so cloy's thread inspired me to figure out all the technical stuff about mastering - sequencing, IRSC codes and any other XYZ, JKLOL codes and whatnot there are, proper burning methods, and so on.
any good guides?
any good guides?
the non-musical side of mastering?
- Thread starter [UEAK]Clowd
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There's the PQ list - which contains stuff like the start/end markers for each track, the index/track number, and the basic TOC (Table Of Contents) data. It also includes things like the ISRC codes, UPC code, and a bunch of other stuff I can't really remember - like copy protection flags, CD-Text
IRSC codes apply to the whole CD - you can read all about them here:
http://www.ifpi.org/content/library/isrc_handbook.pdf
Though it'll be a long cold night before you read it all
Basically it lists the country of origin, the "registrant" (normally the record label), the year it was made and then a number to show which recording it is (in theory, you start at 00001 each year, though in practise you can do it how you want). It's a code for the recording, not the material, so if you re-record a song, it would end up with a different IRSC - but if you put the original recording on a compilation, it would have the same one.
UPC is the ironically named "Universal Product Code" - which is the numerical representation of the barcode on the CD. It's ironic because despite being "universal", they're only really correct in the US. In the EU it becomes the EAN code and you have to put a '0' in front of it to make it fit the standard.
Steve
IRSC codes apply to the whole CD - you can read all about them here:
http://www.ifpi.org/content/library/isrc_handbook.pdf
Though it'll be a long cold night before you read it all
Basically it lists the country of origin, the "registrant" (normally the record label), the year it was made and then a number to show which recording it is (in theory, you start at 00001 each year, though in practise you can do it how you want). It's a code for the recording, not the material, so if you re-record a song, it would end up with a different IRSC - but if you put the original recording on a compilation, it would have the same one.UPC is the ironically named "Universal Product Code" - which is the numerical representation of the barcode on the CD. It's ironic because despite being "universal", they're only really correct in the US. In the EU it becomes the EAN code and you have to put a '0' in front of it to make it fit the standard.
Steve
ISRC, for the sake of clarity.
each of the songs on both of my band's CD's have their own ISRC codes, not one code for our whole CD.
The link you provided SAA also says that ISRC codes are per song.
each of the songs on both of my band's CD's have their own ISRC codes, not one code for our whole CD.
The link you provided SAA also says that ISRC codes are per song.
waltz mastering
Member
A place to start is great media (ty yuden) a great burner (plextor II)
and a good mastering program. Depending on what platform you run, there are quite a few out there.
A couple assembly programs are:
Samplitude Sequoia
Sonic pmcd
Soundblade
Wave editor
Wavelab
Peak
Then you have cd text, isrc, start stop index's, pq log, quality control etc.
and a good mastering program. Depending on what platform you run, there are quite a few out there.
A couple assembly programs are:
Samplitude Sequoia
Sonic pmcd
Soundblade
Wave editor
Wavelab
Peak
Then you have cd text, isrc, start stop index's, pq log, quality control etc.
Mikaël-ange
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~BURNY~
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Mikaël-ange
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when you go to sequence, are you guys bouncing your tracks with 0 gap on the front and back of each track, and then worry about the gaps during burning? or do those mastering programs deal with this for you?
very confused.
very confused.
waltz mastering
Member
Sacha
Throbbing Member
[UEAK]Clowd;8919394 said:
I don't know about other programs but in Wavelab you can set the start and end points wherever, doesn't matter what the length of the actual audio file is. You can also of course trim it directly in the editor if you want.
Wavelab also has a wizard to walk you through and make sure you add all your codes and CD Text etc., and then checks at the end to make sure it's a valid CD.
I have CD Architect, and it does all this as well, IIRC (been a good minute since I've used it).
Good to see you on here Tom! Yes regarding making a solid master, this is one of the fundamentals of mastering (along with "thou shalt do no harm"). An ME has to be certain that what he or she is sending out to a plant is accurate not only from an audio perspective but also regarding the quality of the CD master or disc image itself. All of the apps Tom mentioned are reputable ( I would nominate Pyramix to that list as well ) and are capable of making a great master given the right environment.
To test the quality of your CD master from a technical level you'll need a way to analyze and count BLERs, C1, C2s, and CUs. The most common way to do this is with an app called PlexTools (you'll need a Plextor drive). A Stagetech EC-2 and a Clover system are two other methods that I've used in the past with good success.
Outside of ISRC codes, and CD-text, the other common embeddable item is the UPC code which applies to the full album. Not as common these days as ISRC codes or CD-Text, but it still crops up occasionally.
Cheers!
Here's a related question-
when you guys are sending your clients a master, are you sending them 48/24 files? 48/16? 44/16?
when you guys are sending your clients a master, are you sending them 48/24 files? 48/16? 44/16?
waltz mastering
Member
[UEAK]Clowd;8938776 said:
I always send or give the client the tracks back at 44.1/16
Sample rate conversion and dithering are part of the mastering process, so delivering at the final destined format is important ime/o.
Thanks.
