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creativomusic · 5 months

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Creando la Cadena de Mastering Ideal: Guía Experta para una Calidad de Sonido Superior

Cadena de Mastering guía:

Objetivos del masteringHaz que la pista suene mejor. Asegurarse de que la pista suene bien en diferentes altavoces. Qué es La cadena de mastering Objetivo de una cadena de mastering Cómo elegir los plugins de una cadena de master Fases de una cadena de masteringEqualizacion substrativa mid side Compresión en la cadena de mastering Tratamiento Stereo en la cadena de master Añadir color y carácter a un master Limiter: Limitación en la cadena de mastering Medición al final de la cadena del Master La mejor cadena de mastering para un sonido con acabado profesional. El mastering es una parte crucial de la producción musical. Es la etapa final donde nos encargamos de elevar la calidad del sonido lo mejor posible. Por eso debemos prestar mucha atención a este proceso. Hoy vamos a explicar todo el procesamiento que utilizan los ingenieros de mastering profesionales para conseguir un sonido impresionante. También he incluido algunas recomendaciones de los mejores plugins para incorporar en una cadena de mastering. Entonces, si deseas conocer todas las herramientas adecuadas para el mastering, ¡está en el lugar correcto!

Objetivos de un buen mastering

Conseguir que la pista suene más fuerte. En la fase de mastering buscamos un sonido potente, como mínimo -14Lufs. ¿Qué son LUFS? Es la unidad estándar que utilizan para medir la potencia de volumen de las canciones. Esto es muy común en plataformas como YouTube, Spotify, etc. Haz que la pista suene mejor. Un objetivo clave del mastering es conseguir que la pista mejore considerablemente en su sonido. Cuando hablamos de “sonar mejor” nos referimos a conseguir un sonido con un balance perfecto entre sus elementos, también reducir aquellos sonidos que no son tan agradables al oído.

Asegurarse de que la pista suene bien en diferentes altavoces.

A la hora de masterizar una pista debemos realizar pruebas en diferentes tipos de altavoces, pequeños, grandes, de gama baja y de gama alta. De esta forma podemos escuchar cómo se traduce nuestro master en diferentes tipos de altavoces. Es importante que nuestra pista se escuche bien en todo tipo de altavoces.

La cadena de master

Una cadena de mastering consiste en varios procesos de audio que se aplican a una mezcla para conseguir el volumen y la profundidad deseada, así también conseguir un buen balance tonal e intensidad de sonido. Master cadena: La cadena de mastering está compuesta por una selección diversa de plugins que van desde ecualizadores, compresores, procesadores de estéreo, limitadores y muchos otros más. Existen muchas opciones a la hora de elegir un plugin para insertar en nuestra cadena de mastering. Dependerá de las características del tema a masterizar y los resultados que deseemos conseguir en cuanto a sonoridad y color.

Qué buscamos conseguir con una cadena de mastering

Necesitamos un conjunto de plugins que nos ayuden a corregir deficiencias de la mezcla, así también poder acentuar las emociones que provoca la mezcla. Uno de los objetivos fundamentales del mastering (que habíamos mencionado antes) consiste en conseguir una buena calidad de sonido en cualquier tipo de dispositivo, altavoces, auriculares, etc. También la cadena de mastering nos ayudará a conseguir un nivel potente de sonido aplicando limitadores, compresores, clippers, entre otros más.

Cómo elegir los plugins de una cadena de master

Lo más habitual cuando empiezas a trabajar en una canción es configurar y ajustar ecualizadores, compresores y limitadores hasta que estás feliz con el resultado. Pero la cadena mastering depende del contexto musical. El procesamiento que elijas utilizar, y el orden de tu cadena, deben reflejar el estilo musical del material con el que estás trabajando. Podemos caer fácilmente en una rutina en la que acabamos utilizando las mismas cosas en el mismo orden todo el tiempo, por lo que es importante pensar en el tipo de señal que estamos procesando. El primer paso para crear una cadena de mastering bien definida es escuchar la pista y tomar notas sobre lo que se oye. Aquí tienes tres preguntas que debes hacerte: ¿Qué quieres cambiar? ¿Cuáles son las ideas de los artistas/productores? De todas las herramientas que tienes, ¿cuál sería la mejor opción para conseguirlo? Sigue estos pasos y tendrás un plan de acción sólido y, lo que más importa, una cadena de masterización bien ordenada. A continuación analicemos algunas fases comunes sobre la cadena de señal de masterización.

Fases de una cadena de mastering

Equalizacion substrativa mid side

Fabfilter Pro Q3 en modo Fase Linear (Linear Phase) para masterizar sin problemas de fase. En la primera etapa de la cadena de mastering vamos a limpiar la mezcla de todos los sonidos indeseados, por ejemplo reducir algunas resonancias que se producen en los graves medios. También la ecualización mid side nos permite reducir los graves del estéreo y reducir algunos agudos de la señal side. Utilizamos ecualización sustractiva la cual consiste en reducir las bandas de frecuencia que hagan falta sin añadir nada más. Recomendaciones de EQ para la cadena de mastering 1. Fabfilter Pro-Q 3 El ecualizador por excelencia de Fabfilter se ha vuelto más versátil con cada actualización. El Pro-Q 3 es un ecualizador muy versátil, equipado para tratar fundamentalmente cualquier aplicación sobre todo para la ecualización sustractiva y correctiva en la primera fase de la cadena de mastering. Las actualizaciones de Pro Q 3 incorporan la capacidad de hacer que cualquier punto de eq (banda) sean dinámicos, lo que implica que no tendrán ningún impacto en la señal, excepto si pasa un nivel establecido. Ozone 9 (EQ & Dynamic EQ) ¡Es un ecualizador totalmente lleno de funciones! Un ecualizador quirúrgico transparente con grado de calidad ideal para mastering. La versión con ecualizador dinámico permite un enfoque más específico para procesar diferentes rangos de frecuencia. El Ozone 9 de iZotope es insuperable. El Matching EQ te permite identificar y capturar el espectro de frecuencias de una mezcla o master elegido, y luego aplicarlo a tu propio material. Como mínimo, para analizar lo que hacen los profesionales, es una herramienta fascinante y educativa. Compresión en la cadena de mastering En esta etapa vamos a controlar los picos más fuertes de la mezcla consiguiendo así un sonido más sólido. Normalmente se suele utilizar también para acentuar un poco el golpe de las baterías aunque en la etapa de mastering se utiliza con mucha moderación y de forma muy sutil. Recomendación de compresores para un master cadena UAD Shadow Hills Compresor de Mastering La unidad de hardware es increíble, que consiste en varios compresores integrados en uno, con una infinidad de controles y colores sonoros diferentes. La versión plugin de UAD es un fiel réplica digital del legendario sonido del compresor de mastering Shadow Hills. Para utilizar este plugin necesitas un sistema compatible con universal audio.

Versión plugin del Manley Vari-Mu de la casa UAD UAD Manley Vari-Mu Este es definitivamente el compresor con más color. No tiene tantas funciones ni controles complicados, lo más interesante de este compresor es que suena increíble con el tono cálido y rico que imprime en la señal. El original de hardware es una pieza clave en todo estudio de grabación y estudios de mastering del más alto nivel utilizan el Manley Vari-Mu y este plugin de UAD es una excelente y fiel emulación. La capacidad de trabajar en modo de Mid - Side añade una característica útil a lo que ya es uno de los compresores de bus más renombrados. UAD SSL G-Buss Conocido como uno de los mejores compresores para el bus de mezcla, el plugin SSL G-Buss Compressor de Universal Audio es una emulación fiel de la legendaria unidad de hardware que ha esculpido la dinámica de innumerables discos. Los controles escalonados ayudan a conseguir ese famoso GLUE SSL rápidamente. El compresor SSL Buss definitivamente tiene "un sonidazo", y como he mencionado anteriormente, es una opción popular entre los mejores ingenieros de mezclas. Tratamiento Stereo en la cadena de master

Procesador Estéreo para la cadena de mastering "Nugen Audio Stereoizer" En este apartado de la cadena de master vamos a trabajar la señal Estéreo. Nuestro objetivo en esta fase consiste en aumentar partes interesantes de la información estéreo de la pista. Así también dependerá de la mezcla porque en caso de un estéreo excesivo podríamos reducirlo. Para manipular de forma correcta el estéreo utilizaremos procesadores de Mid/Side como puedan ser EQs, Compresores y otros plugins dedicados. Recordemos que en la primera fase de la cadena de mastering (Eq sustractiva mid side) corregimos diferentes aspectos de la señal estéreo. Por este motivo en esta fase nos enfocaremos en abrir el campo estéreo de la pista. Recomendaciones de procesadores stereo mastering Nugen Audio Stereoizer Acceso rápido al sonido de los profesionales. Stereoizer le da una amplitud stereo a nuestros masters, con la garantía de una magnífica compatibilidad mono y sin problemas de sonido. Stereoizer es una herramienta de manipulación de la imagen estéreo del más alto nivel, adecuada para la expansión natural, de la amplitud estéreo en la etapa del mastering de una producción de audio. PLUGIN: Center (waves) Ideal para mezclas finales y masterización, Waves Center es un procesador que separa el contenido mono (Mid) del contenido lateral (Sides). Con Center de la casa Waves, podrás encontrar el balance perfecto o bajar las voces sin afectar la mezcla. Perfecto también para ingenieros de postproducción que buscan ampliar, reorganizar, aislar e incluso eliminar elementos de su mezcla en el campo estéreo. Añadir color y carácter a un master

Plugin que emula la unidad Aphex original, funciona muy bien en la mezcla, para el mastering mejor utilizar Izotope Ozone Exciter. Es necesario mencionar una categoría de procesadores muy importantes en la cadena de mastering que pueden añadir contenido armónico a tus pistas. Es posible que oigas que se denominan excitadores y saturadores. Independientemente del nombre, estos plugins pueden ser fantásticos para añadir color, vibración, impacto y carácter a tus masters. ¿Qué es un Exciter? El mayor secreto de los productores musicales e ingenieros de sonido. Los excitadores son procesadores que añaden brillo y plenitud tanto a mezclas como al matering. El efecto fue inventado por casualidad de la vida cuando la empresa Aphex descubrió que reproducir una pista simultáneamente con una señal con un filtrado para distorsionar los agudos más altos de sí misma aportaba claridad al sonido. Vamos a repasar qué hace exactamente un excitador para que entiendas mejor cuándo utilizarlo en tu cadena de masterización. ¿Cómo funciona un excitador? Podríamos catalogar un excitador como un tipo de efecto de distorsión. Aunque, en realidad es mucho más que eso. Un excitador añade saturación armónica a las frecuencias de la señal en la frecuencia más alta (3k y más arriba). Esto produce nuevos armónicos que añaden riqueza y nitidez a la pista. También existen Excitadores de banda grave y multi banda como el Ozone 9. ¿Cuándo utilizar un excitador? Cuando utilices un excitador, a menudo es mejor probarlo en los stems de tu mezcla en lugar de en todo el bus maestro. Si estás interesado en utilizar un excitador, te recomendamos que mires el Izotope Exciter para insertar en tu cadena de mastering. ¿Cómo se utiliza la saturación en cadena y proceso de mastering? La saturación se utiliza durante la masterización para generar un sonido más grueso, complejo y presente; a menudo se utiliza para dar más potencia al master. De este modo, se crea un máster con más volumen en general y un mejor sonido en los altavoces convencionales. Además, la saturación puede utilizarse durante la masterización para recrear un color más analógico, cálido o incluso agresivo. ¿Qué es la saturación de la cinta? Cuando grabamos en cinta de carrete (¡y podíamos permitirnos la cinta porque es muy cara!), grabábamos cada instrumento en una pista diferente en un trozo de cinta diferente. Se mezclaba, se reproducían todos esos trozos de cinta, se pasaban por los distintos procesadores externos, mesa de mezcla y se volvían a grabar en cinta para guardar el master que luego sería transferido a un disco de vinilo. Saturación de cinta con plugins de mastering Para simular las pequeñas anomalías de la cinta que pasa a toda prisa por un cabezal de cinta y que un imán registra el sonido de forma magnética. Los creadores de plugins han creado diferentes algoritmos para imitar el suave recorte de la cinta. En otras palabras, los plugins de saturación de cinta ofrecen un tipo especial de distorsión que puede ser más sutil y ayuda a combatir el exceso de frecuencias altas sobre los 5khz. Recomendaciones de Excitadores y Saturadores PLUGIN: Exciter (Ozone 9) Ozone 9 nos ofrece una suite completa de mastering aunque también podemos aprovechar de forma individual cada uno de sus plugins procesadores. En el mastering aplicamos excitación y saturación de forma selectiva procesando algunos rangos de frecuencias mientras otros no. Ozone nos ofrece un procesamiento multi banda muy flexible y con una calidad del más alto nivel Izotope posee una gran variedad de tipos de saturación y una visualización detallada del espectro de frecuencias. Saturn 2 (Fabfilter) Este plugin ofrece desde la sutil, limpia y cálida saturación de válvulas o cinta hasta los efectos de amplificador de guitarra supermonstruosos y salvajes. La interfaz con visualización con opción multi banda y procesamiento de fase lineal para la masterización, también incluye muchos estilos de distorsión para colorear nuestra pista. Con su diseño intuitivo y las opciones de feedback, dinámica, drive, tono y modulación por banda, Saturn 2 de la reconocida casa Fab Filter aportará un sabor único a cualquier pista al insertarlo en la cadena de mastering. Limiter: Limitación en la cadena de mastering

Oxford Limiter V3 ideal para un master con potencia La última parte del procesamiento en la cadena de masterización es la limitación. Puedes pensar en el limitador como un compresor más drástico que no dejara pasar ningún pico por encima de lo establecido. Este proceso también nos ayudará a conseguir un sonido más fuerte elevando los RMS y LUFS. (unidades de medición sonido percibido) Cuando limitamos normalmente buscamos reducir entre 2-5 dbs de GR (reducción de ganancia) o más dependiendo el estilo musical. También importante recomendar el uso de dos limitadores para repartir el trabajo entre dos. Si vamos a realizar una limitación más agresiva recomendamos el uso de dos limitadores. En el caso de las pistas que exigen una mayor cantidad de limitador, puedes hacerlo por etapas en lugar de dejar todo el trabajo pesado a un solo limitador. Para esto utilizaremos varios limitadores (dos o tres) repartiendo la carga de trabajo en varias instancias del mismo limitador o una combinación de varios. Todo esto ayudará a conseguir una limitación con transparencia y con la potencia deseada, eso es exactamente lo que un ingeniero de masterización busca cuando utiliza un limitador en la cadena de mastering. Recomendaciones de Limitadores VER PLUGIN: FabFilter Pro-L 2 El Pro L-2 se ha convertido en uno de los limitadores de masterización más utilizados en la actualidad. Se trata de un limitador plugin increíblemente efectivo y ofrece una inmensa flexibilidad y calidad a la hora de procesar una señal en la cadena de mastering. En primer lugar, puedes cambiar la limitación entre 8 estilos diferentes con sonoridades distintas y muy interesantes. Puedes utilizar la función look ahead, ajustar los envolventes, y alterar cómo afecta a los canales izquierdo y derecho, ya sea de forma independiente o en conjunto. También dispone de oversampling y Dithering. El Sonnox Oxford Limiter V3 El Sonnox Oxford Limiter V3 ofrece un sonido fantástico. Read the full article

#header #mastering #Producciónmusical

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fatasfunkmastering · 3 years

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Choosing The Best Mastering Volume - How Loud Should My Master Be In 2021?

Choosing The Best Mastering Volume - How Loud Should My Master Be In 2021? Easy LUFS Explanation, Difference Between Peak & True Peak. Epic Article!

There are several different opinions on the question of “What is the best volume to finish my master?” (or for the more technically minded “What LUFS should I master to?”). We can’t avoid mentioning the famous loudness wars in this article either, and the direction music mastering is heading. After many years spent racing towards the loudest master, is the loudness war over? Having been a…

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#best mastering level for spotify #Choosing The Best Mastering Volume #difference between Peak Level and True Peak #how loud should my master be #ideal mastering LUFS #LUFS #mastering for bandcamp #mastering for streaming #mastering is too loud #mastering streaming targets #Peak and True Peak #spotify mastering #What are LUFS #what is lufs

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soundrooms · 3 years

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Soundrs: Cyprus Fuel

My name is Alexander, I’m releasing music as Cyprus Fuel (solo project), Moonshots (together with Tim aka flingu) and Wow & Flutter (together with Ole aka Treetime Music). I run a label called UltraBold Records and a tumblr blog called Soundrooms. My profession is graphic design, my passion is music making.

➜ Visit Fuelstagram

➜ Visit Spotyfuel

➜ Visit UltraBold Records

➜ INSTANT KARMA BOOST

Why do you make music?

Out of boredom or frustration. I get frustrated when I’m not bored enough to make music. I started making electronic music just to entertain myself.

What are your inspiration sources?

Listening to new music inspires me, new hard- or software inspires me, learning about new audio production tricks inspires me. Anything new inspires me!

Tell us something about your workflow.

I don’t like using presets, so most of the time I start with trying to get a cool sound out the music equipment I got. Lots of gear came and went; these days im using a Teenage Engineering OP-Z, Pocket Operator tonic, a computer with NI Reaktor, Ableton Live and Push 2.

How would creative rituals benefit your workflow?

I think it’s important to make music with a relaxed mind so anything that reduces the noise of everyday life is beneficial for creativity. I need to set up a space where I can single task on making music only. It’s also important to keep an open mind and excite all senses. Don’t let the daily grind dull you down. I find sport in nature and deep breathing helpful.

How do you get in the zone?

When I’m alone I like to make music very late when I’m sleepy. In that state the zone is right around the corner. Except for my annual mushroom trip I don’t use any consciousness altering substances anymore. I like to breathe in deeply through my nose—that’s a rush!

How do you start a track?

Ideally I would create a folder on my desktop, give it an arbitrary name, a tempo and a scale. Then I’d start filling it up with sound design samples from various sources, just the synths and tools I feel like using that day. I’ll create a sound and put it through FX. I’ll record whatever comes out. That way I create sounds which are my own. When I feel like I got enough material together, I’ll start a fresh Ableton project set to that tempo and that scale, throw the samples into Push and start building a groove with 4, 8 or 16 bars. If the groove is to my liking, I’ll start arranging. Changing things up and making it interesting. It tends to get pretty weird and experimental sometimes. But that’s okay because it’s my expression. I like to make music that satisfies me, not an audience.

More often than not though I’ll start with the cheesiest chord progression that I can come up with, add a simple four on the floor house drumbeat and develop things from there. The simpler the better. Same goes for graphic design by the way, start with a triangle and Helvetica and take things from there : )

Do you have a special template?

I have an improvisation template for experimentation, with various synths and effects, ready to go. Otherwise I always keep a limiter (Ableton stock) and spectrum analyzer (ditto) on the master bus. The limiter makes sure that I don’t brick my speakers through any loud experimentation!

What do you put on the master channel?

If I master a demo I start with an EQ for high (~16k Hz) and low cut (~30 Hz), a glue compressor to catch peaks, a litte dynamic tube, a little OTT, another compressor for the final gain and a saturator. At the very end is a loudness meter, I try to hit 12 LUFS average.

How do you arrange and finish a track?

This is the part where I struggle with the most. Sometimes arrangement can be easy, fluid and fast, many times I get stuck on an 8 bar loop for hours. It can help to stretch out the 8 bars for several minutes and substract, or just re-record the master output and jam the track out for fun. The best music is made with feeling, not with thought. Another trick is to import a song from another artist and copy the structure.

How do you deal with unfinished projects?

I let em sit on my hard drive and revisit from time to time. I’ll try to find the element that’s most engaging in the project. Then I’ll try and build a new structure around that element or simply bounce it to audio and store it as a sample for later use.

How do you store and organize your projects?

My projects move through various stages through folders which I’ve set up like this:

• Ideas

• In Progress (Arrangement)

• 90 % (Mixing & Pre-Mastering)

• Finished (Demos & Releases)

How do you take care of studio ergonomics?

I have to mindsets: seriousness and fun.

In fun mode I can sit down or lay or stand anywhere and entertain myself with sound creation. Whether it be jamming on a bench or meadow outside with friends, alone with headphones on a train or simply in pyjamas on the couch with the OP-Z in front of me or the MacBook on my lap. In that mode I care about exploration and process and not about results or ergonomics.

In serious mode I want to achieve a goal like mixing or arrangement. This is where I’ll sit down in my humble studio. I’m very paranoid and frustrated a lot of the time about the way my music sounds. I’m always making adjustments, optimizing my listening situation. The next improvement is going to be a subwoofer. Room treatment is key for confident mixing!

Tell us something about your daily routine, how is your day structured, how do you make room for creativity?

I work as a freelance graphic designer so I’m in the lucky position to be able to structure my daily life how I want to. On a perfect day, I’ll wake up pretty early, fool around with my outrageously young girlfriend until she has to leave for her job, get up for a cup of coffee, do some body exercises, spend an hour playing video games or reading a couple of pages in a book to jumpstart my brain. I’ll then check the computer for correspondence and design duties. In the afternoon, I’ll go outside for sport and fresh air. After dinner I tend to get bored or frustrated and start up Ableton. I’m an introvert so I don’t have the need to socialize that much. In that regard the pandemic situation doesn’t affect me all that much, I feel. I don’t subscribe to Netflix or consume mass media to any degree. I like to play city walking videos on YouTube, for ambiance.

Share a quick producing tip.

Start from INIT. Play around with knobs and buttons until something interesting starts to happen. Begin simple, become complex.

Share a link to an interesting website (doesn’t have to be music related).

➜ http://radio.garden/

List ten sounds you are hearing right this moment : )

cars passing by outside

Cargo mix #043

keyboard typing

my breathing

my feet moving around on the floor

I can hear my thoughts

I can hear your thoughts

from a thousand miles away

if you think the same as me

we’ll both get an echo.

Thanks for reading. Stay wonderful y’all!

#soundrs #cyprus fuel #interview #workflow #inspiration #creativity #producers #producer #audio production #music producers #music #musician #electronic music #body positive #fitspo

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samuelhughesproductionblog · 3 years

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18th & 19th of April (Final mixing & Mastering)

The last couple days, leading up to the release date were spent tweaking the final mix and mastering the EP using Ozone 8. Ideally, I would have liked to send the EP out to be mastered externally. Unfortunately, after purchasing some VST modules for this project and purchasing the pictures for the artwork I did not have enough to master all three tracks. To keep them cohesive I used Ozone to pretty simply bring for some light EQ, stereo imaging, post-EQ, and limiting, all of these bringing out the elements of the track and up to a standard listen level -13 LUFS. As these tracks had quite different dynamics I mastered them individually, giving me more control over each track. From here I named the track and uploaded them to Bandcamp, ready for their release on the 21st.

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beindiymusic · 4 years

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Transform Your Song - Mixing and Mastering - The Basics to an Awesome track - 5 minute read

The Challenges of Mixing and Mastering and How To Get Started

Let's say you recorded a song and you need a way to make it sound better. That's where mixing and mastering comes in, but what is mixing and mastering? Sometimes a song you've made can sound muddy or under the weather. A studio engineer can improve this with mixing and mastering your track, but if you want to make music in a bedroom studio setting, achieving this part of music can benefit you in the long run. Mixing and mastering can be a challenge to tell apart, but they are quite different, and here's why: Mixing always comes before mastering Mixing is the process you start focusing on what tools you can use to remedy your song. Mastering focuses more on how to get any last adjustments in the track to cover anything an audience may hear at the last stage to make it sound better right there at the end. Well, you still need to know what tools to start with. I have been mixing and mastering for about two years, and it has been a learning experience. Learning to mix and master can be challenging, but fun if you keep your patience. I'll get started with the basics and then move onto the lesson.

Mixing Basics This is where you get the levels of your recording set. A simple definition of mixing is the time in recording a process that is used to adjust elements in a song. Mixing is not something professional engineers use to make songs sound "different" or to change their original performance. The mix is a cleaning stage. The song is passed down to mixing engineers to adjust the elements of individual tracks with EQs, compression, faders, and panning to fit into a genre. Grasping your tools in your mix is important because you cannot move forward into mastering if the mix is incomplete. Mastering Basics This is the process of finishing your song to be released and audible on all mediums, it will make it so your song can be played in the studio, clubs, headphones and the car, always sounding good! Not all songs are mastered, but you really should, especially if your goals are to get plays on the radio. The best way is to have your songs mastered by an experienced engineer. Mastering involves one file of the song being updated into a better version of the mix. Basically what mastering is, is the fine-tuned adjustments that are made like loudness, eq, and "tone" or "place" of the track. You don't want to master ever in your mix, using the Master channel and that's where a lot of learners kind of go south. Ideally, you would not Master your own track, as to get the best results it is good to have a fresh set of ears. Mastering can be a tricky thing to wrap your head around, but I am going to share a little insight later in the article.

Breaking Down Mixing Elements

There are certain ideas you need to keep in mind before you start a mixing process. Try to imagine the track as an orchestra performance, and each instrument has an assigned seat. That's also how mixing works. You don't want certain elements in the back, and you don't want certain elements too far in the front in your mixing process. If you are just getting started with mixing, allow yourself room for growth, and the mindset that each sound and section of your song can get pulled under, and it's your job to bring out elements using your daw's mixing studio. A lot of mixing can be generated for you or you can mix freely manually in your bedroom. The elucidation of each sound you hear in a track is crucial. Not everything you make will be the same, and it is required that you win a clear playback each time. It is not impossible to get the correct mix in your bedroom, but there will be techniques that you must apply for clarity.

Mixing 101 Mixing can be a challenging task at first, but that doesn't mean it can't be overcome. I want to simplify some tools that every DAW has. There are a lot of ways you can get a mix to do exactly what you need. If you need something in the background, try reverb and if you want something brought to the front, you can add an eq and less reverb. Realize that you can use panning or mono tracks to pull in a sound or a stereo track to expand your sound. Also, reverb and delay are some special effects that you can add to your tracks to keep it interesting, but weren't there initially. Keep in mind that a mix is the ONLY time you get to perfect any mistakes in a song. EQ EQ is a good tool that can fix a lot of mistakes in a recording. A big difference EQs can bring is eliminating the low end. Low end is a rumble of heavy bass that can easily way down any mix. Low end is extremely difficult to hear unless you know how to use an EQ. For example, the picture below demonstrates how an EQ looks when you cut out the low end in a guitar channel. Notice how on the left end, the frequency visualizer is brought down either manually or robotically to attach closer to the sound wave in the middle.

Volume and Panning Now, you want to focus on the volume. Every section needs its volume level. Keep in mind, when mixing, you can adjust volume levels on separate tracks. Lead synthesizers and vocals tend to be brought out and emphasized in front while drums can blend into your back. Be careful with drums, because you don't want to exclude them completely. I commonly use automation within the daw to lure loudness and volume along with panning to bring out each snare and hi-hat. One thing that I would point out is a lot of songs tend to sound bad because the low end wasn't helping in with drums and bass, so it's okay to add some breathing room for a drum track, in my opinion. Mastering 101 Mastering is the 1 percent left before your release. A good example of mastering is the overall hearing of an album. How will the song sound by all of the other songs on the album? Are the volumes levels the same? Does a couple of songs render any stereo issues? You want to make sure your panning and tracks are set to your liking in a mix. In mastering, the goal is to mix your songs in one setting to get a finished product. You are allowed to work with any mix, and it is better to work with all mixes in one mastering session. By that, each track should a single track and ready to be passed through for a final master. There are a lot of great mastering tools out there for anyone ready to learn! Ozone has a great selection of mastering tools for free and for sale. Every link I reference in this article uses Ozone to cut out any confusion of what to use! Limiting Limiting is a way you can adjust the volume to the overall track. If you have noticed that your track is soft or too quiet, limiting can help there. But you don't want to go heavy on it because it will distort any kicks or snares you've previously cared for in your mix. I want to share with you someone I found on YouTube that shares a lot of mastering software and tips to help you get started even more! Here is a link to a video that will help you with limiting. I will post another link for the entire lesson on mastering here. Here's what he posted about volumes peaks: Ceiling - Set at least -1.0dB True Peak. Potentially up to -2dB True Peak Ensure you select "True Peak" - This is essential. Average LUFS - Hit at least -14 to avoid Spotify limiting and then push it louder to your own preferences.In The Mix from YouTube Multiband Compression If you have never used a multiband compressor before, it looks very strange when you open one up for the first time. A Multiband compressor is known for a 4-split screen to independently edit transients and achieve adequate hi-end and low end. Multiband compression can be a daunting subject even for me! There are several tricks you can apply in your master that cut out any unwanted noises in your track with multiband compressors and EQs. EQs do not always get the job done, and that's where a multiband compressor can save the day. Check out this great multiband video here.

Conclusion

Hopefully, you have learned something about mixing and mastering today and what they are. Mixing and mastering can be a fun experience if you need to take your music needs to the next level. Most songs you hear on the radio or watch on TV have had professionals help with the Mixing and Mastering process. If you need help, be sure to check out our Mixing and Mastering service providers. For Mixing engineers click here For Mastering engineers click here Read the full article

#Challenges #How #mastering #Mixing #Started

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digih123 · 4 years

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jeanbaltsubsta-blog · 5 years

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markmarketstall · 7 years

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What every DIY recording artist needs know about mastering in 2017

Mastering is the final part of the process of getting your recordings ready for release. You probably already know this.

You probably also know that mastering is meant to make your mixes louder, which is broadly true too (we can argue about the specifics of that later if you want :)

But how loud?

Did you know that there is no industry-wide accepted standard for loudness in recorded music? So how do you know if your masters have been adjusted to the right level for you?

Most of the major online music platforms - iTunes, Spotify, Soundcloud, YouTube, Tidal, etc. - playback at different loudness levels (which are measured in units called LUFS - Loudness Units relative to Full Scale).

Most of these platforms try to get all their music to playback at a roughly similar level of perceived loudness in order to improve their listeners’ experience. That way you don’t have to keep reaching for the volume controls to adjust for differences in loudness between the songs they’re listening to.

This means that unless your audio is mastered to the right LUFS level for any particular one of these platforms, it’ll probably be adjusted by the platform itself after upload if its too loud i.e. it will be turned down.

These post-mastering adjustments (often called normalisation) change the way your song sounds to some degree, which means that the further your original LUFS measurement is from the platform’s chosen playback level, the bigger the change that’s made to it during the normalisation process, and the less your song is likely to sound how you want it to when played on these platforms.

So it pays to master to the playback level of the platform. However, because the different platforms playback at different loudness levels, getting your master right for one doesn’t necessarily make it right for another.

For instance, if your master is significantly quieter than the target loudness level for some of these platforms, the volume won’t necessarily be turned up to compensate. So in this case, you run the risk of your song sounding quieter than the songs of other artists around it - also less than ideal in a competitive marketplace.

Now let’s consider physical formats too - CD, tape, vinyl, etc. These are often typically mastered at different loudness levels than the ones which the online platforms have chosen to use.

And if you compare the different physical formats - vinyl & CD, for example - they’re also typically mastered at levels which are different from each other too.

So, as you can see, It’s really impossible to know how loud your masters should be without considering what your main delivery platforms & formats are going to be first. Maybe you even need multiple masters at different loudness levels.

What’s for sure is that you should try and wipe the idea of a one-size-fits-all master from your mind, and find out the ideal specs for mastering for your preferred online platform(s) or physical media.

And you should definitely be having a conversation about this with your mastering engineer before you get the job done!

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beindiymusic · 4 years

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Transform Your Song - Mixing and Mastering - The Basics to an Awesome track - 5 minute read

The Challenges of Mixing and Mastering and How To Get Started

Breaking Down Mixing Elements

Conclusion

#Challenges #How #mastering #Mixing #Started

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