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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!
- Sales Rank: #421118 in Books
- Published on: 2012-09-20
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .29" w x 6.00" l, .60 pounds
- Binding: Paperback
- 144 pages
Review
Mastered for iTunes… will be the standard from now on. It is 100% based on solid science, as you will learn in the chapters of this book.
―Bob Ludwig, Gateway Mastering, Portland, ME (from the Foreword)
In iTunes Music, the tools of the trade are expertly explained by Bob Katz in a way that informs the professional and enlightens the beginner. The next time I’m asked "What is mastering?" I’ll answer the question with a question: "Have you read Bob’s book[s]?"
―Jim Anderson, Professor, Clive Davis Institute of Recorded Music, Tisch School of the Arts, New York University, Recording Engineer, and Past President, Audio Engineering Society, NYC
Knowledge is key to understanding, and Bob’s book clarifies the "new world order" of music delivery with the right mix of practical and technical detail. No matter your background, if you care about how your music will sound to others, you need to read this! You should be able to provide better sounding music after reading Bob’s book!
―Jim Kaiser, Audio Educator, Engineer, AES Past President, Nashville, TN
Katz is unusual as an author in combining a high-flying day job―and all the secrets that mastering usually entails―with a desire to communicate and demystify technology and methods. He’s now turned his attention to the bugbear of high-end and addressed the iTunes generation. You know you’re going to want to read it.
―Zenon Schoepe, Executive Editor, Resolution Magazine, United Kingdom
Bob Katz turns the dry, but critically important, technical side of mastering into an engaging easy read, and does it without sacrificing depth or completeness. The beautiful graphics and clear writing style offer a masterful education for the reader.
―Alan Silverman, Adjunct Professor, NYU Steinhardt, Dept. of Music and Performing Arts Professions, Adjunct Instructor, NYU Tisch School of the Arts, Clive Davis Institute of Recorded Music, and www.arfmastering.com, NYC
iTunes is a reality of today’s production world. iTunes Music helps shed some new light on this mystifying topic. From the best way to handle metadata and higher sample rates to coding and final delivery, this informative work is the "go-to" manual for modern music mastering.
―Rich Tozzoli, Grammy-nominated mixer, producer, composer, and writer, NJ
About the Author
Bob Katz played the B flat clarinet from the age of 10, and his lifelong love of sound and music led him to become a professional recording, mixing and mastering engineer (since 1971). Three of his recordings have garnered the GrammyT award and many others have been lauded in publications such as Stereo Review, Audio, and Stereophile. He has written over one hundred articles for audio and computer publications, and is an inventor and manufacturer with processors and support gear in use at mastering studios worldwide. His most recent patent-pending inventions, the K-Stereo and K-Surround Processors, fill a missing link in the mastering and post- production pantheon. He has been a workshops, facilities and section chairman of the AES and has given lectures in several countries. Currently, Bob runs Digital Domain Studios just north of Orlando, Florida.
Most helpful customer reviews
8 of 8 people found the following review helpful.
Mostly for Mastering Engineers... but...
By P. Hamm
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 of 5 people found the following review helpful.
Important information in a breezy read
By Personne
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 of 5 people found the following review helpful.
You'll Want To Read It Twice (At Least)
By frankp93
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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