Enhanced descriptions from Syndetics:

Guiding you through the history and emergence of modern mastering techniques, then providing practical hints and tips on how to use them in your set up, Practical Mastering is the book for anyone wanting to master this elusive art form. Providing you with solid mastering theory underpinned by years of professional experience and hands-on advice to getting the most out of your set up.

Using years of practical and professional experience, Mark and Russ offer a discussion of how to effectively listen to and interpret post-mix tracks, showing you how to pick out areas of the mix that could be optimized or need development. Backing this up with professional tips and tricks on how to develop and fine tuning your hearing skills. Honing your ears to efficiently and effectively listen to your mixes and create perfectly polished master tracks.

Table of contents provided by Syndetics

• About the Authors (p. xiii)
• Dedication (p. xiv)
• Acknowledgments (p. xv)
• Chapter 1 Introduction (p. 1)
• 1.1 An introduction to Mastering (p. 1)
• 1.2 The role of this book (p. 2)
• 1.3 Can I master in [insert your DAW name here]? (p. 3)
• Knowledgebase (p. 4)
• 1.4 The history and development of mastering (p. 5)
• 1.5 The early days (p. 5)
• 1.6 Cutting and the need for control (p. 6)
• 1.7 Creative mastering (p. 8)
• 1.8 The CD age (p. 8)
• Chapter 2 Mastering Tools (p. 11)
• 2.1 Introduction (p. 12)
• 2.2 The digital audio workstation (DAW) (p. 12)
• 2.3 A/D and D/A converters and the importance of detail (p. 13)
• 2.4 Monitoring (p. 16)
• 2.5 Mastering consoles (p. 17)
• A Series of input sources (p. 18)
• B Input and output level controls (p. 18)
• C Signal processing - including cut filters, M/S and stereo adjustment (p. 18)
• D Switchable insert processing (p. 19)
• E Monitoring sources (p. 19)
• 2.6 Project studio mastering (p. 19)
• 2.7 Project studio mastering software (p. 20)
• Apple WaveBurner (p. 21)
• soundBlade LE (p. 22)
• Steinberg wavelab (p. 24)
• 2.8 Mastering plug-ins (p. 24)
• iZotope Ozone (p. 24)
• Universal audio precision series (p. 26)
• IK multimedia T-RackS 3 (p. 27)
• Waves L-316 (p. 28)
• 2.9 An introduction to M/S processing (p. 29)
• 2.10 M/S tools (p. 30)
• Using stereo plug-ins in M/S format (p. 30)
• Dedicated M/S plug-ins (p. 31)
• 2.11 Essential improvements for project studio mastering (p. 33)
• Acoustic treatment (p. 34)
• Monitoring (p. 34)
• Conversion (p. 35)
• Chapter 3 Mastering Objectives (p. 37)
• 3.1 Introductory concepts (p. 38)
• 3.2 Flow (p. 39)
• 3.3 Shaping (p. 40)
• 3.4 Listening (p. 41)
• Listening interface and quality benchmark (p. 41)
• Knowledgebase (p. 42)
• Listening subjectivity versus objectivity (p. 43)
• Holistic, micro and macro foci in listening (p. 44)
• Listening switches (p. 45)
• 3.5 Confidence (p. 47)
• 3.6 Making an assessment and planning action (p. 48)
• 3.7 Assessing frequency (p. 48)
• 3.8 Assessing dynamics (p. 49)
• 3.9 Assessing stereo width (p. 49)
• 3.10 Assessing perceived quality (p. 50)
• 3.11 The mastering process (p. 51)
• 3.12 Capture (p. 53)
• 3.13 Processing (p. 53)
• 3.14 Sequencing (p. 54)
• 3.15 Delivery (p. 55)
• Chapter 4 Controlling Dynamics (p. 57)
• 4.1 Introduction (p. 58)
• 4.2 Basics of compression (p. 59)
• Threshold (p. 59)
• Ratio (p. 59)
• Attack and release (p. 60)
• 'Auto' settings (p. 62)
• Knee (p. 63)
• Gain makeup (p. 64)
• Beyond the basics (p. 64)
• 4.3 Types of compressor (p. 65)
• Optical (p. 65)
• Variable-MU (p. 66)
• FET (p. 67)
• VCA (p. 68)
• 4.4 Compression techniques (p. 69)
• Gentle mastering compression (p. 69)
• Over-easy (p. 70)
• Heavy compression (p. 71)
• Peak slicing (p. 72)
• Glue (p. 74)
• Classical parallel compression (p. 74)
• New York parallel compression (p. 76)
• Multiple stages (p. 76)
• 4.5 Using side-chain filtering (p. 78)
• 4.6 From broadband to multiband (p. 79)
• 4.7 Setting up a multiband compressor (p. 80)
• Step 1 Setting the crossover points and the amount of bands (p. 80)
• Step 2 Apply compression on all bands to see what happens (p. 81)
• Step 3 Controlling bass (p. 82)
• Step 4 Controlling highs (p. 83)
• Step 5 Controlling mids (p. 84)
• Step 6 Gain makeup (p. 84)
• 4.8 Compression in the M/S dimension (p. 85)
• Compressing the mid signal (p. 86)
• Compressing the sides of the mix (p. 86)
• 4.9 Other dynamic tools - expansion (p. 86)
• Downwards expansion (p. 86)
• Upwards expansion (p. 89)
• Chapter 5 Refining Timbre (p. 91)
• 5.1 An introduction to timbre (p. 92)
• 5.2 Decoding frequency problems (p. 94)
• Broad colours - the balance of LF, MF and HF (p. 94)
• Balance of instruments (p. 94)
• Unwanted resonances (p. 94)
• Technical problems (p. 95)
• 5.3 Notions of balance - every action having an equal and opposite reaction (p. 95)
• 5.4 Types of equalizer (p. 97)
• Shelving equalization (p. 97)
• Parametric equalization (p. 98)
• Filtering (p. 99)
• Graphic equalization (p. 99)
• Phase-linear equalizers (p. 100)
• Non-symmetrical EQ (p. 100)
• 5.5 A Journey through the audio spectrum (p. 101)
• 10-60 Hertz - the subsonic region (p. 102)
• 60-150 Hz - the 'root notes' of bass (p. 103)
• 200-500 Hz - low mids (p. 104)
• 500 Hz-1 kHz - mids: tone (p. 105)
• 2-6 khz - Hi mids: bite, definition and the beginning of treble (p. 106)
• 7-12 kHz-treble (p. 107)
• 12-20 kHz-air (p. 108)
• 5.6 Strategies for equalization (p. 109)
• High-pass filtering (p. 109)
• Using shelving equalization (p. 111)
• Understanding the curve of EQ (p. 112)
• Combined boost and attenuation (p. 114)
• Controlled mids using parametric EQ (p. 115)
• Cut narrow, boost wide (p. 117)
• Fundamental v. second harmonic (p. 118)
• Removing sibilance (p. 119)
• 5.7 Selective equalization - the left/right and M/S dimension (p. 121)
• Equalizing the side channel (p. 122)
• Equalizing the mid channel (p. 124)
• 5.8 Subtle colouration tools (p. 125)
• Non-linearity (p. 125)
• The 'Sound' of components (p. 127)
• Phase shifts (p. 127)
• Converters (p. 128)
• 5.9 Extreme colour - the multiband compressor (p. 128)
• 5.10 Exciters and enhancers (p. 130)
• Aphex Aural Exciter (p. 130)
• Waves Maxx Bass (p. 131)
• Chapter 6 Creating and Managing Loudness (p. 133)
• 6.1 Introduction: A lust for loudness (p. 134)
• 6.2 Dynamic range in the real world (p. 135)
• 6.3 All things equal? The principles of loudness perception (p. 136)
• 6.4 Loudness, duration and transients (p. 138)
• 6.5 Loudness and frequency (p. 140)
• 6.6 The excitement theory (p. 143)
• 6.7 The law of diminishing returns (p. 145)
• 6.8 Practical loudness Part 1: What you can do before mastering (p. 147)
• Simple, strong productions always master louder (p. 147)
• Don't kill the dynamics - shape them! (p. 148)
• Understand the power of mono (p. 148)
• Control your bass (p. 149)
• 6.9 Practical loudness Part 2: Controlling dynamics before you limit them (p. 149)
• Classic mastering mistakes No. 1: The 'Over-Limited' chorus (p. 150)
• Moderating the overall song dynamic (p. 151)
• Moderating transients with analogue peak limiting (p. 152)
• Controlling the frequency balance with multiband compression (p. 153)
• 6.10 Practical loudness Part 3: Equalizing for loudness (p. 154)
• Rolling Off the sub (p. 154)
• The 'smiling' EQ (p. 155)
• Controlling excessive mids (p. 156)
• Harmonic balancing (p. 156)
• 6.11 Practical loudness Part 4: Stereo width and loudness (p. 158)
• Compress the mid channel (p. 159)
• Attenuate bass in the side channel (p. 159)
• 6.12 Practical loudness Part 5: The brick-wall limiter (p. 159)
• How much limiting can I add? (p. 159)
• Knowledgebase (p. 161)
• Setting the output levels (p. 162)
• Multiband limiting (p. 163)
• 6.13 The secret tools of loudness - Inflation, excitement and distortion (p. 163)
• Sonnox Inflator (p. 165)
• Slate Digital Virtual Tape Machines (p. 166)
• Universal Audio Precision Maximizer (p. 167)
• Chapter 7 Controlling Width and Depth (p. 169)
• 7.1 Introduction (p. 169)
• 7.2 Width (p. 170)
• 7.3 Surround or no surround? That is the question (p. 171)
• Surround-Sound formats and current mastering practices (p. 171)
• 7.4 Stereo width (p. 172)
• 7.5 Phase (p. 172)
• 7.6 M/S manipulation for width (p. 175)
• 7.7 Other techniques for width (p. 176)
• 7.8 Depth (p. 178)
• 7.9 Mastering reverb (p. 179)
• Chapter 8 Crafting a Product (p. 181)
• 8.1 Introduction (p. 181)
• 8.2 Sequencing (p. 182)
• 8.3 Topping and tailing (p. 183)
• 8.4 Gaps between tracks and 'sonic memory' (p. 184)
• 8.5 Fades on tracks (p. 187)
• 8.6 Types of fades (p. 189)
• 8.7 Segues (p. 190)
• 8.8 Level automation (p. 191)
• Knowledgebase (p. 192)
• 8.9 Other automation and snapshots (p. 193)
• 8.10 Stem mastering (p. 194)
• 8.11 Markers, track iDs and finishing the audio product (p. 196)
• 8.12 Hidden tracks (p. 199)
• Chapter 9 Delivering a Product (p. 201)
• 9.1 Introduction (p. 201)
• 9.2 Preparation (p. 202)
• 9.3 International Standard Recording Code [ISRC] (p. 202)
• Knowledgebase (p. 204)
• 9.4 The PQ sheet (p. 205)
• 9.5 Barcodes (UPC/Ean) (p. 208)
• 9.6 Catalog numbers (p. 209)
• 9.7 Other encoded information (p. 209)
• 9.8 CD-Text (p. 211)
• 9.9 Pre-emphasis (p. 212)
• 9.10 SCMS (p. 212)
• 9.11 Delivery file formats (p. 214)
• 9.12 DDPi and MD5 checksums (p. 215)
• 9.13 CDA as master? Duplication v. replication (p. 216)
• 9.14 Mastering for MP3 and AAC (p. 218)
• 9.15 Delivery (p. 220)
• 9.16 Final checks (p. 223)
• Chapter 10 DAW Workflow (p. 225)
• 10.1 Introduction (p. 225)
• 10.2 Method 1: Track-based mastering in a conventional DAW (p. 226)
• Importing audio (p. 226)
• Songs to tracks (p. 226)
• Instantiating mastering plug-ins (p. 229)
• Rendering pre-master files and applying fades (p. 230)
• Final delivery (p. 231)
• 10.3 Method 2: Stereo buss mastering in an unconventional DAW (p. 232)
• MClass Equalizer (p. 233)
• MClass Compressor (p. 233)
• MClass Stereo Imager (p. 234)
• MClass Maximizer (p. 235)
• A Word of Caution (p. 235)
• Chapter 11 Conclusions (p. 237)
• 11.1 The art of mastering (p. 237)
• 11.2 Technology as a conduit (p. 237)
• 11.3 Head and heart (p. 239)
• 11.4 An evolving art form (p. 239)
• Index (p. 241)