At Blue Steel Mastering, we offer a high quality [ music mastering service], designed to make your tracks sound complete and professional. If you've tried LANDR and got terrible results, you've come to the right We use ears and experience to get great sound, not algorithms. We specialise in House and Deep House Music, but along with DJ based music, we also work with all genres of music, including pop, electronic and live-based Our engineer has vast experience and is the head tutor for mastering at Point Blank London, one of the worlds highest regarded music technology schools. Quality is assured at BSM.

Also, placing the Glue Compressor first in our mastering chain will help tighten up the mix before applying further processing. Applying subtle amounts of saturation to add texture and bit more perceived loudness is another approach mastering engineers use to shape the mix further. Second in our mastering chain, we added Live’s Dynamic Tube to apply some mild saturation over the entire mix. Dynamic Tube has characters of a tube amplifier and works great for warming up existing harmonics. You could also use Live’s Saturator device if you want a more aggressive sound. However, when mastering a mix, subtle moves often have better results, and the mild effect of Dynamic Tube works great in a mastering chain.

The third device in our mastering chain is Lives Compressor. It’s common to see various types of compressors being used in a mastering chain to achieve more RMS power without over compressing the mix. Mastering Engineers often use multiple compressors to share the workload. Using a few different compressors each with different sounding characteristics to apply subtle amounts of compression is a more transparent method to gently tame mix, and is often more pleasing sounding. Allowing a single compressor to do all the work may make a mix sound less powerful and more squashed. For example, two different compressors with 1.5dB of gain reduction may sound punchier and louder than the same compressor with 3dB of gain reduction.

The fourth device in our mastering chain is another instance of Live’s compressor configured to act as a de-esser. De-essers are more commonly used on individual tracks to remove sibilance from vocal tracks or even used to control excessive high-frequency information from other instruments such as hi-hats, snares, guitars, and other sounds with harsh frequencies. De-essers can also be used on an entire mix to tame unpleasant frequencies in an a controlled frequency range and achieve a smoother high end that will translate better on big systems. Enabling the Sidechain EQ on Compressor and choosing the Bandpass filter will allow use to focus on the frequency range that sounds harsh and apply gentle compression to control aggressive frequencies.

Once you have a more cohesive and controlled mix, it’s common to use a digital parametric EQ to apply subtle amounts of reductive equalization to shape the mix further before applying additional processing. The fifth device in our mastering chain is Live’s EQ Eight set to Mid/Side Mode, which allows us to EQ the mid and side frequencies independently. It’s often recommended to reduce frequencies with one EQ and have another EQ dedicated for boosting frequencies later in the mastering chain if needed. Using multiple EQ’s gives us more control and allows us to use different types of EQ’s to apply different equalization characteristics.

For example, digital EQ’s work best for reductive equalization, while others may prefer an analog modeled EQ for boosting frequencies because they color the sound in a pleasant way. When applying reductive EQ, Mastering Engineers often use a low shelf filter to control sub-sonic frequencies to reduce the load on speakers or sweep the mix and cut unpleasant frequencies. The goal here is to clean up the mix and control before applying additional processing effects. The sixth device in our mastering chain is Live’s Multiband Dynamics for applying multiband compression. Dividing the mix into separate frequency bands allows us to have more control over independent frequency ranges.

Live’s Multiband Dynamics device is a mastering processor that has three independent frequency bands, with adjustable crossover points and compression settings. Having independent control over the bands allows us to compress each frequency range differently and further balance the mix with the separate gain controls. A common move in mastering is to apply gentle compression to the low-frequency band so you can increase the output level or push the limiter harder to gain more low end without needing to boost with an EQ. This approach can often result in a more punchy and controlled bottom end. Another common move during mastering is applying different flavors of saturation across independent frequency ranges.

Multiband harmonic enhancers create additional harmonics that deliver a warm enriched sound, and can often be used to enhance a sound more musically then boosting with an EQ. It’s common to see Mastering Engineers applying subtle amounts of saturation to the high and mid bands to give the mix more presence. Unfortunately, Live does not have a multiband exciter, so for our seventh device in our mastering chain we created a three band Audio Effects Rack using a phase inversion technique so that the rack has a more transparent sound. Each band is also loaded with Live’s Saturator device so that different amounts harmonic distortion can be applied across the frequency ranges.

Alternatively, you could also use Live’s Dynamic Tube or Overdrive devices. Multiband stereo imaging is another common move used in mastering. This technique allows you to widen or narrow the stereo field independently for each frequency band. Spatial imaging is used to enhance and alter stereo separation. For example, a Mastering Engineer may use stereo imaging to rebalance a stereo mix, transform a mono track to stereo, or enhance spatial imaging by widening the high and high-mid frequency bands. Typically the low-mid and low bands are left centered or even narrowed in the sub frequencies. For our eighth device in our mastering chain, we created a 3 Band Imager Rack similar to 3 Band Imager Rack only this time the frequency bands are loaded with devices to control stereo width.

The Low and Mid bands are controlled with Live’s Utility device, and the High band is controlled with another Audio Effects Rack designed to create stereo separation with a psychoacoustic phenomenon known as the Haas Effect. The ninth device in our mastering chain is another EQ Eight set to Mid/Side Mode and is used for additive equalization. Treating frequencies with additive EQ is a common move to enhance elements of a mix that sound dull or In this mastering chain, it is the last stop to add presence and shine if needed before reaching the limiter. The type of equalizer used at this stage is entirely up to you.

Some Mastering Engineers prefer the transparency of digital EQ’s while other Engineers like the color and sound from modeled analog EQ’s. The last, and notably the most important device in our mastering chain is Live’s Limiter. Loudness maximizers allow you to create an overall louder or fuller master by limiting the dynamic range and boosting the perceived overall level of the mix. Enhancing loudness is crucial to meet commercial levels. Correctly applying limiting lets you boost the level of your mix without sacrificing dynamics and clarity. Also included in the mastering chain is a Utility device with the wide set to mono for referencing your mix in mono.

Checking your mix in mono is important to ensure your mix translates well on mono Also, Live’s Spectrum device has been placed at the end of the chain to visualize, in real time, the frequency response of the audio signal across the entire frequency range of the Spectrum analyzers and metering tools are the perfect tools for visualizing changes made during mixing and mastering, and are helpful in troubleshooting problematic mixes. Now that you have some basic mastering knowledge, download the template, practice some of these approaches, experiment with rearranging the devices or swap them out with your prefered plugins, and have fun.

Learn the well-kept industry secrets of EQ, compression, panning, level balancing, reverb and special effects and transform rough ideas and basic compositions into a commercial master. Investigate how to use key concepts and tools in your tracks, while paying special attention to techniques of metering and spectral analysis in order to apply science alongside the art. "The videos were helpful and the chats were great. I expected a lot out of this course and I got it! This program gives you everything you need to refine tracks into a clear commercial quality release, including special mixing and mastering techniques for dubstep, techno, house, trance, downtempo, hip-hop, and the gamut of electronically-produced music. You will learn to mix and master your tracks using the same plugins that top industry engineers use every day, including plugins by Sonnox, Metric Halo, Altiverb, Soundtoys, Izotope, Waves, URS, and Abbey Road.

Audio Mastering: The Artists collects more than twenty interviews, drawn from more than 60 hours of discussions, with many of the world's leading mastering engineers. In these exclusive and often intimate interviews, engineers consider the audio mastering process as they, themselves, experience and shape it as the leading artists in their field. This book is the first to provide such a comprehensive overview of the audio mastering process told from the point-of-view of the artists who engage in it. In so doing, it pulls the curtain back on a crucial, but seldom heard from, agency in record production at large.

Are you prepared to enroll in this graduate course? In Advanced Audio/Music Mastering: Theory and Practice, you will develop your analytical and practical skills to be able to tackle the demanding signal processing challenges presented to professional mastering engineers. You will learn theory and techniques to deliver high-quality masters in a variety of genres, for various platforms, including vinyl, lossy codecs, and streaming platforms. You will also learn to analyze audio according to its technical attributes and musical style. You will evaluate audio according to audience and market expectations; then develop and execute strategies to adapt mixed audio to fit those expectations, and learn to output flawless masters for various distribution channels.

Get a better understanding of the mastering process. Learn what the mastering stage is and why it’s essential to master your music. Audio mastering is the final step in the music production process. It’s the post-production process of taking an audio mix or album and preparing it for distribution. The mastering stage involves a series of subtle audio processes including equalization, compression, saturation, stereo enhancement, and limiting. The purpose of mastering is to balance the stereo mix, make all the elements sound cohesive, and to reach commercial loudness. It also ensures playback optimization across all systems and media formats. Why is Mastering Important? Mastering ensures that your audio will sound the best it can on all speaker systems, streaming platforms, media formats, and devices.

It’s also the final stage that prepares your music for distribution. Stereo enhancement to add dimension and balance the stereo field. Widening your mix will help it sound bigger. Stereo enhancement can also help tighten the center image by focusing the low-end. Ensure all the songs in an album or EP sound consistent and balanced. Matching levels allows for listening to an entire album without having to adjust the volume for each song. Bit-depth reduction and sample rate conversion. Converting the audio is necessary for distribution and playback on different platforms. The standard bit-depth for most cases is 16-bit/44.1 kHz.

What’s the Difference Between Mixing and Mastering? Mixing and mastering are two separate stages in the music production process that are often conflated. These two stages can become blurred since today’s music producers wear many different hats in the studio. Mixing is the act of combining multiple layers of audio to make one final track. The mixdown process makes sure all the parts in a song sound good together. Mixing involves balancing levels, panning instrument positions in the stereo field, equalizing, compressing, harmonics enhancing, fixing problems, and adding effects like reverb and delay. Mixing also involves automation, editing sounds in creative ways, and giving instruments their own space in the mix.

The goal is to treat all the separate tracks of a song to create a cohesive mix that sounds amazing. The mastering stage enhances the mixdown and prepares it for distribution. This final step applies many of the same tools and techniques as mixing. However, the process involves making a series of small and subtle moves to create a final ‘polished’ stereo track. With the advent of advanced and affordable music software, just about anyone can master their music. And while there are mastering tutorials, nothing can beat experienced ears. Mastering is an art that can take many years of practice to master (pun intended!). Moreover, experienced mastering engineers have trained ears, musical intuition, expertise, and years of knowledge. However, honing your mastering skills is encouraged. If you plan on mastering your music yourself, it’s best first to strengthen your mixing skills.

The mastering stage is meant to add the final polish to a great sounding mix. It’s critical you prepare an amazing mixdown first. So, if you want the best results, go with a trained engineer until you develop your mastering skills. Experienced ears will get your music to a level that competes with everything else out there. A common misconception is that mastering will make a bad mix sound good. Mastering will not fix a bad mix. It’s vital that your mixdown sounds excellent before sending it out for mastering. Also, mastering accentuates everything in your music. It makes the good parts sound great, and the bad parts sound terrible. There are also mix issues that are hard to fix during the mastering process. So, don’t send your music out for mastering if you’re not satisfied with your mixdown. You may not like what your engineer sends back. Don’t count on them to fix your mistakes! Whether you’re streaming your music online, distributing CD’s or pressing vinyl, mastering plays a critical role. Think of this final stage as the bridge between your creation and a world of listeners.

Audio mastering could be the final step of music production. It really is essential for an audio mix to sound better and to enhance its sound level. Organic and natural technique with editing a photo by making use of Photoshop. A picture have a fresher or warmer appearance with effects like motion blur or a warming filter. Also red eyes can be taken off with the help of photo editing software. In audio that is almost the identical. The audio mastering engineer checks the amalgamation for errors and uses several types of ways to result in the mix ready for commercial purposes.

If the audio mix is nearly finished the blending engineer need to keep a couple of things in your mind when exporting it with a stereo file. She must be sure that all sound recording that are routed for the stereo bus are within a safe selection of clipping. The stereo bus is just not allowed to have a limiter, compressor, EQ or any type of effect applied to it. As well as the exported stereo file wants a headroom between -3 and -6 dB. This leaves space to the audio mastering engineer to manipulate the dynamic range of a combination. The dynamic array of audio is determined through the ratio between the loud and soft areas of the audio.

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