Transcripts
1. Intro: Are you tired of having weak quite mixes that
just don't stand out? Do you want to take
your production skills to the next level and create powerful,
professional Southern tracks. Then look no further
in this course, I will be sharing my top
tips and techniques for making your mixes loud,
clear and impactful. You are going to learn
from mastering the art of compression using EQ and
limiting effectively, we will be diving into the technical aspect
of audio production and also showing you exactly how to make your
tracks stand out. And the best part, we will
be breaking it all down. It easy to understand terms. So whether you're a beginner
or an experience producer, you will be able to apply these techniques to your
own mixes right away. Enroll now and see for yourself the impact
of this course. Let's make some Killer
Tracks guys together.
2. 1. What mastering in general means: Mastering engineering
means and why we needed mastering
is the final stage of the audio production process. It involves making
the final adjustments to the overall sound, loudness of a mix, preparing it for
distribution and playback on various platforms, such a streaming services, CDs and vinyl records. Mastering can
include a variety of processes such as equalization, compression, limiting,
and stereo imaging. These techniques are used
to balance the levels of different elements
within the mix to make the final product
sound consistent and polished across different
playback systems. Mastering is a crucial step in the audio production because without mastering and mix may
sound great in the studio. By men not translate well to the other
listening environments, such as the car or the club. Mastering also helps to make the truck
loudness consistent. This provides a better listening experience for the listener.
3. 2. What plugins we are going to need and why: In this chapter, we
are going to discuss what plugins we're
going to use and why. So we're going to use
the Ozone ten for a queuing imager and the compressor and
the band saturation. And also we are going to use the Oxford inflator saturating the truck and make it thicker. Also, the next step is to use a standard clip to clip the
tracks and noise and four, for multi-band transients
and different analyzers to see how our tracks
translate to the graphic.
4. 3. Why your tracks need to be competitive: Why your drugs need
to be competitive. So when it comes to being a DJ, I speak now from
personal experience. I have done a lot of
DJ sets in my career. And I can tell you
100% something. If one truck is significantly
louder than the other, it can be perceived as more
powerful and engaging, making more likely to grab the listener's attention and keep them on the dance floor. This is important
in a digital sense because the goal from the digit is to keep the Dassler moving and the
energy really high. Tract that is too
quiet may not be able to compete with the
other tracks being played, and may not be able to hold
the audience citation. So that means if the
track is to quiet, the digit might not play the
track again, the conclusion, having tracks that are
competitive in terms of loudness is
important because it ensures that the
audio is audible and playable for the audience the whole time after this
quick introduction. Now, let's jump in theory to get an overview of
what everything means and why we need those tools that we are going to use later on our practice. If you are familiar
with it terminologies, then you can jump
ahead on the practice.
5. 4. What is a limiter: What is the delimiter?
Delimiter is a type of audio processing tool that is used to control the
loudness of a mix. It works by automatically
reducing the level of the older senior once it exits
a certain threshold, preventing the audio
from getting too loud and causing distortion. Clipping, imaginary Limited has a volume knob that
has a maximum level. So when the audio signal
reaches that level, the limiter will start to reduce the signal so that it doesn't
go beyond that point. This is done in a smooth
and transparent way, so it's not noticeable
to the listener. The goal when you are using
a limiter is the audio to be as loud as possible without
having any distortion. So let's go here
for this example. Now we're going to
use the pro L from pop filter just to show you just a little bit
what limited data. Let's go and make a loop here. Put it on 149. And we're going to use only
the limiter. Right now. I'm going to push the gain and welcome to my
music track louder. Now you see here that this is working on minus two points. This is the gain reduction. So that means every try, every time the truck
exceeds that zero dB, it, the limiter tries and reduces the truck
by minus two point. This is the job limb there has
6. 5. What is Compression: Now let's talk a little
bit about compressors. A compressor is a tool used
in audio recording and production to control
the volume levels of different parts
of a recording. Think of it like a
traffic cop for a sound. It makes sure that
the loud parts and the quiet parts or
the right levels, so the audio sounds
balanced and consistent. It works by automatically
reducing the volume of the loudest part of
the recording and increasing the volume
of the quietest parts. This creates a more consistent
overall level and makes the audio sound louder
and more polished. If you are new to
audio production, you can think of it like this much and you are
recording a song and the singer's voice is very quiet in some parts and
very loud in others. A compressor can be
used to even out the volume so it's not
too quiet or too loud, making the song sound
better overall. That's the basic idea
of a compressor. It's a tool that helps balance the audio and make it sound more polished and professional. So think of it like also the limiter is kind
of compressor. In this case here where
I'm going to show you how the proceeds to works. Now we don't have any now we don't have any compression e.g. and I'm just going to put
the threshold and the ratio. We're going to discuss about it later, what everything does. I'm just I just want to show
you how this thing works. If I put threshold
and I say, okay, I want you to start and
work from this point. Then we have infused extra. But also we can make the quieter parts
like this one here. Let's have a listen how
it sounds with an adult. But right now the
compressor is not too much. It might not be so noticeable. So this was a quick overview
of what compressor is.
7. 6. What is an imager: The next tool that we're
going to use as an image or an image tool like a
stereo material is used. In other words,
trying to control the stereo width of a mixed. It can be used to make
them mixed sound wider or narrower depending
on the desired effect. In general, it is
important to have the audio mono below
100 hz during mass. And because frequencies below 100 hz or not easily
localized by the human ear. So there is no benefit to
having them in stereo. And also a lot of sound systems
play the audio in mono. Additionally, having these
frequencies in mono help to prevent phase issues
that can cause problems with the
overall sound quality. E.g. let's say you have a
mixed That sounds great, but you want it to
have a bit more width. You can also use a
Stellar Imager to increase the stereo
width of the mix, making it bigger and more spacious in some
frequency spectrum. On the other hand,
if you want to focus more on the vocals, you might want to make
this sound a little bit narrower so the vocals
are more prominent. Today we are going
to use the isotope, imagine from the awesome ten. And I'm just going
to show you how this thing works right now. But we can make it a
multi-band. And e.g. I want to make these frequencies
here above six K wider. So I can just go
and choose this one here and go onto fourth bond and make it also here. So that is more
noticeable in your years. I think you can hear the
difference right away.
8. 7. What is a clipper: The next tool that we're going
to use is a clipping tool. A clipping tool, also
called a peak limiter, is used in audio monitoring to prevent audio levels
from exceeding a certain point known
as the zero dB fs, which means decibels full scale. This is important because
audio that exceeds zero dBFS can cause distortion, which can negatively impact the overall sound
quality of your track. The clipper answers that
the audio stays within a safe range and
prevent distortion. It is important to
note that using a clipping tool can also increase the
perceived loudness of recording by allowing
the audio to be pushed closer to the maximum level
without causing distortion. However, pushing audio levels to the maximum can also cause
the audio to sound unnatural. So it's important to use
the clipping to carefully. Today we're going to use the standard clip from
which one is this? From, Sir Audio Tools. This is one of the
best in my opinion. And I'm just going
to demonstrate how this thing works
just a little bit. We're going to see
later in detail. And I'm going to explain you
why have these settings? Let's also have a optical
information here. So right now without the wave from which
all good, what does, when it's activated it that we have more here, more consistent
waveform is fixed. Now, again, this is what the clipper does.
9. 8. What is saturation: The next tool that we're
going to use is such rater. So what is exactly saturation? Saturation works by adding harmonic distortion
to the audio, which can create a sense
of warmth and depth. It can also make the
audio sound more exciting by adding
a sense of energy. Additionally,
saturation can also be used to other sense
of character and personality to a
recording making it sound more unique
and interesting. There are several different
types of saturation, each with its own
unique characteristics. Tape saturates, e.g. emulates the sound of analog tape recordings and
can add warmth and depth. We're recording the plugin
that we're going to use here for the saturation needs
to Oxford inflator. I'm just going to take down
a little bit the output so that we can compare
them correctly. Right now we're
hitting like minus. It's figured out
how it is withheld. Now we have almost
the same gain. So let's check it
out how it sees, how it sounds with and
without the effects. And to make it a
bit more obvious, years where a little
bit louder right now. Also you can see here
right away that the truck becomes thicker
and more powerful.
10. 9. What is headroom: Now let's talk about headroom. I'm 100% sure that you
have heard about headroom. Like a lot of times, headroom refers to
the amount of space between the highest
peak level of a recording and the point
at which distortion occurs, which is the zero dBFS, having a sufficient
amount of headroom before mastering is important because it allows the
Muslim Eugenia to make adjustments without
causing any distortion. A common practice is
to live a headroom of at least minus six
dB before mastering. This means that the
highest peak level of the recording should be at least six degrees
below zero dBFS. The engineer then can make the recording sound more
impactful and powerful, but it also allows for
a more dynamic range in space for louder
sections to shine. E.g. let's say you have
mixed with highest peak at, let's say minus dBFS. This means that the mix
is already quite close to the point at which
distortion occurs, which is the zero dBFS, as we already mentioned, if you're going to try to make any adjustment to the audio, such as increasing the
overall or loudness, you'd likely cause distortion,
on the other hand, is the highest peak
of the same track is at minus nine dBs. There is a lot of headroom and
you have plenty of room to make adjustment to the audio without causing any distortion. If you don't know how
to measure this in your truck and you
just go and e.g. I. Would suggest this Yulen plugin. This is a free plugin and we're going to always check
the short term. In this case, e.g. in my
truck, this one here. We're hitting like -6.52
based on the Tropic. So that means we have
a lot of headroom for the mastering to be done
without any problems.
11. 10. What measurements we use: Now let's get a little bit more technical and now
we're going to talk about metering measures that we're going to use
in audio mastering. There are several different
types of materials that are used to measure the levels of
a recording and production. These include e.g. the DB, which is a decibel. Decibel is a unit of
measurement for sound level. It is a relative a unit, which means that it compares
sound to a different level. Here the B is our
reference level and every increase of freely bit
doubles the sound level. The other scared that you
are going to hear a lot of times is the UFS, which means loudness
units, full-scale. Efs is a measure of loudness
that takes into account how the human ear perceives
loudness can be measured in a short-term
or integrated, which is the long term values. Short-term or EFS measures the loudness of a short
segment of audio, while long term, while EFS measures the overall
loudness for recording. The other measure
that we are going to hear a lot of times is the RMS, which means root mean square. Rms measures the
average level of a single entity is
commonly used to measure the level of recording
in a way that approximates the perceived
loudness by the human ear. Last but not least, we
have also the pig meter, which is also the
tropic of that. We'll have already mentioned
picked meter measures, the highest level
of a single entity is used to prevent
audio distortion. Product makes sure
that the order doesn't exceed the
maximum level, which is zero dBFS that
we already mentioned. So these are a little bit
more technical things that I've already mentioned, but you are going to need them if we're going to
talk about later, the loudness and
everything because these are really important. Enforce that you need. E.g. here right now on
the union loudest meter, we got the short-term ADFS
that I already mentioned. The integrated value if S, which is the long term UFS
that I already mentioned. Also the tropic here in
the overall dBs, e.g. right now I've got -20.2 UFS, short term, long term, I have minus -20 and the
tropic is at -6.5 dBs. You see that the
measurement is different. Here. We have the b's. Here,
we have your face. Yeah, we have a Liu. And these are the most
important things that you need to know when you are
monitoring your track.
12. 11. Loudness war: Now let's talk about the
loudness war little bit. The loudness war
refers to the trend of increasing the
overall loudness of recordings to make them sound louder and more impactful
than other recordings. This is often done by using a dynamic range
compression and pick limiting during massing to raise the average level of the audio, resulting in a more consistent level
throughout the recording. The problem with
the loudness war is that it can lead to
order distortion there, reduction in the dynamic range, which can make
recordings a little bit more unnatural and very
willing to listen to.
13. 12. Dynamic Range: Now let's talk about
dynamic range. I will just give
you an example to understand how dynamic range. Dynamic range is the
difference between a quiet whisper and
the loud shout. This is like a really big
difference from volume. Imagine you are listening to a song and sometimes
it's really quiet, and other times
it's really loud. The difference between
those quiet and loud parts, it's called the dynamic range. Samsung's have a big difference between this quiet
and loud parts, while others don't have
such a big of a difference. Some songs are also are meant
to be played really loud, while others are meant to
be played more quietly. E.g. here we get two tracks. We've got an RPP and hip
obituary and an EDM track. Their dynamic range. I'm going to use the
bx meter for this one, and we're going to see
that here on the dynamic. Let's have a listen.
Let's have a listen and see how much we have for dynamic range
here on this track. So in this case, we
have an average of -60 beats dynamic range. And let's listen
also on the trumpet. Care of the dynamic range, it's much more different because we can also
heat away from here. This is a bit more compressed, and so that means the quiet parts are more
close to the loudest parts.
14. 13. Digital Clipping: Now let's talk about
digital clubbing. Digital clubbing is when the audio signal
becomes distorted, get your exiting this
maximum level or zero dBFS. But we already
mentioned this can happen at any stage of
the production process. To avoid it, it is important to monitor the
levels of the Odyssey. Now, use clipping tools during mastering and pay attention
to the Qin levels of the audio processing tools
to make sure that you are not too high and your
snow is not too hot.
15. 14. Desired LUFS: I am 100% sure that
you have heard e.g. or you have googled how loud the trucks would be for
the Spotify services. These are the UFS for all
these streaming services typically have a different loudness
standards for the audio, that is trim only platform. E.g. Spotify has
a target loudness of -14 EFS for streaming, which means that the
average loudness of the audio should be at -14 value of S. This is
to ensure that the audio, it's consistent in loudness
across different songs and to provide a good listening
experience up in music, on the other hand,
has a target loudness of minus external UFS. And if I am correct, the YouTube users at minus fs, it is worth noting that
allow the standards can change over time as streaming
services and broadcasts, companies may
update this tunnel. So it is important to stay updated with the latest
louder standards. Most of the times
mastering engineers will be asked to deliver
two different tracks. One on -14 ADFS and a one
on minus eight l UFS, the minus eight is
your face is more for CD and club dates.
16. 15. What is important on the premaster: What is important
on a pre-master, the premaster is the final stage of the audio production process. Before the audio
sent be mustered. The brewmaster is
important because it represents the final
version of the audio and it's like the last
opportunity to make any changes or adjustments
before the audio is finalized. It is important that when we send the
track for mastering, the tropic doesn't go
above minus six dB s. As we already mentioned, that the mastering engineer has enough headroom to
master the track.
17. 16.Understanding the frequency spectrum: Now let's talk about the
frequency spectrum of the bit. Right here, I got my plug-in. I'm going to use the AB
matrix from Plugin Alliance, and I will just go
to play the track. I'm going to separate
this spectrum now in four different areas. One is going to be the loan, the other one is going
to be the mid low. The other one is going
to be the mid high. In the last one is
going to be the high. I'm going to say
that the law would be this frequency spectrum here, from, from ten, from 10 hz
until 250, somewhere there. Now let's go on to low meat. It's going to be in
from 250 hz until 800. The other one's going
to be the mid height. This is going to be
800 hz, 4,000 hz. One is going to be the
height. The ideal spectrum for a truck when it's
going to be martyred. I'm going to show you
right now, which is going to be like raisins here. Then again, the trunk
stolen from me again.
18. 17. Decide what elements are important: Before you start
mastering your track, you have to decide which element is the
most important on it. E.g. here I got the
truck bit, worried. The EDO it is the most
important elements there. We've got also NAD and track, where the vocal is
the most important. So if you decide, if you decide this way, then it will be easier
for you to understand and to visualize how you
find the single sound. Now that we have all
this information, let's try and apply them. The next chapters
are going to be only practice and
to see how you can master your truck to the loudest
part without distortion.
19. 18. Analyse: We're going to start now
with these trumpets. First. Before we start and
do anything on our channel, we have to first
analyze the track and see what we're dealing
with right now. I'm just going to
choose the loudest part of the track, which is this one. And I'm going to
analyze here and see some information that
we already mentioned. So first, we have to see how
much is the tropic here. It is below 60 beats that we
already mentioned earlier. So that means we have
a lot of headroom. One, we're going to
master the truck. Also really important
here to see the graph. Small spikes here. This muscle times happen
when the snare hits. So what we're going to do
now, we are going to do, we're going to use a
compressor to find these snare and
Tammy little bit.
20. 19. Dynamics with Ozone 10: For this purpose,
we are going to use now the awesome ten. And I'm going to choose
here the dynamics. And I'm just going to find this. I'm just going to compress
this more spidery bits. Let's put the ratio on 41
and let's test it out. Here. We don't want a big reduction. We are just going to hit
minus one, -0.51, 0.5 dB. But in this case, I'm not going to compress
the whole track. I'm just going to use a
multiband compressor. So I'm just going to
choose above 600 hz, where I'm pretty sure that
here somewhere there. This scenario is, if you listen carefully here, you hear that when
the snare hits, the compressor is working
like really harder. Let's make it a little
bit more obvious. Next, let's take it out
from solar and listen. And let go and buy
puzzles. When I bypass it. Does here this spike. Okay, I think now we are good. We don't want to
compress the truck like really a lot as
we already mentioned, we are going now on the other tool that
we're going to use.
21. 20. Saturation with Ozone 10: When I hear the track,
I feel like some high, some highs are missing. So for this purpose, I'm not
going to use an equalizer. I'm going to use multiple raters so that I'm just going to push a little bit the high
frequencies with the reader. In this case, I'm going
to use the exciter. And I'm just going to
use for different bands. And I will just find
this six k near six K. And I'm just going to boost just a little bit to
hear how it sounds. Let's also go and try
some other modes here. I like a bit more of the
retro mode, how it sounds. It's quite possible within definitely when I use this exciter on the
high frequencies, I can hear the high hats
like being more present. And to share the truth, I
really liked the sound.
22. 21. Imager with Ozone 10: Now let's go on
to the next tool. The next tool is
going to be here, the image here because
I want the laws. This is my personal opinion. I really liked the
loss to be in mono. So I'm just going to do
again four bonds to learn. Squishy on my lows and
I will choose below 100 hz being completely mono. If you want, you can make
this a little bit wider. And also the highest I can walk. You have to be little
careful because in this case we are talking
about a chocolate. Most of the times the jump
bits are not so wide us e.g. in EDM track. So I'm just
going to break it up. So this frequency spectrum, a little bit down to being
more lacking the morning. It's going bypass and see how it sounds with and
without the imager. The difference is not so big, but I just want to be sure that these low frequencies
are always in mono.
23. 22. Saturation with Inflator: Now our next step is to go
here and put the insulator, or is it stirring? This is a really great plugin. And when you want to saturate your tracking to make
it a bit thicker. So let's go and listen
to it, how it works. And I'll just take also
the output will be down because we are going
to hit I'm 100%. We're going to get some digital clipping that
we already mentioned. As you can see also here, the waveform is changing. So let's go and put
it with and without. But we don't want to
add the volume here. So for this case, we're going to
take the opposite. Because I can see also
here some red dots for me read books
meets means clipping. Let's go and look
and listen to her this width and without inflater. Now our true pig with the
inflater is minus seven times. And listen how this, without looking push, we can bring it back a little
bit because right now, I suppose it should be the same. Okay, now, let's have
a listen how it is with and without the inflater. But we're not going to
change any any gang. So we're going to hear that the truck is going to
be thicker and warmer. This is like really, really
big difference in my opinion. And we are not adding
some output on the truck, but we should also hear
how it sounds also on the rescue that everything sounds okay. With a inflator. I can feel the
chocolate is being glued has been more together. It sounds like one.
24. 23. Clipping with Sir Audio Tools: Now our next step is
to use a clipper. For this purpose, I'm going to use one of the best
papers in my opinion, the standard clip from
Share Audio Tools. And I'm just going here
to choose the heart clip. And then we want to have, I will explain to you right now, what is our goal here? Right now? We have
this fix Again there. And I wanted to somehow this leg to be quieter and to bring
everything together. How do you decide what
settings you're going to use? I will show you right now,
hover over something. I really love to go
on the offline and x 32 because we
have more quality. And now we just go and find this sweet spot where the
track is being clipped, but we're not going to hear
any digital distortion. Let's go and find
the loudest part. It's going listen how does now? And also see the waveform
that we already mentioned, how it is with the clipper and how it is
without the clipper. Okay, now we're at 100%
sure that we are clipping this pixel here and we have
more consistent sound. Well, so you can see
here that we are not adding any volume on the chart. Our goal here is
just to take out these peaks that we
have in this track.
25. 24. Add back transients: Now our next step is to add some transients that
we already catch here. For this purpose,
I'm going to use the nitrogen four and I'm going to find this
transient shaper. And I'm going to
also do it again on the multiband because
I want to shape, I want this transient shaper to work only on the high frequency. It's going to choose
this. Here. You can see right away that this
waveform is changing. It's also tried to
put a little bit more down so that we can heal. So this snare cutting through. Nice. It's protecting it. Too much weight on down. I think now they're sweet
spot right now it's here. It's minor at 1.4 K. And
we're just adding just a little bit transient here
on these high-frequency so that the high hats
and some part, the high part from the snare cats color mix
a little bit better. How it is within himself. List to the rest of the track. Okay, cool. Now our next
step is to use the limiter.
26. 25. The limiter: For this purpose,
I'm going to use the pro L2 from FAB filter. And our goal here is to have two different UFS that we
already mentioned earlier. The one that's going
to be at minus eight, minus nine and UFS
and the other one is going to be at -14, our UFS. So let's go and start and
bring back up the game. It's going over. Do it so
that you can hear what this limited does when I push
just a little bit too much. So right now it
sounds unnatural. It sounds that the volume
is going up and down. It doesn't have this
consistency that we already mentioned.
Anything here. If we hit this minus
eight and UFS, it is pretty good because
the limiter is not going above -60 -60 beats. So that means the
limiter is working, but not so much. Okay, Here we got the
tropic, that is 0.01. So that means here
we're not going to have this pig is also checked the short-term
that we're hitting this minus eight here where
you can see it here also, if you want to, if you don't
have e.g. this plug-in, if you go in here
on your plug-in, their mind, too much e.g. -7.8, I think we should
leave it here and plus ten. So that means we are
not taking right now. Let's also listen how
it sounds on the rest of them. E.g. I. Can use some distortion
low frequencies. So what we're going to do, We're going here
on the inflater. As I already mentioned. We're going to put down
a little bit more flavor and torsion. So right now we don't hear distortion that
we heard earlier. It's called check
here, the loudness. Okay. You have always to
double-check e.g. because sometimes
you can just do a little bit more output
yonder all the inflator, and you can hear this distortion that
we already mentioned. So we didn't want this
kind of stuff to happen. So always double-check
the final and how it sounds and not always
hear the loudest part.
27. 26. The export: So as we already mentioned, now, our next step is to
export this truck at minus l UFS and also at -49 DFS. For this purpose, we're just
going to take down the gain. Let's go back again
here and I'll just push it until we have it. Now you just want to
export the chalk. Let's go here on the settings. I would always suggest 44.1, not normalized because
this might change the loudness and
always the waveform. And you can also choose
the MP3 as an output. And I always have the
highest quality here. And then just click, Okay.
28. 27. Analyse First: Now let's go into muscle. They didn't check
what they get here. But before we start
changing things, we are going first to
listen to the track and find some things that we
want to change before that. So I'm going to play the trunk
right now and let's have a listen me and say File and New. And swam through your veins
like a fish in the sea. I'm saying give me everything is due when and knocking. Your body. Knows that non-bonding. Guilty in good shape. Okay. Now that we have an
idea how the truck sounds, I have to say that from the first moment
that I have the track, I can tell that the vocal, it's not so loud the whole time. And we're missing a lot of
low end here on this chart. The ideal is to go back to the artists and tell him, okay, you have this small
mistakes done and you need to fix them
because if I do that here, it will not sound so good. In comparison, what you're
going to do there by itself. So let's say, but in this case that you
don't have this time, do you, as the artist says to
you, do whatever you want. Okay? So what we're going to do, we're going to pause the vocals little bit
more in the front. First. The second one is, we are going to boost, also elevates the low
end here from the track. And the other one that
I think here we need to do is to cut, to do some dynamic
occurring on the mid-high, some of the highest because
when the truck comes, they sound like too much. Okay.
29. 28. Important adjustments: So now that we have
an idea, it's fine. The loudest part here also with the vocals, because
in this case, the vocal is the main
element from this track. Do you remember earlier when we were talking about chatbots, that the Min element
was there to iterate. Here is the vocal,
the main element. So let's go and start
from the vocal. I'm going to use
the awesome ten. And we get the muscle rebalance. And here we get the vocals. I'm just going to push
them a little bit. Okay? I think they sound okay Now because we don't want so much, we just want it and just
a bit in the front. I forgot to mention
that before we start that we have to
see if the tropic is okay if our meters are
so that we can start, if we have enough headroom so that we can start the Muslim. Right now, I don't have
so much headroom here. What we're going to
do it as I told you, if you don't have the
capability to work, to speak with the artists, I'm just going to
gain much this one and reduce the gain so
that we can hit like minus six -40 beats the chalk. But as I told you, this is not the best way. The best way is if
the artist sends you again another mix
with enough headroom. But let's go ahead and
work with what we have. Okay, Let's bring bug, also the awesome Tim. Let's put all so now that we brought, the buckets are still
a bit in the front. We're just going to EQ the
track a little bit with it. An equalizer, as we
already mentioned, we have to boost a
little bit too low. They're a really
big difference for me. I really like the sound. We're not boasting so
much electric 2.2 dBs. And let's go and take out
some high frequencies. But we're going to use
a dynamic equalizer. For this purpose, I will just go here and choose the
high frequencies. Overdo it just a bit
to hear how it sounds. Right now I think that the truck sounds will be better
because we have taken out some high frequencies
here that we're really, really hard on the year. One is just being triggered
when we have this thread. What we had earlier. And
this is what we've got. Now. Another trucks on some more glued and
more bodied has more bodied sounds like
it sounds like one.
30. 29. Compression: Now our next step is to go
and do attract a bit more. We're going to use compressor. And we want to ask just a
little bit to build the track. Not so much again, I'm going to let
it again on two, on Russia two to one. Its also have a look
how it is width and without Isaac the
plugin right now, really big difference on. So I can see here
from the waveform, the waveform when I
got it activated, it is thicker and when it is bypassed, it is not so thick. Now, this brings us that the truck right
now has much more power because we boost hear
the low frequencies. And we did some enqueuing and also share would
do to track together. Right now the compressor is at minus one point and two dBs is the reason why I added
here our plus 1.2 dBs. Here we didn't do a name
multi-band compression because I wanted to glue the
whole truck and note e.g. the high frequencies
from a track.
31. 30. Exciter: Now our next step is to use
the wears it, the exciter. Because I want also to put back some excitement of
the high frequencies that we took down earlier. And let's go and put
four bunch here. I'm just going to
test some things and hear what sounds better. Okay? E.g. this year, this frequencies from
the frequencies from one gay until three K. I just wanted to
boost them a little bit. This is not the
equalizer as earlier, this is excitement, so
that means saturation. And I'm just wanted to
test some different modes. I can also test the retro mode, but I find it a bit
too much water. Well, this truck I really
liked the tape mode. Let's also do some testing
on the high-frequency scale. Okay? I think right now e.g.
for the high frequencies, the retro mode is the best because it gives much more
presence on this frequency.
32. 31. Imager: Now our next step is to
use again the budget for its imaginary material. And we're going to
do again for bonds. We're going to do again the
low frequencies on mono. You can see here
from the image that when this line is the
whole time in the middle, then this means it
is completely mono. When I deactivate
it, it's moving. So that means we have a lot of steric stereo information
here on this low spectrum. So this is what I
didn't want, e.g. this is why I will activate it. I want this one to be like
really dark in the middle. Okay? Now let's go to
you on this frequency. Now because we are talking
about an idiom truck, we want this to be like
really epic, really wide. So that gives us the option
to boost a little bit, to make it a little bit
wider on this frequencies. Let's have a listen
how it is with the image and how this
without the imager. Find the truck now has a little bit more depth and it sounds much, much, much better. So I'm going to play
the track how it, how it is without
the settings that we already married to before
we go to the clipper. And you can tell me if
you like it or not. Really big difference, right?
33. 32. Saturation with inflator: Our next step is to go and use the inflater that we
already used earlier. Because we want to make
the track a bit more thicker and also a
bit more warmer. So let's go and start here. Let's take other clip. I find inflator is one
of the best plugins. And you have what's
known as small a quick explanation of what every
faded does. So e.g. the effect fader here it
says the effect fitness, It's the amount of the
overall inflator effect that is applied to the program. Output overloads are
entirely avoided when the effect level control is
set to maximum position 100%. And this is the
curve that we want. The curve paid or multiphase the processing
characteristics and sonic effects of doing later. So I think 0-50 provide increasing fatness and
volume and enhancement. Despite reading of this
annual significantly louder the impression of considerably
dynamic range is retained. Settings between
zero and -50 produce the most subtle changes over a loudness enhancement
is minimal, but significant harmonic
content is added to produce a richer,
warmer sonic character. Let's go and also put
down a bit the output and tested how it is
on the same level. Right now we have the tropic,
we're going to test that. Now we've got -6.5. And let's have a listen
how it does with inflator, how much tropic we got here. Okay, From the beginning
it's a little bit louder. So takedown output, again. It is always important to A
B tests because we want to add some dynamic and we
want to add some warmth up. I already mentioned.
We don't want to just art to just add some
volume here on this chart. This is why I always want
to use the inflater. I take down the outputs. That's how we listen,
how it is within without definitely 100 times spreader. So let's go and test also notice on the
rest of the truck. When they feel guilty and ashamed. Maybe Say again, I think now it's
much, much better. So our next step is
to use the keeper.
34. 33. Clipping: Do you remember
earlier what we talked about the standard clip here. Our goal is to take out
these spikes of one, e.g. we want to take out these
spikes that we got here. And let's do it with a clipper. And of course, again offline. So D2 times and hot glue
gun on loudest part. Okay, you can see here also from the waveform that we didn't
have this pigs anymore. And we don't have
this distortion. The sweet spot here I find
lucky these are the -11 dB, but it won't be saved. You can also try
clearly bit between. Now we can still see these pigs, but they are not so
much as earlier, but we want to take
Donald's this case. Okay. I think that this is what we wanted from
the standard clip.
35. 34. Add back the presence: Now our next step is to
add some transients back. And this is why we are
going to use, again, the transient shape are here
for the nitrogen floor. That's just want
these frequencies here on the mid loss because there we got
also some claps. And the highest cut through
the mix. Let's go and listen. First off, let's go and do it firstly here on
the mid-frequencies, so the mid-high frequencies. Let's do a little bit too
here what we are doing, we got also three
different modes here. I'm just going to use the
medium because at the one than to be like
really, really sharp. You're going to hear
right away that this is working because the, these plaques that we got here, the plug, they are
a bit more clicky. If I'm going to bypass
it and I'm going to play with and without that you're going to
hear the difference. S. Have a listen on the plaques. There'll be too much. This is the reason I'm
going to take it a bit also down because
I've fallen deep. It is a bit too much right now. Let's also do the same on the high frequencies here. Okay? I think right now
it is much better. And our next step is
to use the limiter. But before we do that, I would
like to play the track how this waste what we have
done right now and without. So let's have a listen
how it is width. And I'm going to play out
some bug and forth without. It is important here to
note is that the tropic, when we don't have
any processing, it is much louder in comparison with the
tropic when we are, when we have already processed. But in our ears, the processing that we
did hear sounds much bigger, fuller, and warmer. So this is the reason
why we do that. This is the reason why
mastering happens. It does, it is not only to make the track
a little bit louder, it is to make the truck some
consistent and like one.
36. 35. The Limiter: The goal here with the limiter is to heat again the
minus eight and UFS. And this is what we're
trying to achieve. We can also put like higher because right now we have the headroom
to walk with it. But I wouldn't
suggest it so much because it's not so on so much. Well, let's have a test Let's have a listen and test it out. Right now we are hitting
at minus six for four UFS. This is like really loud, but I wouldn't
recommend you that. So this is why we're
going to take it back. But I wouldn't
recommend you that this is why we're going
to take it back again and hit the mindset
that we already mentioned. Let's have a listen now
Hodges, on the whole track, heights on me and say, wait and wait. And swam through your bank
is like a fish in the sea. I'm saying if everything is
due when and then they feel guilty and ashamed. Baby, I'm saying exactly when you with me. Hi.
37. 36. Outro: Now this is much more
consistent that it was earlier. It is like a really
big difference. It is like a day, night. This is what I really
wanted to show you guys. I hope you heard also
from yourself that the mastering is a
really important stage for your tracks if you want
them to be competitive. Also with other tracks, they have to be mastered and
they have to be mastered. Well, I hope with this
course I have achieved for you to say that this,
wow, this effect. This is now how it should sound. This was my goal
with this course. I hope you had some fun. See you on the next
quarter's guys. Bye-bye.
Beats By Dj Legion, Everything About Music!
