling units within the DS1-MK3 result in high transparency for absolutely clean sound. The non-linear segment can be adjusted from 1000:1 to 1:5, allowing every kind of dynamic processing, from limiting to upward expansion (for over-compressed signals). Put back a little dynamics into that ultra-finalized mix! An additional safety-limiter Type 1 and Type 2 will allow the most transparent sound for mastering and mixing applications. be457b7860