Appendix2 The Tower of Babel-Audio File Formats. . Itell them that the first piece of equipmentthey should download is Bob Katz's MasteringAudio, The Art and the . Science. .. advance ifmakinganything other than version 1.o, PQ at head. Bob Katz - Mastering Audio - Ebook download as PDF File .pdf) or view presentation slides online Audio Measurement Handbook, 2nd ed, , Bob Metzler. Mastering Audio, Third Edition: The Art and the Science [Bob Katz] on ISBN ISBN . Bob, you did a great job with the 2nd edition.
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One of the most famous mastering engineers in the world has written the definitive Bob Katz Mastering Audio book artwork. .. (ISBN ) £ Bevaka Mastering Audio: The Art & The Science, 2nd Edition så får du ett mejl när boken går att Antal komponenter: 1; ISBN: av Bob Katz. inom vardagar. Köp Mastering Audio av Bob Katz på bestthing.info x 25 mm; Vikt. g. Antal komponenter: 1; Komponenter:; ISBN:
The author is probably already familiar to most people reading this, but for those who haven't come across the name before, he is one of the best-known and most highly regarded mastering engineers in the USA. He also appears to be very well connected, as there are numerous short contributions in the book from many fellow mastering engineers and producers.
The topic of mastering is a hugely diverse and surprisingly complicated one, involving — as the book's subtitle suggests — both art and science, in roughly equal proportions.
But whereas it is relatively easy to define, explain and document the scientific and procedural aspects of mastering, trying to get across a meaningful impression of the art and aesthetics involved in music mastering is a much harder challenge.
I'm pleased to report that Bob Katz has managed to progress much, much further in the latter than the authors of any previous book on mastering that I have read — and I've waded through a fair stack in my time.
Mastering Audio: The Art and the Science, 3rd Edition by Bob Katz Now Available
While many books ostensibly about music mastering discuss the technology involved, Katz talks primarily about how to use the technology, with practical advice and examples in many cases, and all with such down-to-earth common sense and logical argument that even complex issues seem obvious. Best of all, Katz is clearly a man who likes the sound of music — pretty much any music — for its own sake, and is a vehement defender of real musical dynamics.
A good impression of the level of detail to be found in this book is presented on the very first flyleaf of the book. A fold-out reproduction is provided of a hand-drawn chart made by EJ Quinby at Carnegie Hall in , showing the relation between musical pitch and notation, frequency, and the ranges of all the instruments of the orchestra, singing voices, piano and organ.
It is a work of art in its own right, but the information it conveys actually underpins much of what this book is all about. Chapter By Chapter Perusing the Contents page reveals just how in-depth this book is. The 22 chapters are divided into four sections, with a further 13 appendices and a pretty comprehensive index.
Just inside the front cover is a splendid hand-drawn chart from , showing the relation between musical pitch, notation, frequency, and the instrument ranges. Chapter one starts the ball rolling with descriptions of the various steps involved in producing a record album, the philosophy of mastering, the work flow and the basic procedures. Even in this first chapter, the detail flows thick and fast, with discussions about logging information pertinent to the mastering process, picking the right workstation, media verification, backups and archiving, and quality control.
The following chapter investigates the kinds of equipment necessary in a professional mastering studio, and how best to connect this equipment together. This inevitably includes discussions about the rudiments of clocking and some of the important issues involved in selecting A-D and D-A converters. With the basic concepts and philosophies of mastering behind us, chapter three moves on to the most important element of all, the ear — or more accurately, how to train and use it.
There is a lovely diagram included here which shows the frequency regions in which boosts or cuts in amplitude produce the subjective impression associated with terms like muddy, sweet, fat, edgy and so on. Katz also sets seven specific ear-training exercises in this chapter — all superficially trivial and easy to do given a little effort, yet these are crucially fundamental skills for anyone interested in improving their hearing acuity in the context of recording or mastering music.
The next chapter takes us back into the classroom with some theory and practical advice about word lengths and dither.
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Katz's explanations of the requirement for dither in any digital system and how dithering works are simple to understand, but technically accurate. There is also lots of practical information about the subtleties of some of the more common commercial dithering algorithms, as well as the correct way to manage word lengths in digital systems. It seems amazing, but it's not until you've read five chapters into the book that you stumble into the often confusing or is it just confused?
The complex issues of digital Overs, oversampling meters, sensible recording headroom, and safe peak mastering levels. At this point Katz hints at one of the fundamental mastering concerns — loudness.
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This is clearly a subjective term, but one which can be made almost objective according to Katz by adopting carefully calibrated monitoring levels. So there follows an involved discussion on gain staging, optimised signal levels, and the typical peak levels and dynamic ranges associated with different applications: recording, broadcast and mastering.
Chapter six investigates the requirements of monitoring in the mastering suite in far more detail, covering topics such as subwoofers and bass response, monitor equalisation, and some very entertaining but sadly all too true myths about what a good monitor system should be. This is the concluding chapter of the first section of the book, so with a good understanding of the basic concepts, technologies and philosophies, we are ready to start learning about the science and art of the mastering techniques.
Digital Domain If you'd like to get a taste of Bob's ideas before you get hold of the book, surf over to his Digital Domain web site, because there's an extensive archive of technical articles about audio, and mastering in particular, which are free to view. When one of her students, ten-year-old Seamus Farrell, i When he makes an embarrassing mistake in front of his teammates, EZ finally decides to call it quits.
End of story? Not quit If you only download one book on audio, this has to be it - it should be required reading for anyone involved with recording, producing or mastering music.
I know that I do. Bob, you did a great job with the 2nd edition.
This version does not read as clinical as the first edition making it an easier read. I really like the layout and updated info you put in the book.
Even if you already do mastering, this book will help you do it better.
Bob Katz - Mastering Audio
This book is a definite keeper in our library. Extremely technical, and not quite a reference text in that it's difficult to quickly find an answer to a particular problem. Usually audio is taught either in person or at least with a cd or something for everyone to be on the same page sonically - because sound is such a subjective experience, so difficult to pin down with words.
It is therefore amusing to have only text A great background for mixing and mastering - especially for those of us with a demand to do so but without proper training. It is therefore amusing to have only text to get across dynamics and timbre, including such descriptions as: "it was wimpy-loud, but not better.
It is quite technical in content, and the reason for that is that audio engineering is a very technical subject.Eric James Biogropgy: It's chock full of information that I haven't learned anywhere else, either personally or professional, and certain sections such as properly gain-staging for ADC's and DAC's, or This is the bible of digital audio, and anyone working with audio should read it.
Mastering Audio: The Art and the Science
The K-System Explained At this point in the proceedings Katz brings us back to the topic of a calibrated monitoring system — something he feels is an essential element in 21st-century mastering installations in order to bring some objectivity back into the perception of loudness.
Elaine's Circle Bob Katz. A section of colour plates towards the middle of the book illustrate some of the technical points raised in the text.
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