DIGITAL AUDIO RECORDING MANUAL

"Audio Engineering | Audio Manuals for the Sound Engineer" Series
Volume 2

• 270 total pages (A4 format: 21.59 x 27.94 cm – Font: Avenir Book 10 – Line spacing: 0.8)
• 9 pages of index divided into 4 levels, to find each topic quickly
• over 200 images
• n. 5 sections divided into n. 42 chapters in total

The Digital Audio Recording Manual It is primarily intended for general learning of recording principles, but can also be used as a practical guide to consult during practice.

It is composed of 5 sections:

1. the 1st Section is aimed at acquiring a basic but sufficient culture of the sound engineer: recording objectives, sound, equipment, listening criteria;
2. The 2nd Section is dedicated to general operations: recording techniques, operating modes, gain staging, general criteria for microphone and line recording, phasing problems
3. the 3rd Section deals with the specific operations of recording the various types of sound sources, focusing in particular on the most recurrent and critical ones: voice, polyphonic choir, guitars, piano, pipe and electronic organ, bass, drums, percussion, strings, wind instruments, orchestral sections and large orchestra;
4. The 4th section is entirely dedicated to editing and tuning: simple and surgical editing, timing, tuning and autotuning, cleaning and leveling
5. The 5th section has a conclusive content and briefly focuses on various collateral aspects of the subject: exporting tracks, amplification of instruments, the mobile studio, filming for video and cinema

Preface

The Zen teacher asked aspiring painters to study for ten years, practicing for many hours a day.

He then suggested to “forget” everything, stopping practicing for months.

After that he urged the student to paint “truly”, following only his intuition, as the technical ability would emerge naturally, but without dominating the scene.

In this sense, the same exhortation can be formulated for the art of recording, suggesting the following:

“Don't follow any rules, but know them all first.”

I'm sure that every expert sound engineer will agree with this statement.

The Author

"Audio Engineering | Audio Manuals for the Sound Engineer" Series
Volume 3

• 590 total pages (A4 format: 21.59 x 27.94 cm – Font: Avenir Book 11 – Line spacing: 1)
• 10 pages of index divided into 4 levels, to find each topic quickly
• n. 247 images
• n. 4 sections divided into n. 40 chapters in total

The Audio Mixing Manual It is primarily aimed at general learning of the principles of mixing, but can also be used as a practical guide to consult during mixing.

It is composed of 4 parts of which:

1. the first is aimed at acquiring a basic but sufficient culture of the sound engineer regarding: the purposes and general criteria of the mix, sound, equipment, listening criteria;
2. the second is technically the most important, it is dedicated to the description of the entire operational process to be followed during the mix, with the description of the tonal, dynamic and environmental processing criteria and operations up to the finalization of the mix which precedes mastering;
3. the third deals with the specific operations of fine-tuning the various sound sources (instruments and voices), focusing especially on the most complex, delicate and recurring ones);
4. the fourth is a list of small “Tips and Tricks”, partly developed by the author and partly “fished” from the “common domain repertoire” of sound engineers and some mix-stars.

Preface

The Zen teacher asked aspiring painters to study for ten years, practicing for many hours a day.

He then suggested to “forget” everything, stopping practicing for months.

After that he urged the student to paint “truly”, following only his intuition, as the technical ability would emerge naturally, but without dominating the scene.

In this sense, the same exhortation can be formulated for the art of mixing, suggesting the following:

“Don't follow any rules, but know them all first.”

I'm sure that every expert sound engineer will agree with this statement.

The Author

Introduction

To mix well, you need to thoroughly understand all the characteristics and pitfalls of sound, to the point of developing an intuitive wisdom that, unfortunately, no manual like this can ever directly teach. However, it intends to provide a simple aid to orient oneself in the world of sound, clarifying its principles and encouraging the student to research.

DRUMS RECORDING, EDITING AND MIXING

Author: Alessandro Fois

Contributions outside the text: Salvatore Corazza

Preface: Agostino Marangolo (Pino Daniele's "historical" drummer)

Format 21 x 29 cm (A4) – Page 294

Preface by Agostino Marangolo

Many professional recording studios have gradually ceased operations due to the recording industry crisis and the advent of low-cost digital recording. Consequently, the number of drummers, even professional ones, who record at home in their own more or less professionally equipped home studios has increased.

With the publication of this book Alessandro Fois seizes a propitious moment to support the nascent phonic competence of musicians, a subject which until now has been the prerogative of  professional sound engineers only.

Personally, I found this "Manual" of his very interesting, especially in the chapter dedicated to recording where Alessandro, with great scrupulousness and without presumption, accompanies the reader through the various possibilities of positioning the microphones, managing the phases,  and so on.

The book clarifies many obscure technical points that we drum professionals often fail to fully understand, sometimes forcing us to turn to a more competent sound engineer. 

Alessandro, on the other hand, resolves any doubts through an effective exposition, leaving nothing out, leading us first to various topics of basic culture of the instrument (which also includes tuning criteria) and then to a large section of the book dedicated to the sonic management of the drum kit, through the various phases of recording, editing and mixing.

The book is written with great clarity and focuses on every detail of the subject, so both amateurs and professionals have a lot to learn, to properly set up their home studio and to acquire or improve their know-how.

Therefore, I highly recommend it to novice sound engineers and advanced home studio operators, as well as to drummers, even professional ones, who intend to try their hand directly at recording and processing the sound of their instrument.

Over the course of my career, I have recorded more than 350 albums in the best studios, from Milan to Capri, using the most skilled Italian and foreign sound engineers. In the pages of this book, I have found the same sound concepts, explained with expertise but also with relative simplicity, and I am convinced that it will be helpful to people who are not fully familiar with the criteria and tricks of the trade.

Agostino Marangolo

INDEX

Introduction 6

Preface by Agostino Marangolo 6

Author's Biography 8

Biography of Salvatore Corazza 10

Author's Notes 12

Acknowledgements 13

Index 14

Part A  *  General Culture on Drums 23

A BRIEF HISTORY OF THE BATTERY 25

Multicultural Roots 26

Percussion in ancient times 26

Use of percussion for military purposes 27

The Nineteenth Century 28

The modern battery 29

The invention of the bass drum pedal 29

Advent of the Hi-Hat 31

Modern Drums and Jazz 32

The modern set 32

The 1940s and be-bop 33

The Rock Era 34

The double pedal and customizations 36

Electronics 36

DRUM SET 39

Elements of the Acoustic Drum Set 40

Bass drum 40

Snare Drum 41

Tom Tom 43

Floor Tom 44

Hi-Hat 45

Crash Cymbal 45

Ride Cymbal 46

The 46 Chopsticks

Stool 49

The mechanics 49

How sound is produced 50

The vibration of the skin makes the entire drum sound. 50

Tuning changes the sound 50

Different tuning notes 51

The relationship between diameter, depth and sound 52

Various types of sets 53

Rock & pop 53

Jazz 53

Fusion 54

Heavy Metal 54

Country 55

Electronic and/or Hybrid 55

Construction features 56

Wood 56

Building 57

Finishing 60

Circles 61

TUNING AND SETTING UP THE DRUMS 65

The correct setup 66

How to tune drums 66

The TomTom 66

Sound Check 70

Let's tune the other drums 70

Bass drum 71

Snare Drum 71

The dampening of the drums 73

Snare Drum Damping 73

Tom tom damping 74

Bass Drum Damping 74

RHYTHM AND NOTATION 75

Rhythm and Groove 76

The 76th cadence

Accents, lines and movements 76

Subdivision of movements 77

The Groove of the ensemble 79

Dynamics, punctuation, poise 80

Musical notation for the drummer 82

Drum sheet music 82

Part B  *  Drum Sound Treatment 87

ACOUSTICS 89

Acoustics of the recording room 90

First reflections 90

Standing Waves and Bass Traps 92

Flutter echo 94

Battery position for microphone pickup 95

Reverberation times 97

Mobile panels and screens 97

DRUMS RECORDING 99

Multi-microphone recording 100

When to use multi-mic recording 100

Time lags and transients 100

Drum Kit Shooting Methods 101

Method A – Mono Panoramic Shooting 101

Method B – Phased stereo panorama recording 102

Method C – ORTF 103 Stereo Panoramic Recording

Method D – Stereo spaced panoramic shot 104

Method E – Mixed method with Close Mics 108

Method E1 – an environmental variant of the Mixed Method 112

Conclusion 112

The shot with close mics 113

Bass Drum 113

Snare Drum 116

Toms and Timpani 119

Hi hat 120

Ride 121

Other dishes 122

Choosing the shooting technique 123

Timing 125

DAW Settings 128

Bit 129

Sampling rate 131

Sound card 132

Input channels 132

Audio quality 135

Latency Management 136

Items that burden the CPU 136

Latency during recording 137

Organizing tracks on DAW 138

Example of track organization 139

Headphones and monitoring for the drummer 141

The drummer's headphones 141

Headphone and preamp impedance 143

Analog and digital level management 146

Analog input path 146

Analog output path 155

Phantom Processors 155

Advantages and disadvantages of Ghost processing 156

Guide tracks, clicks and pre-production 157

Playing in ensemble or overdubbing 157

Click 158

Guide track 158

Pre-Production 158

Rhythmic balance of the guide track 159

Click Balance 160

Help the drummer 161

Le takes 161

Hook and Insert 163

Final evaluations 164

DRUMS EDITING 165

Let's discover audio editing 166

Editing Techniques 166

Selection and editing takes 167

Insert registration 173

Surgical assembly 174

Timing 175

Cut & Move 176

Time Stretching and Time Expanding 176

Cleaning 182

USING GATE 183

What is Gate 184

Considerations for using Gate 185

Gate 186 controls

The Gate for the 190 battery

The Gate in Double-Miked Drums 190

The Gate for Toms 191

The gate for the bass drum 195

The gate for the snare drum 197

The gate for dishes 199

The gate in purist music 201

THE BATTERY MIX 203

Phase shift of HPF and LPF 204 filters

Preventive equalization 206

Preventive EQ for 208 drums

Bass Drum 209

Double track 210

Bass drum sound 212

Pre-EQ for the bass drum 213

Mix EQ for the Kick Drum 217

Dynamic Control 225

Pan-Pot 238

Reverb 238

Snare Drum 239

Double track 239

Preventive equalization 242

Mix Equalization 246

Dynamic Control 251

Pan-pot 258

Reverb 258

Hi Hat 259

Preventive equalization 260

Mix 260 Equalization

TomTom and Timpano 262

Double track for each drum 262

Preventive equalization 263

Mix Equalization 264

Dynamic Control 270

Pan-pot 274

Reverb 275

Overheads 276

Environmental Recovery 278

Stressed Dums 278

DRUMS STEMS IN MASTERING 281

What is Stem Mastering 282

Addition, Subtraction, and Substitution 283

Additive use 284

Subtractive Use 284

Replacement Use 284

How to properly export stems 285

The basic rules 286

Checking the stems 287

Stems mastering with Bus 288

Appendix 289

Monitoring Warnings 289

Conclusion 291

Contacts, Consultations and Licenses 291

Websites 292

Copyright 293

VOICE RECORDING, EDITING AND MIXING

Recording Studio Series – Manuals for the Sound Engineer – Book 1

Format 21 x 29 cm (A4) – Page 222

WHAT IS THIS BOOK FOR?

The manual aims to provide concrete assistance in quickly achieving professional-level results, aligned with the quality standards of the audio production industry, avoiding the use of analog outboard equipment.

WHO ARE THE RECIPIENTS OF THE MANUAL?

Mainly for semi-professional sound engineers working in Home Recording

But it can also be useful for more experienced sound engineers who want to delve deeper into the specific topic.

And finally, it is aimed at beginners, in order to help them properly learn and experiment with the principles and procedures of digital audio mixing.

Preface

With this volume I set out to provide concrete and simple help aimed at quickly obtaining professional-level results even in amateur or semi-professional production environments, such as home studios.

It covers all the topics related to vocal treatment in the sound field, during recording, editing, mixing and the preparation of vocal stems for mastering.

To complete the basic knowledge of the sound engineer, there are also some summary notes on singing and a large space dedicated to the acoustic care of the room and the optimization of the recording.

Some experienced sound engineers may smile at some of the simplifications in the exposition, aimed at making the material accessible, but perhaps they will still enjoy reading these pages as a mental "review" exercise.

This volume and many others related to phony are available on the site:

www.alessandrofois.com , to the menu Books

Manual Index

Introduction

Preface

Manual Index

CHAPTER 01

The human voice and singing

Sound and emission

Intonation and vibrato

Glissando

Vibrated

Melisma

The rhythm

The sung text

The consonants

Expression

Sound engineer and artistic director

Voice treatment

CHAPTER 02

Acoustics and shooting point

Acoustics of the recording room

First reflections

Standing waves and bass traps

Flutter echo

Reverberation times

Microphone position

Mobile panels and screens

CHAPTER 03

Record the voice

Distance from the microphone

Microphone tilt

Anti-pop and elastic support

Microphone selection

Using the microphone

The preamplifier

Choosing the preamp

Recording levels

Stereo recording of the voice

Headphone monitoring

DAW Settings

Elements of the recording session

Recording techniques

Ghost reverb

Help the singer

The takes

Corrective insert

The resumption of a choir

CHAPTER 04

Editing, tuning and montages

Basic editing

Choose & Enter

Corrective recording

Copy & Paste

Surgical editing

Erasing

Cutting

Fading and joints

Cloning transients and consonants

Dynamic Compressing & Expanding

Equalizing

Timing

Cut & Move

Time Stretching & Time Expanding

Leveling

Cleaning

Cutting

De-breathing

Tuning

Manual tuning

Intonation errors

Autotuning

Autotuning Management

CHAPTER 05

Processing the vocal in the mix

Initial management of voice volume

Tonal balance

Preventive equalization

Dynamic smoothing

Dynamic smoothing

Double compression

Parallel compression

Double parallel compression

On Face Voice Compression

Harmonic and tonal enrichment

Cosmetic equalization

Enhancement

Harmonic saturation

Limiting

De-essing

CHAPTER 06

Effects and environmental fields

Setting

Environmental resonance

Echo and Delay

Reverb

Spatiality

Direction

Sound directivity simulation

Presence and proximity

Environmental field

Standard field for soloists

Increase spatiality without reducing presence

Environmental processes

Reverb

Echo

Delay and Chorus

Other effects

CHAPTER 07

The volumes of the voice in the mix

Adjust voice volumes without touching the volume

Two types of volume tone control

Three types of dynamic volume control

Final management of voice volume

CHAPTER 08

Vocal tracks in stem mastering

What is stem mastering?

How to export stems correctly

How to work with voice stems

Addition and subtraction

Appendix

Monitoring Warning

Conclusion

Author's Biography

Copyright

Contact

HOME STUDIO FOR DIGITAL AUDIO RECORDING

Home Studio Setup Guide: Acoustics, Setup, Equipment, Know-How

A guide to creating and setting up a home studio for professional results. Basic sound engineering knowledge, acoustics, equipment, setup, settings, and tips.

Format 21 x 29 cm (A4) – Pages 428 – More than 180 illustrations with captions

***

INDEX

Preface

Part 1 – BASIC CULTURE

01 – SOUND AND WAVEFORM

Sounds

Noises

Waveform, phase and phase problems

The sound wave

Harmonic motion

Wave superposition and phasing

Polarity reversal

Time lag

Harmonic Generation

The Hammond organ drawbars

The beat

Tartini's Third Sound

Composite resultant wave

Phase problems during recording and mixing

Chorus via time shift (delay)

02 – MUSICAL SOUND PARAMETERS

Height

Stamp

Stamp components

Manipulation of the stamp

Intensity

Dynamics

Dynamic excursion

Average dynamics and average intensity

Lufs

Dynamic variation within a single sound

Envelope

ADSR

Attack

Decay

Sustain

Release

The synthesizer

Waveforms in sound synthesis

03 – PROPAGATION AND USE OF SOUND

Speed of sound and wavelength

Sound propagation and obstacles

Echo

Reverb

Spatiality

Sound directivity simulation

Monophony

Stereophony

Quadraphony

Surround

Octophony and point systems

Presence and proximity

Perception of volume and sustain

Ideal volume for critical listening

Sound level meter

04 – ANALOG AND DIGITAL

High definition digital

Comparison of definition and dynamics in recording

The sampling

Bits and dynamics

The quality audio chain

Aliasing

Signal levels

The analog signal

The digital signal

The limits of the floating point

The Montgomery test

The sound

The future of digital

A personal opinion

05 – THE VALUE OF MUSIC

Purpose of music nowadays

Filling underlay

Game support

Narrative support

The abstract narration of music

The growth of awareness

Music Influences and Classifications

Popular, classical, commercial music

Ethno-geographical and historical-cultural influence

The technological revolution in music

Globalizing and liberalist influence

06 – THE MUSICAL ELEMENTS

Technical analysis of musical elements

Melody

Keys, modes, scales and intervals

Diatonic system and chromaticism, comma, cent, tuning

Harmony and chords

Rhythm and groove

Dynamics, punctuation, bearing

Themes, structures and styles

Arrangement and orchestration

Critical listening

Part 2 – ACOUSTICS AND SETTING

07 – CHOICE OF LOCATION

Limitations of the home studio

The rooms

Acoustic recording room

Control room

Single or double room

Ideal proportions and dimensions of the studio

Rooms with unsuitable shape and size

Control room orientation

08 – SOUND INSULATION

Purpose of sound insulation

First: Do not disturb

Second: Don't get disturbed

Third: isolate the rooms from each other

How to proceed with soundproofing the studio

Floating floor

Floating side counter walls – long side

Splaying of the walls

Floating false walls front and back – short side

Suspended false ceiling

The dividing wall between the control room and the recording room

Insulation and acoustic optimization, common remedies

Final considerations

Insulating cabins

Movable partition panels

Soundproof doors

09 – ACOUSTICS AND STUDIO SETUP

The path of sound

Propagation

Obstacles

Standing waves

Calculating the basic modal resonance

Axial, tangential and oblique modal resonances

Modal multiples

Schroeder frequency

Calculate all modal resonances

Frequency response analysis

The large rooms

Critical distance

Echo and flutter echo

Acoustic Troubleshooting

Room selection

Flutter echo elimination

Elimination of early reflections

General bass reduction

Selective bass reduction

Diffusion and homogenization of the mids and highs

Reverberation time optimization

Using EQ for acoustic correction

Standing Waves and Drum Tuning

Visual communication between rooms

Intercom for sound communication between rooms

10 – MONITORS AND MONITORING

The main monitor speakers

The subwoofer

Alternative monitors

Positioning of the listening point and monitors

Stereo image

General criteria

Modal nodes and listening point

First retrospective reflection

Early lateral reflections and comb filter

Subwoofer placement and calibration

Some advice

Environmental equalization

Linearity check with musical notes

Critical listening volume during monitoring

Critical evaluation of low frequencies

Medium mix test

Monitoring for the recording room

The speakers for the main room

Monitors for communication

Auxiliary lines for monitoring

Headphone preamplifiers

The connection panels

Headphones

How to proceed

Pre or post fader monitoring

Managing latency

11 – WIRING AND AUDIO SIGNAL

The acoustic signal

The acoustic transducer

The electroacoustic signal

Balanced and unbalanced conductors

Electromagnetic disturbances and shielded cables

Balanced line cables

Unbalanced line cables

Balanced and unbalanced stereo cables

Hardware processors, amplifiers and speakers

Preamplifier inputs

Micro

Line

Instrument

Signal levels

Noise level

Attendance band

Nominal level

Headroom band

Distortion and clipping level

The gain levels to use in the preamplifier

Part 3 – EQUIPMENT

12 – COMPUTERS AND PERIPHERALS

CPU and DSP

Ram

HD, SSD, RAID

Fine-tuning your computer settings

Updates

Energy

Archive indexing

Journaling

Multitasking

13 – DAW AND CONVERTERS

DAW Settings

H/W Buffer size

Host processor

Usage limit

Delay compensation engine

Cache Size (Pro Tools)

Disk cache

The most useful plugins for the DAW

Time adjuster

Stereo Phase Correlation Viewer

Gain

Equalizer

Single-band compressor

Multiband compressor

Reverb

Echo/Delay

Exciter

Saturator

Inflator

Metering

Analyzers

Generators

14 – MICROPHONES

A little history

The transducers

Dynamic microphone

Ribbon microphone

Condenser microphone

Tube microphone

The membrane

Shooting angle and polar diagram

Dual-diaphragm microphones

Frequency response

Impedance

Sensitivity

Dynamic space

Dynamic speed

Distortion and electromechanical resistance

Choosing a microphone park

Some suggestions

15 – PREAMPLIFIERS

Input

Micro

Line

Instrument

Controls

Input selector

Phantom

Pad

Micro impedance selector

Line level selector

Input gain

Input level LEDs

High-pass filter

Output gain

Output level LEDs

Output

16 – OTHER EQUIPMENT

Mixer and controller

Analog Outboards

MIDI system, interface, musical keyboard

Virtual instruments and grooves

Plugin format

General Music Format and Sound Libraries

Grooves

Microphone stands and supports

Cables

Furnishings

Toolbox

CONCLUSION

Know-how

The sound engineer and the artistic director

In conclusion

Further information

Publications

How to buy

Book conventions

Services

Seminars and partnerships

Copyright

Information and licenses

"Audio Engineering – Audio Manuals for the Sound Engineer" Series
Volume 4

• 178 total pages (A4 format – Font Avenir Book 11 – Line spacing 1)
• 3 pages of index divided into 3 levels (to find each topic quickly)
• n. 13 chapters
• n. 65 images

NOTES ON THE 4TH EDITION 2022

• modernization of processes, also as a result of the new software resources available
• improved the entire section dealing with dynamics and finalization
• improved the exposition logic, better distinguishing the preliminary and theoretical parts from the more strictly operational ones
• smooth out some expressive tortuosities
• insertion of a greater number of images and explanatory diagrams
• revisions of the graphic design and cover
• the correction has been completed

Preface

Unlike mixing, which requires a mix of technical expertise and artistic skill, mastering is dominated by technical skills, but the sound engineer's artisanal expertise will have a significant impact on the final result.

To do this, the mastering engineer will have to enhance the work of the mix-maker, so that the sound product sounds perfect, clear, energetic and grandiose.

Therefore, he will have to sharpen his weapons, in order to eliminate any confusing tonal patina and enhance the dynamics, bringing out the brightness and depth of the sound, for the benefit of a better enjoyment of the music.

Together, their goal will be to deliver well-calibrated, accurate, and standards-compliant products, offering the most usable versions for the recording, entertainment, broadcasting, and film industries.

The Author

Manual Index

MASTERING PRELIMINARIES 9
Itb and Otb 9
Purpose of Mastering 9
What is needed 11
Analog and Digital 13
Mix Analysis 13
Logbook 13
Dynamic Analysis 15
Listening Impressions 17
Stereo-mono compatibility 17
Tone Check 18
Dynamic Verification 20
Mix Review 21
Creating and setting up a session 21
Computer Resources 24
Other specifications 25
Comparisons 27
Mastering “on board” 27
Sound levels 29
EDITING 31
Cutting, silencing, fading 32
Start Cutting 32
Start Silencing 32
Start Fading 33
End cutting, silence, fading 33
Middle cutting, insert 34
STEMS 36
Stem Mastering 37
Addition and Subtraction 37
Which stems 38
How to correctly export stems 40
DYNAMICS AND LOUDNESS 42
Dynamics 42
Listening 44
Natural Dynamics 46
Recording dynamics 47
Loudness war 48
Consequences on audio 50
Lufs 53
The Streaming Revolution 54
Reference loudness 56
True Peak level 57
The new standards 58
THE WORK SESSION IN MASTERING 61
Importing mixes and stems 61
The audio chain 64
Control Processors 65
Building a template 71
MS MASTERING 72
The MS 72 chain
LR to M/S encoding 72
M/S Processing 73
M/S to L/R decoding 74
How to set up the M/S matrix on Daw 74
Mastering operations with the M/S 77 matrix
Conclusion 78
STEREO PHASING AND IMAGING 80
Phase correlation 80
Troubleshooting Mix Phase Problems 82
Stereo image 84
Symmetry 85
Width 85
Center leveling 86
NOISE REDUCTION 88
Click 89
Crackle 90
Hiss 90
Hum 92
Traffic noise, wind noise and feedback 95
Conclusion 95
TONE CORRECTION 96
Acoustic perception 96
HPF and LPF 98
What is needed 99
General Imbalances 99
We operate with eq 100
Static EQ 100
Dynamic Equalization 104
Balance the bass 105
Spectrum Analyzer 106
Medium Mix Test 110
Tonal Imbalances in Single Sources 112
Colored Equalizers 113
Automations 114
Quality 114
DYNAMIC CORRECTION 115
Treatment of abnormal peaks 116
Transient Adjustment 120
De-essing 124
Smoothing Compression 126
Leveling Compression 129
Effects of limiting 129
Effects of leveling compression 130
Risks of the dynamic process 132
Mix too compressed 132
Comparison and corrections 134
ENVIRONMENTAL CORRECTION 136
Setting the Sound 136
Increase body 137
Sharp bass 137
Crushed Mix 138
Width and depth 138
Installing Effects 139
Mix too reverberated 139
OTHER PROCESSES 140
Enhancement 140
Exciter 140
Analog Tape Saturator 141
Inflator 142
FINALIZATION 145
Bass Optimization 145
Maximizing bass for small audio speakers 146
Selective bass compression 150
Cosmetic Equalization 152
Loudness Check 152
Finalizer Limiter 152
Oversampling 154
Algorithm selector 154
Lookahead 156
Attack and Release 156
Channel link 159
Ceiling – Output 160
True Peak 160
LUFS Meters 162
Gain 164
Listening and Comparison 166
Dithering and Noise Shaping 167
Mastering for Vinyl 168
Export 170
Duplication on Audio CD 172
CD 174 encoding
Automatic Mastering 174
Monitoring Warning 176