Misplaced Pages

This is an old revision of this page, as edited by 82.232.223.1 (talk) at 12:52, 30 May 2007 (→References). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

Mastering, a form of audio post-production, is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device (the master); the source from which all copies will be produced (via methods such as pressing, duplication or replication). Today, the format of choice is digital masters. Analog masters such as audio tapes are still in use today, although, it looks like the industry is slowly phasing this medium out.

The source material is processed using equalization, compression, limiting, noise reduction and other processes. The source material is subsequently rendered to the master medium such as CD or DVD. The "mastered" source material is also put in the proper order at this stage. This is commonly called "the assembly or track sequencing". More tasks such as editing, pre-gapping, leveling, fading in and out, noise reduction and other signal restoration and enhancement processes can be applied as part of the mastering stage.

The specific medium varies, depending on the intended release format of the final product. For digital audio releases, there is more than one possible master medium, chosen based on replication factory requirements and/or record label security concerns.

A mastering engineer may be required to take other steps, such as the creation of a PMCD (Pre Mastered Compact Disc), where this cohesive material needs to be transferred to a master disc for mass replication. A good architecture of the PMCD is crucial for a successful transfer to a glass master that will generate stampers for reproduction.

History

Pre-1940s

In the earliest days of the recording industry, all phases of the recording and mastering process were entirely achieved by mechanical processes. Performers sang and/or played into a large acoustic horn and the master recording was created by the direct transfer of acoustic energy from the wax diaphragm of the recording horn to the mastering lathe, which was typically located in an adjoining room. The cutting head, driven by the energy transferred from the horn, inscribed a modulated groove into the surface of a rotating cylinder or disc. These masters were usually made from either a soft metal alloy or from wax; this gave rise to the colloquial term "waxing", referring to the cutting of a record.

After the introduction of the microphone and electronic amplification in the late 1920s, the mastering process became electro-mechanical, and electrically-driven mastering lathes came into use for cutting master discs (the cylinder format by then having been superseded).

However, until the introduction of tape recording, master recordings were almost always cut direct-to-disc. Artists performed live in a specially designed studio and as the performance was underway, the signal was routed from the microphones via a mixing desk in the studio control room to the mastering lathe, where the disc was cut in real time.

Only a small minority of recordings were mastered using previously recorded material sourced from other discs.

Advances

The recording industry was revolutionized by the introduction of magnetic tape in the the late 1940s, which enabled master discs to be cut separately in time and space from the actual recording process. Although tape and other technical advances dramatically improved audio quality of commercial recordings in the post-war years, the basic constraints of the electro-mechanical mastering process remained, and the inherent physical limitations of the main commercial recording media — the 78rpm disc and the later 7" single and LP record — meant that the audio quality, dynamic range and running time of master discs was still relatively limited compared to later media such as the compact disc.

Running times were constrained by the diameter of the disc and the density with which grooves could be inscribed on the surface without cutting into each other. Dynamic range was also limited by the fact that, if the signal level coming from the master tape was too high, the highly sensitive cutting head might jump off the surface of the disc during the cutting process.

From the 1950s until the advent of digital recording in the late 1980s, the mastering process typically went through several stages. Once the studio recording on multi-track tape was complete, a final mix was prepared and dubbed down to the master tape, usually either a single-track monophonic or two-track stereo tape.

Prior to the cutting of the master disc, the master tape was often subjected to further electronic treatment by a specialist mastering engineer. After the advent of tape it was found that, especially for pop recordings, master recordings could be 'optimized' by making fine adjustments to the balance and equalization prior to the cutting of the master disc.

Mastering became a highly skilled craft and it was widely recognized that good mastering could make or break a commercial pop recording. As a result, during the peak years of the pop music boom from the 1950s to the 1980s, the best mastering engineers were in high demand.

In large recording companies such as EMI, the mastering process was usually controlled by specialist staff technicians who were conservative in their work practices. These big companies were often reluctant to make changes to their recording and production processes — for example, EMI was very slow in taking up innovations in multi-track recording and they did not install 8-track recorders in their Abbey Road Studios until the late 1960s, more than a decade after the first commercial 8-track recorders were installed by American independent studios. As a result, by the time The Beatles were making their groundbreaking recordings in the mid-Sixties, they often found themselves at odds with EMI's mastering engineers, who were unwilling to meet the group's demands to 'push' the mastering process, because it was feared that if levels were set too high it would cause the needle to jump out of the groove when the record was played by listeners.

Digital technology

In the 1990s, the old electro-mechanical processes were largely superseded by digital technology, with digital recordings transferred to digital masters by an optical etching process that employs laser technology. The digital audio workstation (DAW) became common in many mastering facilities, allowing the off-line manipulation of recorded audio via a graphical user interface (GUI). Although many digital processing tools are common during mastering, it is also very common to use analogue media and processing equipment for the mastering stage.

There are mastering engineers who feel that digital technology, as of 2007, has not progressed enough in quality to supersede analog technology, but others, such as Nika Aldrich, a well-known expert in the field, believes that upon close review of the parameters of audio as relevant to human perception, analog recording methods can be demonstrated to be " incapable, however, of recording audible perfection."

Process

The process of audio mastering varies depending on the specific needs of the audio to be processed. Steps of the process typically include but are not limited to:

1. Transferring the recorded audio tracks into the Digital Audio Workstation (DAW) (optional).
2. Sequence the separate songs or tracks (The spaces in between) as it will appear on the final product (for example, an Audio CD).
3. Process or (sweeten) audio to maximize the sound quality for its particular medium.
4. Transfer the audio to the final master format (i.e., Red Book compatible audio CD or a CD-Rom data, 1/2" reel tape, PCM 1630 U-matic tape, etc.).

Examples of possible actions taken during mastering:

1. Edit minor flaws.
2. Apply noise reduction to eliminate hum and hiss.
3. Adjust stereo "width".
4. Add ambience.
5. Equalize audio between tracks.
6. Adjust volumes.
7. Dynamic expansion.
8. Dynamic compression.
9. Peak limit the tracks.

The guidelines above are mainly descriptive of the mastering process and not considered specific instructions that may or may not be applied in a given situation. Mastering engineers need to examine the types of input media, the expectations of the source producer or recipient, the limitations of the end medium and process the subject accordingly. General rules of thumb can rarely be applied.

Audio mastering tools

References

1. Nika Aldrich (2004): Digital Audio Explained]; p. 97 (ISBN 978-1-41-960001-2)

FLUX:: sound and picture development

See also

• Audio post production

External links

• iZotope Mastering Guide A guide to the basics of mastering audio.

• Audio engineering
• Sound technology