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70-451: A remaster is a change in the sound or image quality of previously created forms of media, whether audiophonic , cinematic , or videographic . The resulting product is said to be remastered . The terms digital remastering and digitally remastered are also used. In a wider sense, remastering a product may involve other, typically smaller inclusions or changes to the content itself. They tend to be distinguished from remakes , based on

140-493: A CD . Vinyl LP and cassettes have their own pre-duplication requirements for a finished master. Subsequently, it is rendered either to a physical medium, such as a CD-R or DVD-R, or to computer files, such as a Disc Description Protocol (DDP) file set or an ISO image . Regardless of what delivery method is chosen, the replicator factory will transfer the audio to a glass master that will generate metal stampers for replication. The process of audio mastering varies depending on

210-565: A stereo or mono master. A further master tape would likely be created from this original master recording consisting of equalization and other adjustments and improvements to the audio to make it sound better on record players for example. More master recordings would be duplicated from the equalized master for regional copying purposes (for example to send to several pressing plants). Pressing masters for vinyl recordings would be created. Often these interim recordings were referred to as mother tapes . All vinyl records would derive from one of

280-471: A 16:9 aspect ratio. Another issue in terms of remastering is upscaling projects completed in the early days of digital ink and paint . Animation industries across the globe gradually switched from cels to digital coloring around the turn of the millennium, and projects that pre-date the advent of higher-resolution formats have proved challenging to remaster. Remasters of films that used early digipaint processes are typically struck from filmout 35mm prints, as

350-486: A distinctly chunky appearance with no smoothly curving surfaces. Older computers also had less texture memory for 3D environments, requiring low-resolution bitmap images that look visibly pixelated or blurry when viewed at high resolution. (Some early 3D games such as the 1993 version of DOOM also just used an animated two-dimensional image that is rotated to always face the player character, rather than attempt to render highly complex scenery objects or enemies in full 3D.) As

420-399: A film at 4K—a resolution of 4096 × 3092 for a full frame of film—generates at least 12 terabytes of data before any editing is done. Digital restoration operators then use specialist software such as MTI's Digital Restoration System (DRS) to remove scratches and dust from damaged film. Restoring the film to its original color is also included in this process. As well as remastering

490-418: A final master. Mastering engineers recommend leaving enough headroom on the mix to avoid distortion. The reduction of dynamics by the mix or mastering engineer has resulted in a loudness war in commercial recordings. The source material, ideally at the original resolution , is processed using equalization , compression , limiting and other processes. Additional operations, such as editing , specifying

560-412: 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 ). In recent years, digital masters have become usual, although analog masters—such as audio tapes—are still being used by

630-447: A limiter, an equalizer, and a compressor. The compressor and limiters are ways of controlling the loudness of a track. This is not to be confused with the volume of a track, which is controlled by the listener during playback. The dynamic range of an audio track is measured by calculating the variation between the loudest and the quietest part of a track. In recording studios the loudness is measured with negative decibels, zero designating

700-427: A mastering context, though without the same degree of signal degradation as those introduced from processors within the analog domain. The quality of the results varies according to the algorithms used within these processors, which in some cases, can introduce distortions entirely exclusive to the digital domain. Real-time analyzers , phase oscilloscopes , and also peak, RMS, VU and K meters are frequently used within

770-496: A matter of taste to some degree, they are often the subject of criticism. Mastering engineers such as Steve Hoffman have noted that using flat EQ on a mastering allows listeners to adjust the EQ on their equipment to their own preference, but mastering a release with a certain EQ means that it may not be possible to get a recording to sound right on high-end equipment. Additionally, from an artistic point of view, original mastering involved

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840-609: A meta-analysis on 20 of published tests, saying that trained listeners could distinguish between hi-resolution recordings and their CD equivalents under blind conditions. Hiroshi Nittono pointed out that the results in Reiss's paper showed that the ability to distinguish hi resolution audio from CD quality audio "was only slightly better than chance". However for perspective, the same is true of blind tests between lossy compression (mp3 or equivalent) and lossless CD quality audio, which are widely accepted as audibly different but dependent upon

910-430: A purchase. Remastering music for CD or even digital distribution starts from locating the original analog version. The next step involves digitizing the track or tracks so it can be edited using a computer. Then the track order is chosen. This is something engineers often worry about because if the track order is not right, it may seem sonically unbalanced. When the remastering starts, engineers use software tools such as

980-501: A record. After the introduction of the microphone and electronic amplifier in the mid-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). Until the introduction of tape recording, master recordings were almost always cut direct-to-disc . Only a small minority of recordings were mastered using previously recorded material sourced from other discs. In

1050-521: A result, depending on the age of the original game, if the original assets are not compatible with the new technology for a remaster, it is often considered necessary to remake or remodel the graphical assets. An example of a game that has had its graphics redesigned is Halo: Combat Evolved Anniversary , while the core character and level information is exactly the same as in Halo: Combat Evolved . Mastering (audio) Mastering ,

1120-421: A simple matter of going back to the original files and re-rendering them at a desired resolution. Some modern software, like Toon Boom Harmony , utilize lossless vector shapes, allowing an artist to re-render work at different resolutions with ease. This can prove tricky at times when files have become corrupted or unreadable ; a 3D reissue of Toy Story , the first CG film, was fraught with difficulties due to

1190-474: A single-track mono 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 made so that the resulting record would sound better. This was done by making fine adjustments to the amplitude of sound at different frequency bands ( equalization ) prior to

1260-534: A tape to a tape meant reducing the signal-to-noise ratio . This means how much of the original intended "good" information is recorded against faults added to the recording as a result of the technical limitations of the equipment used (noise, e.g. tape hiss , static, etc.). Although noise reduction techniques exist, they also increase other audio distortions such as azimuth shift, wow and flutter , print-through and stereo image shift. With digital recording, masters could be created and duplicated without incurring

1330-573: A video game is more difficult than remastering a film or music recording because the video game's graphics show their age. This can be due to a number of factors, notably lower resolutions and less complicated rendering engines at the time of release. A video game remaster typically has ambience and design updated to the capabilities of a more powerful console, while a video game remake is also updated but with recreated models. Modern computer monitors and high-definition televisions tend to have higher display resolutions and different aspect ratios than

1400-405: A worn-out pressing master many tape generations removed from the "original" master recording – could be remastered and re-pressed from a better-condition tape. All CDs created from analog sources are technically digitally remastered. The process of creating a digital transfer of an analog tape remasters the material in the digital domain, even if no equalization, compression , or other processing

1470-876: Is a person skilled in the practice of taking audio (typically musical content) that has been previously mixed in either the analogue or digital domain as mono, stereo, or multichannel formats and preparing it for use in distribution , whether by physical media such as a CD, vinyl record, or as some method of streaming audio. The mastering engineer is responsible for a final edit of a product and preparation for manufacturing copies. Although there are no official requirements to work as an audio mastering engineer, practitioners often have comprehensive domain knowledge of audio engineering, and in many cases, may hold an audio or acoustic engineering degree . Most audio engineers master music or speech audio material. The best mastering engineers might possess arrangement and production skills, allowing them to troubleshoot mix issues and improve

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1540-417: Is compressed at the expense of clarity, making the remastered version sound louder at regular listening volume and more distorted than an uncompressed version. Some have also criticized the overuse of noise reduction in the remastering process, as it affects not only the noise, but the signal too, and can leave audible artifacts. Equalisation can change the character of a recording noticeably. As EQ decisions are

1610-556: Is controversial, with some sources claiming sonic superiority: ...and with other opinions ranging from skeptical to highly critical: Business magazine Bloomberg Businessweek suggests that caution is in order with regard to high-resolution audio: "There is reason to be wary, given consumer electronics companies' history of pushing advancements whose main virtue is to require everyone to buy new gadgets." High-resolution files that are downloaded from niche websites that cater to audiophile listeners often include different mastering in

1680-428: Is destined for vinyl release, additional processing, such as dynamic range reduction or frequency-dependent stereo–to–mono fold-down and equalization may be applied to compensate for the limitations of that medium. For compact disc release, start of track , end of track , and indexes are defined for playback navigation along with International Standard Recording Code (ISRC) and other information necessary to replicate

1750-470: Is done to the material. Ideally, because of their higher resolution, a CD or DVD (or even higher quality like high-resolution audio or hi-def video ) release should come from the best source possible, with the most care taken during its transfer. Additionally, the earliest days of the CD era found digital technology in its infancy, which sometimes resulted in poor-sounding digital transfers. The early DVD era

1820-500: Is generally used to refer to music files that have a higher sampling frequency and/or bit depth than that of Compact Disc Digital Audio (CD-DA), which operates at 44.1 kHz/16-bit. The Recording Industry Association of America (RIAA), in cooperation with the Consumer Electronics Association , DEG: The Digital Entertainment Group, and The Recording Academy Producers & Engineers Wing, formulated

1890-414: Is standard practice to make a copy of a master recording—known as a safety copy—in case the master is lost, damaged or stolen. In the earliest days of the recording industry, all phases of the recording and mastering process were entirely achieved by mechanical processes. Performers sang or played into a large acoustic horn and the master recording was created by the direct transfer of acoustic energy from

1960-416: Is the 1939 film The Wizard of Oz . The color portions of Oz were shot in the three-strip Technicolor process , which in the 1930s yielded three black and white negatives created from red, green and blue light filters which were used to print the cyan, magenta and yellow portions of the final printed color film answer print . These three negatives were scanned individually into a computer system, where

2030-411: Is to make a sonic impact. Prolonged periods of listening to improperly mastered recordings usually leads to hearing fatigue that ultimately takes the pleasure out of the listening experience. High-resolution audio Research into high-resolution audio began in the late 1980s and high-resolution audio recordings started to become available on the consumer market in 1996. High-resolution audio

2100-482: The LDAC , LHDC , LC3plus and MQair codecs. Sony reaffirmed its commitment towards the development in the high-resolution audio segment by offering a slew of Hi-Res Audio products. As of 2021 , some music streaming services such as Tidal , Qobuz , Amazon Music , and Apple Music have options to enable the playback of high-resolution audio files. Whether there is any benefit to high-resolution audio over CD-DA

2170-402: The diaphragm of the recording horn to the mastering lathe , 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

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2240-556: The HD release of Star Trek: The Next Generation , which cost Paramount over $ 12 million to produce. Because of this release's commercial failure, Paramount chose not to give Deep Space Nine or Voyager the same treatment. In 2014, Pee-wee's Playhouse was digitally remastered from the original film and audio tracks. Remastered movies have been the subject of criticism. When the Arnold Schwarzenegger film Predator

2310-627: The Japan Audio Society (JAS) in June 2014 published definitions, requiring at least 96 kHz/24-bit with the inclusion that a “Listening evaluation process is required by each applicant.” File formats capable of storing high-resolution audio include FLAC , ALAC , WAV , AIFF , MQA and DSD (the format used by SACD ). One of the first attempts to market high-resolution audio was High Definition Compatible Digital in 1995, an encoding/decoding technique using standard CD audio. This

2380-405: The actual recording process. Although tape and other technical advances dramatically improved the 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 78 rpm disc and later the 7-inch 45 rpm single and 33-1/3 rpm LP record —meant that

2450-530: The announcement of Neil Young 's Pono service. In 2014, the Japan Electronics and Information Technology Industries Association (JEITA) announced a specification and accompanying "Hi-Res AUDIO" logo for consumer audio products, administered by the Japan Audio Society (JAS). The standard sets minimums of 96 kHz sample rate and 24-bit depth, and for analog processes, 40 kHz. The related "Hi-Res Audio Wireless" standard additionally requires support for

2520-423: The audio analysis stage of the process as a means of rendering a visual representation of the audio, or signal, being analyzed. Most mastering engineer accolades are given for their ability to make a mix consistent with respect to subjective factors based on the perception of listeners, regardless of their playback systems and the environment. This is a difficult task due to the varieties of systems now available and

2590-414: The audio quality, dynamic range , and running time of master discs were still limited compared to later media such as the compact disc . From the 1950s until the advent of digital recording in the late 1970s, 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

2660-426: The computer files were never properly archived. Projects that were composited on lower resolution formats like videotape have made going back to the original elements impractical due to their inferior size. Some studios have utilized artificial intelligence to professionally upscale the material; boutique label Discotek has released seasons of the anime Digimon using a specialized tool called AstroRes. Remastering

2730-461: The cutting of the master disc. 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 did not install 8-track recorders in their Abbey Road Studios until

2800-405: The digital images were tinted and combined using proprietary software. The cyan, magenta, and yellow records had suffered from shrinkage over the decades, and the software used in the restoration morphed all three records into the correct alignment. The software was also used to remove dust and scratches from the film by copying data, for example, from the cyan and yellow records to fix a blemish in

2870-650: The early 2000s saw extensive criticism from fans and historians due to the aggressive use of digital video noise reduction (DVNR). The process was designed to automatically remove dust or specks from the image, but would mistake stray ink lines or smudges on the cel for damage, as well as removing natural imperfections. Disney went a step farther with its remastering of its canon catalog in the early 21st century: for its cel-animated films, teams meticulously reconstructed scenes from original cel setups and background paintings to create new images free of film artifacts (jitter, grain, etc). While complex and revolutionary, this process

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2940-416: The effect it has on the apparent qualitative attributes of the recording . For instance, a recording that sounds great on one speaker / amplifier combination playing CD audio, may sound drastically different on a computer-based system playing back a low- bitrate MP3 . Some engineers maintain that the main mastering engineer's task is to improve upon playback systems translations while the position of others

3010-408: The field of audio mastering, the debate is usually over the use of digital versus analog signal processing rather than the use of digital technology for storage of audio. Digital systems have higher performance and allow mixing to be performed at lower maximum levels. When mixing to 24-bits with peaks between −3 and −10 dBFS on a mix, the mastering engineer has enough headroom to process and produce

3080-420: The field of mastering are almost entirely dedicated to the purpose; engineered to a high standard, often possessing low signal-to-noise ratios [at nominal operating levels] and in many cases, the incorporation of parameter-recall, such as indented potentiometers, or in some more-sophisticated designs, via a digital-controller. Some advocates for digital software claim that plug-ins are capable of processing audio in

3150-410: The final sound. Generally, good mastering skills are based on experience, resulting from many years of practice. Generally, mastering engineers use a combination of specialized audio-signal processors, low-distortion-high-bandwidth loudspeakers (and corresponding amplifiers with which to drive them), within a dedicated, acoustically-optimized playback environment. The equipment and processors used within

3220-488: The following definition of high-resolution audio in June 2014: " lossless audio capable of reproducing the full spectrum of sound from recordings which have been mastered from better than CD quality (48 kHz/20-bit or higher) music sources which represent what the artists, producers and engineers originally intended." Previously, the Japan Electronics and Information Technology Industries Association (JEITA) in March 2014 and

3290-400: The gaps between tracks, adjusting level, fading in and out, noise reduction and other signal restoration and enhancement processes can also be applied as part of the mastering stage. The source material is put in the proper order, commonly referred to as assembly (or 'track') sequencing. These operations prepare the music for either digital or analog, e.g. vinyl, replication. If the material

3360-514: The late 1940s, the recording industry was revolutionized by the introduction of magnetic tape . Magnetic tape was invented for recording sound by Fritz Pfleumer in 1928 in Germany, based on the invention of magnetic wire recording by Valdemar Poulsen in 1898. Not until the end of World War II could the technology be found outside Europe. The introduction of magnetic tape recording enabled master discs to be cut separately in time and space from

3430-404: The late 1960s, more than a decade after the first commercial 8-track recorders were installed by American independent studios. In the 1990s, electro-mechanical processes were largely superseded by digital technology, with digital recordings stored on hard disk drives or digital tape and mastered to CD . The digital audio workstation (DAW) became common in many mastering facilities, allowing

3500-401: The loudest recordable sound. A limiter works by having a certain cap on the loudest parts and if that cap is exceeded, it is automatically lowered by a ratio preset by the engineer. Remastered audio has been the subject of criticism. Many remastered CDs from the late 1990s onwards have been affected by the " loudness war ", where the average volume of the recording is increased and dynamic range

3570-575: The magenta record. Restoring the movie made it possible to see precise visual details not visible on earlier home releases: for example, when the Scarecrow says "I have a brain", burlap is noticeable on his cheeks. It was also not possible to see a rivet between the Tin Man 's eyes prior to the restoration. Shows that were shot and edited entirely on film, such as Star Trek: The Original Series , are able to be re-released in HD through re-scanning

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3640-474: The manufacturing industry, particularly by a few engineers who specialize in analog mastering. Mastering requires critical listening; however, software tools exist to facilitate the process. Results depend upon the intent of the engineer, their skills, the accuracy of the speaker monitors, and the listening environment. Mastering engineers often apply equalization and dynamic range compression in order to optimize sound translation on all playback systems. It

3710-528: The master recordings. Thus, mastering refers to the process of creating a master. This might be as simple as copying a tape for further duplication purposes or might include the actual equalization and processing steps used to fine-tune material for release. The latter example usually requires the work of mastering engineers . With the advent of digital recording in the late 1970s, many mastering ideas changed. Previously, creating new masters meant incurring an analog generational loss; in other words, copying

3780-505: The monitors/televisions available when the video game was released. Because of this, classic games that are remastered typically have their graphics re-rendered at higher resolutions. An example of a game that has had its original graphics re-rendered at higher resolutions is Hitman HD Trilogy , which contains two games with high-resolution graphics: Hitman 2: Silent Assassin and Hitman: Contracts . Both were originally released on PC , PlayStation 2 , and Xbox . The original resolution

3850-402: 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 analog media and processing equipment for the mastering stage. Just as in other areas of audio, the benefits and drawbacks of digital technology compared to analog technology are still a matter for debate. However, in

3920-451: The original artist, but remastering often does not. Therefore, a remastered record may not sound how the artist originally intended. To remaster a movie digitally for DVD and Blu-ray , digital restoration operators must scan in the film frame by frame at a resolution of at least 2,048 pixels across (referred to as 2K resolution ). Some films are scanned at 4K , 6K , or even 8K resolution to be ready for higher resolution devices. Scanning

3990-402: The original film negatives; the remastering process for the show additionally enabled Paramount to digitally update certain special effects. Shows that were made between the early 1980s and the early 2000s were generally shot on film, then transferred to and edited on standard-definition videotape, making high-definition transfers impossible without re-editing the product from scratch, such as with

4060-405: The original. A master recording is the definitive recording version that will be replicated for the end user, commonly into other formats (e.g. LP records , tapes , CDs , DVDs , Blu-rays ). A batch of copies is often made from a single original master recording, which might itself be based on previous recordings. For example, sound effects (e.g. a door opening, punching sounds, falling down

4130-554: The release – thus many comparisons of CD to these releases are evaluating differences in mastering, rather than bit depth. Most early papers using blind listening tests concluded that differences are not audible by the sample of listeners taking the test. Blind tests have shown that musicians and composers are unable to distinguish higher resolutions from 16-bit audio at 48 kHz. One 2014 paper showed that dithering using outdated methods produces audible artifacts in blind listening tests. Joshua Reiss performed

4200-460: The return of the original scene. With regard to animation—both for television and film—"remastering" can take on a different context, including altering original images to extremes. For traditionally animated projects, completed on cels and printed to film, remastering can be as simple as touching up a film negative. There have been times where these revisions have been controversial: boxed DVD sets of animated properties like Looney Tunes from

4270-417: The specific needs of the audio to be processed. 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. Steps of the process typically include the following: Examples of possible actions taken during mastering: A mastering engineer

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4340-416: The stairs, a bell ringing) might have been added from copies of sound effect tapes similar to modern sampling to make a radio play for broadcast. Problematically, several different levels of masters often exist for any one audio release. As an example, examine the way a typical music album from the 1960s was created. Musicians and vocalists were recorded on multi-track tape . This tape was mixed to create

4410-414: The unreadability of the file format on modern systems. In television, South Park is an example of a program that was natively digital from its start—its construction paper style was made up of digital images manipulated in softwares like Maya . This allowed its creative team to completely re-render episodes in a higher resolution than its original broadcast; in some instances shots were re-framed to fit

4480-416: The usual generational loss. As CDs were a digital format, digital masters created from original analog recordings became a necessity. Remastering is the process of making a new master for an album, film, or any other creation. It tends to refer to the process of porting a recording from an analog medium to a digital one, but this is not always the case. For example, a vinyl LP – originally pressed from

4550-413: The video aspect, the audio is also remastered using such software as Pro Tools to remove background noise and boost dialogue volumes so when actors are speaking they are easier to understand and hear. Audio effects are also added or enhanced, as well as surround sound , which allows the soundtrack elements to be spread among multiple speakers for a more immersive experience. An example of a restored film

4620-637: Was 480p on Xbox, while the remastered resolution is displayed at 720p on Xbox 360 . There is some debate regarding whether graphics of an older game at higher resolutions make a video game look better or worse than the original artwork, with comparisons made to colorizing black-and-white-movies. More significant than low resolution is the age of the original game engine and simplicity of the original 3D models. Older computers and video game consoles had limited 3D rendering speed, which required simple 3D object geometry such as human hands being modeled as mittens rather than with individual fingers, while maps having

4690-437: Was criticized by some for essentially removing the films from their era and medium, making them indistinguishable in age. Later remasters, including a 4K restoration of Cinderella in 2023, prioritized a filmic look, with period-appropriate grain and weave. Remastering other animated projects can vary in scope based on their art style. In the case of natively digital images, including computer-animated films , remastering can be

4760-669: Was followed by two more optical disc formats claiming sonic superiority over CD-DA: SACD in 1999, and DVD-Audio in 2000. These formats offer additional benefits such as multi-channel surround sound . Following a format war , none of these achieved widespread adoption. Following the rise in online music retailing at the start of the 21st century, high-resolution audio downloads were introduced by HDtracks starting in 2008. Further attempts to market high-resolution audio on optical disc followed with Pure Audio Blu-ray in 2009, and High Fidelity Pure Audio in 2013. Competition in online high-resolution audio retail stepped-up in 2014 with

4830-915: Was not much different, with copies of films frequently being produced from worn prints, with low bitrates and muffled audio. When the first CD remasters turned out to be bestsellers, companies soon realized that new editions of back-catalog items could compete with new releases as a source of revenue. Back-catalog values skyrocketed, and today it is not unusual to see expanded and remastered editions of relatively modern albums. Master tapes, or something close to them, can be used to make CD releases. Better processing choices can be used. Better prints can be utilized, with sound elements remixed to 5.1 surround sound and obvious print flaws digitally corrected. The modern era gives publishers almost unlimited ways to touch up, doctor, and "improve" their media, and as each release promises improved sound, video, extras and others, producers hope these upgrades will entice people into making

4900-633: Was remastered, it was felt by some critics that the process was overdone, resulting in Schwarzenegger's skin looking waxy. As well as complaints about the way the picture looks, there have been other complaints about digital fixing. One notable complaint is from the 2002 remastered version of E.T. the Extra-Terrestrial (1982), where director Steven Spielberg replaced guns in the hands of police and federal agents with walkie-talkies . A later 30th-anniversary edition released in 2012 saw

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