Learn Mastering with FabFilter Plug-Ins

1. Promo Video Intro: Are your tracks lacking that final touch to make your song sound professional? Do you feel like you are missing some secrets? Well, stick around because in this course I will be breaking down my essential muscle workflow using fob fit plugins. Only. In this course you're going to learn how to use Qing compression, saturation limiting, and many more techniques while using only the upfit plugins. Let me show you that Before and after. There's no way I can see me. Want to try but nothing going to make film myself alive. Course. Mis I don't want to film my pinto broken. Let me Hello? I don't want to play. You can curb me. Na, Donny. Broken heart, don't get me. He loves toxic toxics. Why? Bots wings. Toxic. Toxic. Just able keep me salted. He loves toxic toxics. Wings toxic toxic. Just keep me salts, save me. I really want to try but nothing gonna make to film myself alive. Course is B, I don't want to fill my pinto broken. B, I love, I don't want to play. Can curb me. No, Donny. Some broken heart. Don't get in my mind. You love toxic? Toxic. Say pushes way. Toxic. Toxic. Just to keep me stick Toxics wheel. Toxic just to keep me stay. Now, if you want to learn how to master your trucks and make them sound like professional, like the truck that we already played, you should start the course right away. 2. Listening to the song: The first step that we want to take is to go and listen to the track. And try to identify what the track needs to be fixed with any okay. It will not be so easy at the beginning, but when we're going to dive in with a proc three, you will be available to understand what needs to be fixed with an equalizer. In this case, we have a pop truck here. So let's have a listen. And try to listen a bit carefully. What the truck needs, what the truck lacks. And we're going to use later this information to try to fix it with a proc three. There's no way I can say me. I really want to try. But nothing gonna make to film myself alive. Is Sabe Mia Bea, I don't want to film my pinto broken. More, help me. Hello? I don't want to play. Can curbing. No, Donny. So broken heart. Don't get in my mind. You love toxic. Toxic. When me put in we Toxic. Toxic. Just a re state. Toxic. Toxic. Toxic. Toxic. Just okay. So in my opinion, the truck lacks a little bit of the air from the high frequencies and I found that it is also some problem there in the lower, in the mid low on 150, like 300 herd somewhere there. Yeah. So let's go and try this and fix this one. In addition, I think that some lows here, because right now we are having a pop truck. They need to be tamed a bit more in comparison. For example, if you have a trumpet, because on trumpets you have the eight oh eight that are hitting like a little bit harder in comparison with the whole track. But in this case, the pop, you can tame the low frequencies from the kick to make it sound a little bit more smooth on the low end. 3. Fiinding the hotspots: Let's go and put now the fat field proc three. This is going to be the default setting that you are going to see when you're opening the proc three. And also I'm going to look at this one section here because we want to master the truck when we are hearing the loudest part. And like 99% of the time is going to be the course of the truck. When you want to go and master the truck would highly recommend to go and choose the linear phase. Because when you are going to do some changes here, you are not going to introduce some phasing issues in comparison with the zero latency. But, but keep in mind that linear phase requires a lot of power Stop. It's not a good idea to put on every channel on the mixing process, because your Ps will have problems also some latency later. So let's go and delete this one. And here we have the 12 B. This is going to show us the 12 DBs here. -12 and plus 12 On the mastering, I would highly recommend to go on 60 so that you are on three Bs, So that you have more accuracy where you go, how much you are going to attenuate, or how much you're going to boost. The first thing that I always do when I go and master the truck is to roll off some lows and some highs that we are not going to be able to listen to the truck. In this case, I'm going to use this one here and go on 25 Hertz. And slope here is also really important because if you go and put, for example the brick wall, then you're going to have this artificial EQ curve. Let's go and bring it back on 12 or 60 B, as we already said, linear phase. And we can also go here on the highs and do the same, from my experience, if I go and put here on 19 K, then have much more space here to work correctly with the truck. Because for example, think you have a track bit and some low frequencies here that are coming from the sub in 808 are picking like too much. And you have a compressor here. The compressor will get triggered maybe quicker in compart the whole truck. So if you take out these low frequencies, your final mix will sound much cleaner. Okay? It will not be easy to hear. Now, let's have a listen. Toxic. Just toxic, toxic. These are the frequencies that we are taking out from 25 hertz. If you want, you can go and put the slope here, or maybe here. So we're taking out right now, we are taking out the low frequencies. Let's go into the same here. Let's put on 18. But now we are taking also some high hats so we can go and push it back a little bit on 21 way. Let's go over it a little bit, okay? These frequencies here are above 19 K, and with this slow, the 2040, we are taking out some high frequencies that we are not hearing. But if you see here, we have some spikes. These are the frequencies that I've already mentioned, that we cannot hear, but they exist. Now our next step is to go and find problematic frequencies. For this purpose, I'm going to use the 30 B here, because I'm going to overdo it a little bit and find some frequencies that I don't like. Put a really narrow que here and let's okay, let's take this frequency down, but I'll do it later. I'm I just want to find out what are the frequencies that are problematic. Toxic. Toxic. Gustaba Toxic. Toxic Will be Sxxabxxicxic, toxico, Aab toxic toxics when they Bx toxicity. Sorry about that guys. Toxic Toxic when they Bx toxics, when they Bzxicxicxics, when they bicol toxic, toxic box toxic. And just able to give me salt, toxic toxic buses, toxic toxin Ao, just able to give me salt, toxic, toxic, toxic, toxic, usable Stax toxin. And I'm just going to see here, if I go and boost some frequencies, how it's going to sound. As I've already mentioned, I'm losing some high frequencies here. But I just want to preview, say how it could sound if I went and boost a little bit these high frequencies. Toxic, toxic, toxic, toxic Just able. Salt, toxic, toxic, toxic, toxic, Just above Salt, toxic, toxic X. Okay? So as I already heard, I can go and boost little bit later in this frequency is near 500 hertz, 950 near ten K. And we're there to have this air that I wanted on the track now that we found what we want to fix. Let's go on our next. 4. First fix: Okay, so now we're going to use the filter, procure three and we're going to introduce now the dynamic qing. So this is the reason why I really love this Q. I have a rule of thumb that when I am attenuating some frequencies, I always use a dynamic Q. And when I am boosting some frequencies, I like to go and use a saturator. Let's go now and use some dynamic Q on these points that we have already found that we have some problems. Really important here is on the stereo, as I already mentioned, you have to put it on linear face. Let me explain to you that with the op filter, you can go and attenuate frequencies on the sides or on the meats or also on the left. On the right, on the left, on the right. Most of the times you're not going to use this one, only when you want to do some special effects. Let me show you this example. Right now, I'm going to attenuate, for example, these frequencies on the 80 hertz, like 99% of the times, it's going to be a mono frequency there. Let's go attenuate. Now if I go in here, we are going to see that we have some frequencies that are moving and we are hearing something. Now if I go and change this one to side, we see nothing. We hear nothing. It's a really great technique. If you want to take some unwounded stereo frequencies from the low end, let's go and put it back on stereo. And zero here. The first thing that I'm going to do is to go and put a low cut here on the sides until 100 her somewhere there. Let's have a listen how it sounds. Right now I took also some frequencies from the piano. Let's make the slope a little bit. There are some sta, frequencies here that we have on the track that I didn't want on my master to be there. It's a good idea to take these frequencies out if you want to have a tighter low end. But if you're afraid that you're taking out some frequencies here from this slope, you can go and put it a little bit back on the 90 over there and then you will be more on the safe zone. Let's go here and choose the free, because I want to be a bit more precise. Now on my right now, I want to take out a bit the lows here from the, from the kick that we have. This was the problematic that we found earlier. It sounds a little bit boxy. So let's go to fix it here. I'm going to use the dynamic que that I've already mentioned. I really love to go and like minus two somewhere there. I don't want to go over my, over to boosting. I'm not a big fan of going over two or over three Bs when I'm boosting or cutting. Because then it means to me that you have to fix it on the mixing process. Toxic just a B to kidney sold loves toxic. Toxic when he goes as well. Toxic. Toxic. Toxic. Okay. Now we have this point here. Toxic toxic, when they bugs we. Toxic Toxic just above me. Stay toxic toxic when they Bx toxic just above, stay toxic toxic when they bugs we toxic toxic just Ab. And also if you go here in case you don't know it, you can go here on the auto and choose the threshold and change the threshold. Toxic toxic. When they bug, we are not pressing so much. Just if I go here for umplexxic. I just want to be a little more aggressive here in comparison with here toxic. That's why I'm going to push a bit down. Toxic. Toxic. Toxic. Toxic tab. Let's go here. Toxic Toxicaxx. X. In this care right now, there are some frequencies, this one that I want to attenuate when these frequencies are hitting. So I'm going to go here on the autumn and choose this. And I don't want to attenuate the whole time, I just want to attenuate when these frequencies come. Xxxx Pharmacy. So I'm just going to try this technique now because I see that most of the time it's going to be triggered when the kick comes. Let's go to choose the side here, Pax. You see now that when I'm going to choose the side, I'm going to attenuate only this frequency that comes through. And this is the reason why I love the procure. Let's go and take a bit more down Maximax give me so. Okay. Now let's go on the next one. Again, I'm going to choose this side here to Pomaxic just abox toxin Xxxxx. You see that when this frequency comes here, it goes a little bit higher. And then the compressor inside the pro is going to be triggered only in this frequency spectrum. Just let's go here. Okay? This is a frequency that the whole time plays. I really don't like this one. I can go and just attenuate this one like the whole time. And open the filter a little bit, because I don't want open the que, sorry a little bit because I don't want it to be like a filter sound there. I just want to have a little bit more natural sound. That's why I'm going to open the queue a little bit. That is toxic. Toxic Keele. I'll listen how it is with and without what we have already made and I'll stop talking. Toxic Toxic Bergmxic, Toxic Ogbaetxicxxbexicx, Toxic Toxic Estaba. Keep me stay So right now, it sounds more glued in my opinion. And let's go now on the next points that we have. Toxic will be be stay toxic. Toxic. Toxic. Toxic. Just abeta, toxic. Toxic Xxx toxic. Toxic. Just toxic. Right now, I'm just overdoing it because I find these frequencies here that it's a bit too much in my opinion. Before I go on, I wanted to mention that it's always really portant to hear the truck and what you're doing. Not like this because you want to hear how it sounds on the whole track. Maybe you're taking out some frequencies that you don't need, so that's why you're not seeing me do the whole time, this thing? Yeah, I know that the bricuss are there, but I want to hear how it sounds on the whole track. Toxic. Toxic. Just toxic. Toxic. Toxic. Toxic. Just abitxic. Toxic. Toxic. Toxic Xx. Just okay. Let's put it back on 12 debs. And you see that we are not taking so much things out, so many things out. We're just going here and we are taking out some lows here. I did a low cut on the stereo field here. I'm just using the dynamic que, on the boxes that the truck has here. I took out these frequencies that come through, but this come only on the stereo field, the same I did here. Then here I did some generally que here, some attenuating here, also the same and here also the same. This point here is what we already mentioned that we wanted to boost a little bit there. I can show you how it sounds, but I would like to do that later on the mushing process when I'm going to use the satin two to boost some frequencies that I really like. Toxic. Toxic. Just okay. Now that you heard what it sounds, let's go on our next step, which is going to be the compressor. 5. Compression Techniques: There are a lot of different techniques that you can use when you're compressing. I want to show you the first one that it's going to be most of the times applied when you, when you're mustering some EDM trucks. And this is going to be taming the transient. For this purpose you're going to need a quick attack and a quick release, and leave it on 41. Let the threshold beat here, and let's try to attenuate somewhere there, like 2.53 DBs Xx gust. Now let's go to boost a bit with the Gamexxxicx Togusticab. This technique, if you want to take out some transiens from your tracks right now, we are toxic. Toxic. Toxic. Minus five db, somewhere there. Toxic. Toxic, Toxic. Right now it sounds a bit louder. Let's take out the wet gain, Xxxx. You have to go and take out the weight gain. You are going to see that now we are hitting the -6.5 toxin. So now we have much more headroom to work on our master. But be careful though because if you are taking too many transients out from this truck, you're going to make it so more digital, so I wouldn't go above to the beach here. It's going to bring it back X, Xx, X. Right now the compressor hits only with the kick cams. That's why we are having a quick attack on a quick release because we want to take out some transients from the kick. You can also go and try some other algorithms here. Toxic, Toxic. Toxic. Toxic. For example, This is too much, it is a compressing the truck too much. Toxic, Toxic, toxic chabaxic. And somehow this punch algorithm has more of a pumping effect, in my opinion. Toxic toxicaxic. Okay, let's go and put it back on the clear, toxic, toxic, toxic estaba. Now, the other technique that you can go and use is again with a pro Q, With the proceed, sorry. And let's deactivate the previous one. You can go here and play with the time. What I mean. So right now we are hitting 08:00 P.M. If you go and Google Compression Time Calculator, you're going to find this website. Right now our truck is on PPM. And if I go here, it suggests that the release time, for example, for one fourth of the note, it's 750 MS and 375. No, this is a good way if you want to achieve some pumpness on your compressor. Let's go and apply this one on compressor here, on this compressor here. Let's go and put a really slow attack, a medium slow attack because we want the transit from the kick this time to come through. And let's try the 375 MS, which is the 18 time signature. And put the ratio not so high, let's go and put it on. Two to one to three. Toxic. Three toxic just abound, Put me stay Toxic Toxic. When they put we toxic toxic just abound. Put salt toxic, toxic, toxic toxic, just about stay. So right now I can hear that it has a bit more pumping effect. It's a matter of taste to say the truth in my opinion, if you like it or not. Now we have a really be knee here. Toxic. Toxic pus. We toxic, toxic. Let's go and over, do a little bit more to understand what we are doing. Toxic Toxic Swyxxicbxx. This is what we are compressing. Toxic toxic Jab Xx. Just toxic, toxic. See, you can also go and try the one fourth of a time signature, which was the 750 MS. And remember this comes from because we have the ADPPM on our. Toxic toxic toxic. Just Ab toxic toxic. You can hear right away that this is going to be slower on the pumping Xxxxx. Let's go and try also the 188 MS, which in this case is the one 16th toxic toxic. This is much quicker. Toxic. Toxic. Toxic. Just ab to keep me stay, I like how it chances to say the truth. Let's go and activate also the compressor that we had earlier. Toxic. Toxic. When bots we's toxic, toxic. Nojustabo keep me stay toxic toxic. But Wx keep me stay toxic toxic. W's toxic, toxic. Notable now the next technique, again, is with proceed two. And this time I'm going to enable to hear the side chain and we are going to compress the truck only above 100 hertz. If you want, you can go a little bit higher also. But I think in general, a good point here is at 125, somewhere there. And we're going to compres this one with a really slow attack and really slow release. Because I want to have, I want to glue the truck and I don't want to compress any transits. Again, I want to give a little bit more space for the transits to come through. And this side chain button here, it says to the compressor that you are going to compress only the frequencies that are above this slope here. A toxin, toxic. So let's have listen right now, this is too much. Let's go here. Now you can hear also that the kick comes. Let's back. I want to ratio T one ratio because I don't want to compress the truck so much. I want to let the truck breathe and let's go and stop. Toxic. Just able to keep me solitary. You love toxic toxics when the bots Wale'sxic toxic. Just able to keep me solitary. Toxic toxic when they bots wales toxic toxic, Just able to keep me solitary. You love toxic toxics when the bots walesxxicjuste. Let's go on trails to some other algorithms here. Toxic toxics, we toxic toxic Logy Abel, Toxic toxic toxic toxic ogestere. Go in here and choose the mastering algorithm. You're going to see that it takes much more time for the compression to be released. Toxic pose toxic toxic ogesabaxxxxogesterabe. That's going to use the mastering again. Solitary toxic toxic when they bogs whale toxic toxic. Just to keep me solitary, you love toxic toxics when they bots whale toxic toxico keep me solitary. Toxic toxic when they bots whale solitary. You love toxic toxics when they bugs toxic toxic. Well, it's also really good this algorithm, but to tell the truth, I tend to like more the clean algorithmic Toxxxogustab because I have the feeling that the other mustering algorithm here, somehow it makes the truck much more compressed. Toxic. Toxic. Toxic Ogebtxxic. Okay, now let's have a listen how it sounds with and without the plugins that what we have already done. And for this purpose I'm going to use a plug in. Where is it? This is not a upfield plug in, but I want to hear how it sounds with and without the plugins that we have already inserted. Let's put this one here above, and also one more here down. And this one is going to be the before, and this one is going to be the after. Let's go and gain much time. Just a toxic, toxic, toxic. Toxic. Just above toxic toxic wexicxictba. Okay? Now, so if I go here and click on this one, I'm going to hear only the before the processing that we did here. And then when I'm going to deactivate this one, you're going to hear the after toxic. Xx toxic. Toxic. Tex toxic toxic. Just okay. When I go and activate this one, I can hear right away that the kick is all over the place. In general, when our chain is activated, I can hear that the truck is being more glued. And this comes from the comparisons that we have already used here. 6. Parallel Compression: Next technique that I'm going to show you is a little bit more advanced, and a lot of people use it or maybe do not know about it. But this is going to be the parallel compressor, how you can achieve this sound. Let's take the both plugins out of here. Okay, let's leave this one. It's not a big of matter right now. You want to go and send the truck to a bus. Let's go and send this one here and send it on 100% Let's take out and this one here, this is going to be the parallel here. We want to go and compress again the truck really hard. You may ask why I want to do this technique? Because this technique, a lot of times when you use correctly, it adds a lot of body on your truck in case you has a little bit more body and a little bit more power. This is a really great technique. Let's go and take out the D again, and put a medium attack here, and some medium release. Let's leave the threshold here as it is. And let's go and start Boxx. And now we are going to compress only here, the purpose of the techniques to go and attenuate like minus ten -12 piece, but on the bus, not on the singer here that we have on our truck. And then we're going to mix it in. Okay, now let's go and mix it in and see if we add a little bit more body on the track. It's toxic. Toxic energy Aab. Stay toxic. Toxic. Toxic. Toxic, energic Aab. Stax, toxic. Be careful though, because you don't want to overdo it here on the master. We still need some headroom for the limiter later. Toxic Toxxicxic, energustb. Let's listen, how is with and without toxic? Toxic. Toxic. Toxic. Just aba to keep me stay have toxic toxic when the Bgxic toxicaba, Let's go and put the attackle bit higher because I don't want this kid to be like really present on the bus. I want to be really compressed. Toxicxxjb kept. You may have toxic toxics. Toxic. Toxic Ochaba. Okay, this is what we are going to add on the truck. Toxic toxic. To be careful though, if you don't know how to use this technique, it might really ruin your truck. So this is a little bit more advanced, but I really wanted to show you, we're not going to use this technique right now. I'm just going to leave it as it is and go on our next step, which is going to be the saturation. 7. Saturation: Now our next step is to go and use the saturator that has also the linear face here mode and the high quality. We are going to choose the superb mode because why not? We want the best quality possible. Then we're going to go and saturate only the higher frequencies that we already mentioned earlier. Somewhere there, like above ten K, near ten K, somewhere there. Because we wanted to add a little bit more brightness on our track and we're going to try to make it a bit warmer. Let's go and activate this one. Now I'm going firstly to saturate above ten K, as we already said somewhere there. Let's go and choose the seven K, because we want also the frequencies that are below ten K to be saturated. We're going to use only these three tools here, the drive, the dynamics and the volume. Let's go and try to make it a bit brighter here on this frequency spectrum. Just salt, toxic, toxic. When they posx toxico, Let's go and choose also some other saturated here. Let's go and try the sub saturation toxic. When they post toxic toxic to kit toxic toxics, when they box toxico. Kiyxxshy toxic toxic. Gustaba toxic. Toxic. Toxic toxic. Let's have us how it is with and without Toxic. Toxic. Toxic. Toxic. Gaba, toxic, toxic. I found out it makes the truck more alive in the frequencies here. But I think it was a bit too much. Let's go here. Toxic. Toxic. Just able to keep me salt. You will love toxic toxics when but Walt'sxic toxic just able. And here we have also the mixed why? Tus W's toxic. Toxic just able to keep me stay. You will love toxic toxics when the boss we let's toxic it. Remember you don't want to overdo this, but you just want to add this brightness on your track. Now let's go and try in these frequencies here. We don't want to add any saturation on the low part. So that's why I'm going to choose only the mid lows here above, let's say like 700, 800 toxic Toxic. Able to keep me stay toxic. Toxic bugs Toxic. Toxic, just able to keep me Soltys toxic. Toxic bugs toxic. Toxic. Just to keep me so toxic. Toxic bugs toxic, Toxic. Just okay, I rule like how it sounds. I just wanted to use these dynamics No, here, which is going to be a parallel compression on these frequencies here, 800-4 K. If I go here and stay a little bit with my mouse, you will see that help is going to come up. Here says the dynamic, so increases or decreases the dynamics of a band. Turn it left to expand the signal, which works miracles. And guitar sounds, blah, blah, blah. Turn it on the right to squash the signal, to introduce heavy pumping, which is great for spassing up your drum loops or vocal. I've already wanted to make it a bit more dense here, so that's why I'm going to turn it on the right side F. X. Just let's overdo it a little bit so that we can hear what we are doing. You hear right now that is pumping a lot and then here comes much fighter, Sxx, toxic. Just okay, I really like how it sounds right now. And I want to show you another technique if you want, you can use this one on this track, but it's not a must like doing like every time I'm going to saturate only the side. This is possible when I go here and add this band. And choose this one on 60 B here on this crossover. And I want to a bit more above 500, somewhere there. And I go here, down. And if you see you have the left, right? And if I click here, you have the stereo. So the way you want to achieve this sound is go here and drive pan on the stereo. And now we are going to saturate only the stereo field. Sex. I'm just what we're doing now, so that you can hear what we are doing. Toxic, toxic toxic toxin. Toxic toxic Tabata, Toxic toxic toxic toxicity. Toxic toxic toxic toxicity. You have to be really careful here, because if you overdo it, you're going to hear right away that the signal is going to be distorted. Toxic. Toxic. Toxic. No. Estaba give me salt, you will have toxic toxic. When Al's toxic. Toxic oust above me. Salt, Toxic. Toxic. B's toxic. Toxic. Notable all mixed, give me salt, you will Toxic Toxics. Toxic Toxo. Also, don't forget to choose the linear phase in the high quality toxic toxic when they put his way. Toxic toxic. Just able to keep me so you toxic toxics when they put his Wx toxic just Ab to keep me. Solta toxic toxics when they put his wall'sxic toxic. Ochustaba. Let's listen. Also Jean verse, but nothing gonna make, but nothing self alibaba. I don't want my Pino broken boy. Hello. I don't want to play. There's no way I can say. I really want to try. The difference is really subtle here, but if you hear later on our Final Master, you are going to hear that this adds an extra sauce on your final. Sound 8. Multiband: Now let's go guys and add the multiple compression here. Multiple compression is a really great tool. But as always, if you don't know how to use it properly, it can ruin your mix. So I'm going to use right away the versbling on four x and the dynamic phase. I'm going to choose this one on linear phase. And you can go, for example, let's say that you have a track that the kick is a little bit too loud, but you want to boost the low end. How you can achieve the sound. You can go here, add this band, let's say until 125, 150. Let's give it a try here. And let's solo on these low frequencies. Right now if I go, you're going to see that we are compressing this whole spectrum. But if I don't want to compress the spectrum, and I want to compress only when the kick comes. This is a technique that I've seen a lot of people do. If you go here, let's go and push this one on 60, or you have more to see. Let's make it also a bit larger. Right now we are posting like three here, Some of there. We're saying right now here if you see we're saying that when the kick comes, I want this one to be compressed little bit, so you have to be really careful here. Right now, we are compressing only when the kick comes, but the total here at the low end, we have boosted the low end like three. This is a really great technique if you want to attenuate with the compression when something is too lot on your mix. Toxic Gus, Toxic. Toxic. Keep so toxic. Toxic versus sake, toxic. Here the difference. Let's bend over to a little bit. Toxic. Toxic, able. So toxic. Toxic versus wax toxic. Now let me show you another technique that you can use if you want to make, for example, the snare to cut through the mix a little bit. Let's going to choose these frequencies. Let's make them here on zero them back. And this time we're going to choose to expand here. Let's make it a bit narrow. Okay. Now let's go and use the expand function. Toxic. Toxic. Toxic. Just a toxic toxic. Do you see that? When the club comes, we are boosting a little bit here on like 40 toxic, toxic, toxic, toxic. Listen how it is putting without Xxxx. So I think you can hear right away that it makes a really big difference when we want to boost these frequencies here from the club. How I would go and use the multiple compression here on our track. I don't like that the high hats are a little bit too loud here. I found that they are at bit too loud. So let's go and fix this. And I want to F on the hot Sxx, toxic, toxic. You can also play with the attack on the release. In these cases, I want a really quick attack because I want to snap as a little bit from the transit that the high hearts have I want to bring back. Toxins. They toxic toxin. Just here right now, I'm just about doing toxic toxins when they toxic toxin and just a fax toxins. They toxin just, you can hear that when I'm using the multi banks here becomes more balanced on the high frequencies here, Xxx. Okay? The next, what I could go and do here compress a little bit the lows, but altogether here, a bit below 200 herds. But I don't want to compress them like really a lot. I just want to compress them a little bit to, to the release attack and release a. And also here I just want to make a little more musical fit here. I just want to go. Toxic toxin. Toxic toxin, Just toxin is a quick way how you can go and fix things. And let's say that I wanted to boost a little bit here on the mid, low, on the mid frequencies, let's say like 600 until two to a little bit warmer. I could go here and use the Pan mode. Go this one here up and bring this one down. Toxic toxic when they Putin's toxic. Toxic Ogorable. Keep me Soltysxic toxic when they But's toxic. Toxic Oustable. Keep me Solta. Toxic Toxic when they Ben's toxic. Toxic. Kogable keep me Solta's. How let's now how it is with it's toxic Xxx. The difference is really big when we are here at the high hats. But I wouldn't go and boost so much here on this frequency spectrum. I'll just go and boost just a little bit like and be, and here, put it back here on -1.5 somewhere there, toxic. How do, how it sounds on the whole track. There's no way I can save me. I really want to try, but nothing gonna make me to fil myself alive. Cour, be mis B, I don't want to fill my pinto broken poll. I don't want to play. Can lie. Donny broken heart get in mom. You love toxic. Toxic. When toxic. Toxic. Just able to me. So you love toxic. Toxic. When toxic. Toxic. Just able to it. Okay. I really like how it sounds. Now let's go on the final stage for this truck, which is going to be the limiting. 9. Limiting: We are going to use the limiter but if you see here on my chain you're going to see that I have two instances of the Proltum. The first one we are going to use it as a clipper because the Ff Bandon doesn't have any clipper. There's a way that you can go and do this one. It's not the ideal, the best way. But if you don't have a clipper, in this case I would go and use this technique that I'm going to show you for this reason. We're going to need a quick attack, a really slow attack, and a really quick release. And we're going to choose here. All around, where is it all around? Algorithm. I'm going to show you how you can go and use this one as a clipper. Toxic. Toxic. And let's open also, this one here. This is a free plug in that you can go and use. Because right now we want also to seal, be what we are saving. So right now, toxic, we have this paper, Toxic. Toxic. Toxic. Toxic. Toxicabtxxic. And you see that we have this pig here, Toxic. Toxic, Incres toxic. Here, you can see that we have some picks. The pigs are the transience that we have from the kick most of the times and sometimes from the club or the snare. If you want to achieve a really loud sound, you need to save a little bit from the transience because you want to have more headroom for the next limited to push the volume of the truck here. You want to achieve this one with this technique that I showed you with the attack and release. And we are going to aim here like minus five DB. You want to do this one. If you go here and choose this one on one, you are not going to boost right now. You're just listen what you're going to do right now. Toxic. Toxic. Just give me so toxic. Toxic. And if I go here, these are the things that I'm taking out that I am shaming right now. Let's go and bring it back here on the one are going to deactivate this, you will see that the transits are going to come back Toxxlif. I go and activate this one again. You're going to see that we are saving this transit we don't want to limit here. So you can go and choose this one on one on one. Or you can go and deactivate this one and take down you have added here like 9.60 piece, so you can go here and press like -9.6 and now we are having the same result as we were here. And just clicking one on one, The goal here was to shave this transit that we had earlier. You can go and bring it back and start slowly. Just give me stay toxic. Toxic. Toxic. Toxic. Just abeta, now I've changed this one on. Plus 8.4 Let's go and make this one also 8.4 toxic toxic. When they phxicxb give me st here, you can go and choose the true peak limiting and the oversampling at 32. But because we are going to use this one as a clipper, it's not so important in this case. But on the next one you are going to need it in case you don't have such a big CPU. You can just go and leave it on off the oversampling and go here. Now on the next step, in the final step, let's go and make this one medium again and bring this one here. Now we're going to add some volume on the truck. Ideally, when you're going to master some EDM and Pop trucks, you want to achieve this on minus eight, like minus nine DB. Right now we are having, sorry, I meant FSB. Right now we are having -17 UFS. The headroom is really a lot, -9.6 Now we can go and choose some different styles here. The transpart, for example, has a minimal distortion and pumping the punch as it says it is more punchy and aggressive. Then the dynamic introduces a bit more trans Sound All says all around. The aggressive is ideal for DM and hearts tracks like hybrid trap or something like this. The bus, you can go and put the limiter on the bus safe. It really doesn't include any distortion for the track. I will just go and use the modern. I will leave the attack in the release as they already are here. The look ahead is also good, as we already said, 32. Here are the oversampling and the tropic limiting. Here I want to go and put this one on 001, or I've seen a lot of people go and put this one on minus one. Some labels want to have this on minus one, some others don't. So in this case, I'll just go and leave it on 0.1 Now we're going to add the loudness. Be careful though, it's going to be really loud. Three to it. Toxic toxins, toxic toxic inotera. Right now this is too much. We don't want so much. So the integrated, we want to be like minus eight, Minus nine. And you can hear right away that if I overdo it, you will hear some distortion. Toxic, Toxic, Toxic. Toxic Toxico. To give me Stax, toxic toxic. By the way, I made a mistake here. We don't want this one to be on the chain. We want both of them here to be on the master chain, because we want the master chain to have the limiter. So let's go again. Toxic Toxics. Toxic Toxicokitxxic Toxic Toxic Ogterab Kit Xx When they put let's be toxic. Toxicable, Keep me soltyxic Toxics when they put, let's toxic, Toxic Ourable, Keep me soltxxhy pues, let's be toxic. Toxic ourable. Right now we are hitting like -8.6 LUFS and we're not limiting so much toxic, Toxic, when they put'sxic x, we are hitting at -1.8 But imagine if I didn't have this one here, you'll see right away that it's going to be distorted. That's why you want the clipper to save this transience that we already mentioned, Toxin toxic Toxabax. Right now we are hitting -3.5 But when I go and activate this one, Toxxxbaing the house. So that means we have more powered block toxins, we toxic, just keep me. So if I go here again, you will see from the way for if I go in deactivated, you'll see a bit more fixed there, part with if I go ahead and click on the headphones, this is what we are doing. This is where we are limiting right now. We are taking all these frequencies, this sounds but in this case pox saturation going on. Some distortion going on Toxxxpxxx, Xxx. And right now we are hitting At -8.6 LF. Spotify, most of the time requires A -14 LFS. If you want, you can go and export the truck at -8.6 for the Gs and your friends. But if you want to send it to Spotify some distributors, you can go and just put it back here in 12 LUFS because there you will be on the safe zone, that's going to have a final listen how it sounds now, with the processing chain that we have here, in comparison with what it was earlier. And now. Toxic. Toxic. Toxic. Toxic enojes, Aab, keep me Styx. Toxic Btxxogtbabep. Sttxxicbx, Toxic enogabile. So toxic. Toxic. Just it's really day and night difference in my opinion. You can hear right away that with this chain that we have right now, we are gluing the truck and it sounds much more professional and compatible with what was earlier. 10. Bonus and Outro: Now I would like to show you a bone step, guys, how you can go and use some maticue. The maticue is a really great feature that you can go and use from the fab filter. In this case, we have a reference truck here that sounds like this. Let's go and take out the little I can take the stand number. You deserve yourself. Who the tom sleep, your absence will be bone. This is just how he can take this. Right now we are hitting at -7.97 0.5 LUFS. So if you want to go and use the magic, you want to bring down the gain here from this truck and to match it with our truck, let's go and see how our truck was without the limiting J -18 somewhere there. So let's go and hit this one on -18 Let's go and make this one a loop. I can't take this number you feel so Who's the time will sleep. Your absence will be Th. This is just how with has no, no, I can't take this hell number. You deserve yourself, unless your company be miserable for yourself. This is just how with hell number you feel. So who's the time will sleep? Your absence will be though he number you feel so who's the time will sleep your. So this is just how we get it. Okay. Now we have almost the same loudness on both the tracks. And let's go and put this one again here on the loop. And how you want to go and achieve the sound, go on your chain. And choose again the pro Q three. And this time here you go here and you choose the Q match. And you want for reference to go here on the side chain and here on the side chain. I'm going to use the reference track. I would highly recommend to go again on the linear face. And let's go and try it. Just a, this is what you suggest that you have a low, low, close here, some cuts here. Just let's go to press much, let's going to do it again because I don't like how sounds right now. Again, here much toxic. Just a toxic Xxxx. Just. But I think here it's better if I go and bring again the reference here where our course also is toxic. Close the match. Again, here we have how many points? Let's go to close the. And right now we see that it has a lot of changes here in comparison with what we already have. I really don't love sounds. I can go here and bring them also again, down a little bit and just go. And if I wanted to achieve, let's say this kind of sound, I'll just go and boost it like a little bit. Not so much as it suggests. Previously it was like here, but it was too much. That's going to leave it here. Let's go to enable again the pro L be careful, it's going to be loud. Toxic. Toxic when they bus way. Let's be toxic. Toxic, Ogustable. Keep me solty Toxic. Toxic when they bogus way, let's toxic. Toxic Eno just able to keep me soltar Toxic. Toxic when they bogus way. Let's be toxic. Toxic ojabo to keep me Soltyxicx here for example. You can see that when I'm going and I am activating. Let's go to make medium here. Want to go and activate this magic. I've seen that the limited here doesn't shave any frequencies that I wanted earlier. So let's go and activate this one. Toxic toxic toxic aoterabotxic. Toxic toxic toxic aotterabotxxxic, toxicabo. And this happens because if I go here and make it large, again, very large, and make this one on six degrees, you're saying that I am taking out so many frequencies here and we are boosting some low frequencies here near 25 hertz and taking out some from the 55 hertz. So in case you like this kind of sound, you can use this. But almost always I didn't have really great results. To say the truth. It is a good magic, but just for to use at a little bit, not so much toxic toxicity. Toxic toxic. When they gus toxic, in my opinion, it boosts too much. In my opinion, the low frequencies, it's a bit too much toxic. Toxic when they Bergin toxic, toxic. Ogen able, I'm going to check to give me Solta's toxic toxic. Why? Berginxic toxicoabo give me Solta toxic toxic when they bogus toxic toxicoable toxic toxic Wexxoabet can go here and shave. Also some transients that we introduced. Again, that's going to put this one back on. Minus nine toxic toxics. Toxicoing again my toxic toxic. When now let's have a listen how without the process that we did. Toxic Toxic where Berg toxic, Toxic, keep me soltoxicsy. Burton's we let's toxic. Toxic. Just able to keep me solta toxic toxics were Berg's way. Let's be toxic. Toxic Cajustbo, keep me Soltyxic toxics, Berg's w'sxic interest. So I think we are finished now with our final mastering. I really like how the final result sounds and I hope you liked also the course. This plugin is again match plugin. It's not from Ob filter, but I really like to compare to use it when I want to compare the before and after. So let's have listen now how the final truck sounds and I hope you got an idea how you can use the fabfilter pro bundle to master your trucks. There's no way I can save me. I really want to try but nothing gonna make to feel myself alive. It. B Mis B. I don't want to fill my pinto broken more. Hello? I don't want to play. Can curb me? No, Don? Broken heart. Don't get in my mind. He loves toxic. Toxic. Seen push his way. Toxic, toxic. And just to keep me solitary. Toxic, Toxic. When he put his well, toxic, toxic tread, keep me solitary.