000 05946cam a2200361 i 4500
001 17995205
003 KEPU
005 20170320130939.0
008 140111s2014 enk b 001 0 eng
010 _a 2013042817
020 _a9780199929306 (cloth)
020 _a9780199929320 (paper)
040 _aDLC
_beng
_cDLC
_erda
_dDLC
042 _apcc
050 0 0 _aTK7881.4
_b.S38 2014
084 _aMUS022000
_aMUS032000
_2bisacsh
100 1 _aSavage, Steve,
_d1948-
_932778
245 1 0 _aMixing and mastering in the box :
_bthe guide to making great mixes and final masters on your computer /
_cSteve Savage ; with diagrams by Iain Fergusson.
300 _axvi, 299 pages ;
_c29 cm
504 _aIncludes bibliographical references and index.
505 8 _aMachine generated contents note: -- Contents -- Introduction -- Part I - Mixing & Mastering -- Introduction to Part I -- 1. The Starting Point -- 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. Quick Guide to Great Mixes and Masters: Five best practices -- 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. Quick Guide to Great Mixes and Masters: Four common mistakes -- 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. Building a Mix: The concepts and tools in detail -- 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. Automation and Recall: Fine-tuning -- 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. Mixing Piece by Piece: How to approach individual elements -- 6.1 Drums and percussion -- 6.2 Bass -- 6.3 Guitar -- 6.4 Keyboards -- 6.5 Vocals -- 6.6 Horns -- 6.7 Strings -- 7. Mix Collaboration: The mix team -- 7.1 How to communicate about mixes -- 7.2 Levels of mixer intervention -- 7.3 Managing remote mixing projects -- 8. Delivering Mixes: Formats, mix types and multiple mixes -- 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. Setting Up to Master: Tools and files -- 9.1 Tools -- 9.2 Creating a template -- 9.3 Building the timeline -- 10. How to Listen for Mastering: From your ear to action -- 10.1 Level -- 10.2 Frequency/EQ -- 10.3 Dynamics and effects -- 10.4 Consistency -- 11. Creating a Master: The concepts and tools in detail -- 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. The Final Master: Creating and delivering -- 12.1 Creating a master -- 12.2 Formats and delivery options -- 13. Mastering Collaboration: The mastering team -- 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.
520 _a"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"--
650 0 _aSound
_xRecording and reproducing
_xDigital techniques.
_932780
650 0 _aMastering (Sound recordings)
_932781
650 0 _aSound recordings
_xRemixing
_xData processing.
_932782
650 0 _aComputer sound processing.
_932783
650 0 _aDigital audio editors.
_932784
650 7 _aMUSIC / Instruction & Study / General.
_2bisacsh
_932785
650 7 _aMUSIC / Recording & Reproduction.
_2bisacsh
_932786
906 _a7
_bcbc
_corignew
_d1
_eecip
_f20
_gy-gencatlg
942 _2lcc
_cBK
_hTK7881.4
_i.S38 2014
999 _c114217
_d114217