Drag the high-quality files to the droplet, and presto-chango - out come files that all play perfectly in iTunes. But it would seem Apple has that all solved with their Master for iTunes droplet. ![]() ![]() Finding a good balance that keeps them all flowing together is an art in and of itself. It’s an interesting situation for a compilation release, in which styles range from ambient to muddy beats. In fact, the day of the announcement came right in the midst of reviewing masters for the release. The announcement of Apple’s new Mastered for iTunes suite caught me at a serendipitous time, as I prepped the first release on my new label. So we consider this the beginning, not the end, of this conversation. That to me isn’t a red flag for posting – quite the opposite, it’s an invitation. There’s so much to say, in fact, that almost each line here of David’s conclusions is up for potential discussion and debate. ![]() He tests this issue the only way that really matters: with his ears. More significantly, what does it mean that an increasing number of music listeners experience all music through Apple’s software as the final gateway to their ears? In our first look at this issue, we welcome guest writer and producer Primus Luta (David Dodson). What does it mean to “master for iTunes?” Apple tripped that question with the launch of a suite of utilities and sound-processing algorithms intended to master music for their codecs and software, rather than more generically as would be done with the CD. Here, writer David Dodson considers what that means (and similar issues with other digital music listening beyond Apple, like Spotify. One way or another, Apple is involved in a whole lot of the music to which people listen.
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