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Tuesday, June 12, 2018

#Musicproduction: Mastering Tips

EQing The Master

Much like any master bus processing, it's more often than not simpler to be subtle. Although many of us don't have use of the EQ3 with its Air Band, we are able to use subtle boosts in the 10-20 kHz range on our EQ plug-ins to incorporate a bit of overall brightness. But go easy, that you don't want to create it harsh.

As it pertains to low-end problems, you're better off addressing them on the individual track level, rather than trying to repair them on the master bus EQ. Remember, it's processing the whole mix, so when you might achieve a reduced amount of the bass level by cutting in the low- frequency range, you're planning to impact all the instruments and voices. You're better off EQing the individual tracks which are causing the bass issues.

Compressing The Master

Now for a moment to master bus compression. What're engineers trying to reach by compressing the master bus? Among the main applications apply a unifying dynamic overlay to the complete mix, which lots of people make reference to because the “glue effect.”

Each track in a mixture presumably has its track-based compression on it, that your engineer sets centered on what's going on dynamically on it (and sometimes for coloration, as well). Like, if it is a bass track that changes a great deal in volume, the compressor inserted on it will probably have an even more aggressive setting to cut back the peaks and thus shrink the dynamic array of the bass part, making it “sit” better with one other tracks.

Meanwhile a lead vocal track can have its compression settings which will be set differently than on the bass track, and so forth for each and every track in the mix. What the master bus compressor does is to smooth the entire dynamics slightly, and makes everything sound more cohesive.

It's crucial that you experiment with the attack and release controls in your bus compressor to get the best sounding setting. Be mindful that fast attack settings can impact the transient response. It's best to start with the attack at 3ms or slower.

Some individuals recommend putting the master bus compressor on right away of the mixing process, so that you're making your decisions while hearing its effect, rather than just adding it at the end. Others do it the way Schmitt does in the video, with the addition of it near the conclusion of the process.