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iTunes Music: Produce Great Sounding Music with Mastered for iTunes
 
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iTunes Music: Produce Great Sounding Music with Mastered for iTunes [Format Kindle]

Bob Katz
5.0 étoiles sur 5  Voir tous les commentaires (2 commentaires client)

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Descriptions du produit

Présentation de l'éditeur

Apple’s exciting new Mastered for iTunes (MFiT) initiative, introduced in early 2012, introduces new possibilities for delivering high-quality audio. For the first time, record labels and program producers are encouraged to deliver audio materials to iTunes in a high resolution format, which can produce better-sounding masters.



In iTunes Music, author and world-class mastering engineer Bob Katz starts out with the basics, surveys the recent past, and brings you quickly up to the present—where the current state of digital audio is bleak. Katz explains the evolution of standards for dynamic range through the present and with implications for the future. He details the new methods that Apple is developing to accept high resolution audio and shows step by step how audio engineers and producers can take advantage of them.



This book is designed for all those dealing with sound, from sound engineers to music industry executives and musicians—and those aspiring to all these roles. This book will help you understand the issues around delivering high-quality environment and get all your facts straight for when you encounter resistance to good sound.


Topics covered include:


• Contrasting the production of CD albums with iTunes albums
• High Resolution audio
• Dithering
• Distortion (and how to avoid it)
• Lossy Coding
• Loudness Metering
• Sound Check and how it affects our production techniques
• Apple’s tools for Mastered for iTunes


Foreword by renowned mastering engineer Bob Ludwig.


Join the forums at www.digido.com/iTunes, for the latest information and discussions!


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Commentaires client les plus utiles
5.0 étoiles sur 5 LA TECHNIQUE DU MAITRE JEDI DU MASTERING 7 janvier 2014
Format:Broché|Achat vérifié
Tout est dans ce petit livret....Technique, histoire et développement des techniques de mastering dédiées a la diffusion sur internet, et en particulier sur iTunes. Bob Katz est l'ingénieur de Mastering et sa parfaite maitrise des systemes de traitement audio analogiques et digitaux les met a la portée de tous
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5.0 étoiles sur 5 Parfait 30 décembre 2013
Format:Broché|Achat vérifié
Reçu rapidement et conforme à la description. Ouvrage de qualité, très complet et eclaircissant le sujet! bravo! Mais, tout le monde le sait. Bob KATZ est un maître!
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Amazon.com: 3.8 étoiles sur 5  26 commentaires
7 internautes sur 7 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Mostly for Mastering Engineers... but... 4 janvier 2013
Par P. Hamm - Publié sur Amazon.com
Format:Broché|Commentaire client Vine pour produit gratuit (De quoi s'agit-il?)
Mostly for Mastering Engineers... but...

The discussion of how iTunes works and how to take advantage of its new High Resolution format is useful and eye-opening for any recording musician, whether pro or amateur. It'll give you ideas for maximizing the quality of your recording from beginning to end, it's filled with great colorful illustrations, and even though it's very technical, as a layman I understood the language throughout, thanks to some very well-presented glossaries.

If you are just a music listener curious about iTunes from a consumer perspective, skip this book. It is decidedly not for you.
5 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Important information in a breezy read 18 février 2013
Par Personne - Publié sur Amazon.com
Format:Broché|Commentaire client Vine pour produit gratuit (De quoi s'agit-il?)
The near-magical art of mastering audio goes back many decades. It's adapted time and time again, moving from the physical aspects of LP cutting through CD and now into the world of digital audio distribution. At every stage, the mastering engineer has done everything possible to match the music to the medium and ensure the most pleasant and true experience possible. While the hour it takes to read through this little volume won't make you into a mastering engineer, it will give the the beginnings of the toolset you want. More importantly, it may help to persuade you that it's a toolset you really need.

Those of us who've been in the business for a while are well aware of the so-called 'loudness wars'. It's the constant battle to make each musical release louder than the last, in the hopes it will rise to the top of the pile when it comes to airplay. It's been enormously damaging to the overall quality of recording. Bob Katz makes that point without preaching; more importantly he shows why it's a losing battle. More and more playback systems (and some legal restrictions) aim toward reproducing music with a uniform perceived loudness. Those pumped-up recording just get pushed down so they coexist nicely with the others. If that reduces those panicky lunges at my level control, then I'm all for it! A rather good portion of this brief book deals with the subject of loudness--really quite different from maximum level. Katz talks about how we perceive it and how playback systems can be tripped up by it. This is more than a minor issue. Even if your intent is to pump that volume, the actual act of coding and playing music may give you problems you never intended.

Although the book has iTunes as a prominent part of the title, I haven't even mentioned that until this point in the review. A great deal of what Katz has to say is of more general importance. But he gives you plenty to chew on for an iTunes-specific dinner. He talks about how iTunes fetches track names when you insert a CD, as well as how you can set that data up correctly. He discusses some free tools from Apple that can help you get the most out of encoding a song. He discusses some of his favorite tools--especially level meters. Throughout he maintains a lively and helpful tone, leaving you eager for more.
5 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Useful for anyone who digitally produces their own music 2 février 2013
Par Book Fan - Publié sur Amazon.com
Format:Broché|Commentaire client Vine pour produit gratuit (De quoi s'agit-il?)
This book has a wealth of information in it for anyone who is burning a CD (or creating an mpeg or audio file) for iTunes.

The word "mastering" has two meanings: 1. the general sense of gaining an increased knowledge and control within a field, and 2. the specific task of enhancing the sound of a CD after all its multi-track songs have been recorded and mixed. This book is useful for both. It does not tell the reader how to become a mastering engineer, but it does give a lot of insight into all of the issues that a mastering engineer faces. It covers settings at the time of CD burning, and different ways of producing files of high to low audio resolution for the iTunes website.

I found the chapters on "sound wars" (chapters 4-6) of particular interest, since artists commonly ask their mastering engineer to boost the loudness of their CDs. These chapters are eye-opening and should be read by every artist. Earlier chapters describe lossless vs. lossy file formats and how to avoid pitfalls that lead to distortion when audio files are turned into mpeg/AAC files.

Also fascinating is the discussion of the effect that sound normalization (developed in Europe) is beginning to have on the U.S. I also finally found out what iTune's Sound Check button does and why it is an important breakthrough. Finally, the book has an excellent glossary.

Given the technical nature of the material, the book is clearly written, with appropriate figures. Although it is oriented towards iTunes, it also conveys general principles of digital music production.

It is a very useful book for any artist that creates his/her own audio files.
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Great 23 février 2013
Par RG69 - Publié sur Amazon.com
Format:Broché|Commentaire client Vine pour produit gratuit (De quoi s'agit-il?)
In the space of 135 pages, divided into seven logical chapters, Bob discusses typical workflows and explains how and why to use the MFiT software tools to optimise audio files ready for submission to the Mastered For iTunes program. Along the way, he explains myriad aspects of the technology, science and best-practice techniques associated with creating, mastering and optimising MFiT files -- including some excellent chapters about loudness and loudness normalisation, and why the latter is set to vanquish peak normalisation, end the loudness war, and become the saviour of natural, dynamic music.
3 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 You'll Want To Read It Twice (At Least) 13 février 2013
Par frankp93 - Publié sur Amazon.com
Format:Broché|Commentaire client Vine pour produit gratuit (De quoi s'agit-il?)
The book's title initially fooled me - I thought it might be nothing more than a glossy guide to "mastering" Apple's iTunes application.
I was wrong and the name Bob Katz should have tipped me off to the depth of technical detail and the passionate argument for quality audio that comes through every page.

"Mastering Music For iTunes" is not a tutorial on digital audio mastering (If you're interested, check out Katz's "Mastering Audio" text - it's one of the bibles of the industry). While mastering engineers will appreciate the technical depth, the book's audience is anyone in the music production chain from musician, mix and mastering engineers, producer and marketers with an interest in producing high quality digital audio.

With downloaded music now a dominant form of distribution and Apple's iTunes store a major point of sales, submitting the highest quality audio files to Apple under the guidelines of their Mastered for iTunes (MfiT) program requires some technical understanding. For many engineers, that means some changes to their traditional workflow of targeting CD and vinyl media. Traditional mastering tasks such as inserting pauses, balancing individual track loudness have changed, as has the very concept of an 'album' of assembled tracks. "The book's stated goal is not to make every reader an expert in audio encoding, loudness normalization, metadata, sample rate conversion and the benefits of preserving headroom, but rather to provide a working foundation enabling intelligent discussion and collaboration.

I'm an amateur musician with more experience in low-level software development than mastering audio but it fascinated me to see how the inherent lack of floating-point precision in microprocessor math operations I've been aware of for years has shaped and influenced software built on top of it, including digital recording and mastering tools. Subtle and counterintuitive artifacts and behaviors are often introduced (such as the substantial growth in audio file size as a result of effects processing - which is often nothing but an overlay of repeated floating point calculations). I found the comparison to digital photography effects such as dithering and pixelation spot on and it clarified a lot of the heavier detail, as did the many software screen shots of analyzed signals.

The book gives a good grounding in high-resolution audio, compression and limiting and their influence on loudness, and presents examples from a variety of software tools to give a sense of what's available to the contemporary engineer. None of the material is at the tutorial level and it's assumed that someone looking for technical depth already has a substantial background. The writing is lucid and lively and the pictorial layout of the book will make it a pleasure for non-technical readers with a serious interest in the topic.

If you've followed Bob Katz's writing and his blog you're familiar with his happy warrior stance in the "loudness wars". The tone of "Matering Music for iTunes" is upbeat; Katz feels that Apple's Mastering for iTunes program has provided him with ammunition and tools to support his case for preserving headroom and with it the spacious dynamics that are for him the hallmark of quality musical production. As someone from the same generation who shares much of his perspective, I hope he's right.

As a target reader I probably fall somewhere in between technical and non - I've recorded and mixed my own music in analog and digital for years but am self-taught and know merely the basics of mastering. Still, I found the book set off many ideas I want to explore and I imagine re-reading it and keeping it close to my studio desk for some time.
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