In an easy-to-grasp, holistic manner Mastering Audio: The Art and the Science, Third Edition unravels the technical mysteries that regularly challenge audio engineers. So keep a look out! Mastering Audio: The Art and the Science – Bob Katz (Third Edition)
Soon we will also be putting some book lists together about other subjects including Audio Mixing, Live Mixing, Audio Production & Music Theory. Whether you just want a bit of knowledge about audio mastering or if you want to start learning to do it yourself, these books are probably the best you will find around. In fact, this meter is valuable whether you’re just starting to master music, or if you’re a seasoned engineer.We have selected some of the best books on audio mastering, These books will give you a lot of information and foresight into the world of Audio Mastering. Lastly, if you’re just now getting into mastering music knowing the integrated LUFS unit, and using an LUFS or Loudness meter, is a great way to get a good understanding of loudness. No matter how a track is mastered, for what medium it is mastered, or for which artist it is mastered, loudness will in one way or another be part of the production process. Additionally, loudness greatly impacts today’s mastering process when considering the popularization of loudness normalization and online streaming services. With that said, understanding loudness on a macro and micro level is crucial knowledge for anyone seeking to master for a particular medium, genre, or artist preference. The intended loudness of a master will change how an engineer approaches the mastering process. Loudness affects all aspects of mastering music. It shows how preference, genre, and the practical purposes of loudness combine to create a very particular style of mastering music. For example, when mastering for a vinyl record, if master too loud, the needle of the lathe can begin to distort. The medium onto which a record is distributed affects the loudness to which it can be mastered. Whereas a mix is limited in how loud it can be, a master’s loudness can vary based on the medium onto which it is distributed, the genre mastered, and the artist’s personal preference for loudness. This is why, no matter what the genre or other factors at play, it is always best to leave mixes relatively quiet, with the loudest integrated LUFS for any mix being -16.
In other words, an excessively loud mix will cause issues for a mastering engineer and may result in a worse sounding final product.
What will most likely happen if you deliver a mix that is too loud, is a mastering engineer will use clip gain or other gain altering methods to reduce the loudness of your mix and in turn create some headroom for their mastering process. Making a mix too loud can cause issues for a mastering engineer.
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