How to use a sub-harmonic generator on your master?

Wow, did you know that sub-harmonic generators are really common and easy to use?
The Waves Lo-Air is a good example of this type of generator as it adds harmonic content below the fundamental frequency and creates an impressive subfrequency range.

So what does all this mean exactly? Well firstly it measures the lowest frequency in a signal which we call its fundamental or root tone; then generates another one beneath it!
That’s how they create such strong bass frequencies too so watch out for those booming tunes from now on.

The process of getting a distorted tone is very different from when you use harmonics.
Instead, the frequency will be below the fundamental instead of above it. When mastering with lo-air plugin, make sure to use it subtly and ensure that any phase inversion problems are fixed by clicking on “align.”

Related questions to How to use a sub-harmonic generator on your master?

How to use the FabFilter Pro Q3 for mastering?

First of all, the FabFilter Pro Q3 is a great EQ that offers up to 24 bands.
Each band can be made dynamic and controlled with accuracy. Furthermore, linear phase mode makes it an excellent option for mastering when you need to attenuate aspects of the low frequency range.
Without introducing unwanted changes in Phase response like we would get from other types or filters such as Butterworth Filters which are more commonly used in studio recording situations.
Where they will introduce distortion at high frequencies if not set properly because being non-linear by nature doesn’t allow these filters work well across all frequencies whereas Linear Phase Filter allows them too so this type of filter should always be preferred over others especially when working on mixes that have been mastered already since what’s recorded.

The mid-side functionality is a great feature because it can be used to make your low end mono, expand the stereo image of your sound, and control how well phase relationships are between the side channels.

How to limit your sub-bass during mastering?

The right limiter can be used to protect your sub-bass frequencies during mastering.
In order for this process to work, the limiters release needs to be long enough so that it doesn’t compress these lower frequency sounds too much or else they will become less prominent.

To find a good time range of when the compression should start and end you need patience in finding what works best fit with your specific track by adjusting accordingly from 50ms up until 200 ms.
Where most distortion occurs if not timed correctly at all times using an experienced ear as well as visual mixing software tools on top of listening closely while monitor volume is high but still able touch soft regions without hurting ears due lack audio level damaging hearing acuity after prolonged periods because sound

Why should you make your sub mono on your master?

Having a mono sub frequency on your master can be extremely helpful.
More often than not, it is very beneficial to the mix or mastering of tracks for low frequencies to be in stereo so that they are easier heard and distinguished by listeners.

I like using an EQ with high-pass filter when doing this because less phase cancellation will occur as well which makes everything sound much clearer and present.

I’ll carefully listen as I adjust the slope of the filter and cutoff frequency. You can also move this filter above your sub frequencies up to 130Hz, but if you do any more than that it will make your master sound thin.

Why should you distort your sub frequencies on your master?

Think about it – distortion can make a lot of different kinds of sounds better, but one is particularly notable.
The harmonics generated by distorting your sub frequencies makes them more perceptible to the human ear!
If you’re having trouble hearing those deep bass tones in your mix for example, try adding some harmonic distortions and see how they affect the sound.

If you want to thicken your sound, not just make it easier for people to hear, use a saturator.
This will both distort and compress the range making it louder as well as fuller. To do this try using Saturn 2 from FabFilter or another frequency-specific saturation plugin like Waves’ distXpander

How to amplify your sub bass on your master?

How to make your Sub Bass sound louder and more impressive?
The first step is simple: just amplify it. The easiest way of doing this, using an equalizer with low-latency linear phase mode enabled, would be by amping up the mid frequencies between 20Hz and 60HZ.
Using a bell filter at moderate Q value will help you do that effectively in no time!

Additionally -if desired-, cut out any sounds below 15Hz as they can cause some serious issues when coming together with other subsonic noises from higher frequences such as 30 Hz or 40 HZ for example due to phasing cancellation which we want our bass not to have at all (this should also result in better overall sounding).

Be sure to use linear phase – otherwise, you’ll alter the phase and in turn, the amplitude of your low frequencies.
I like to use FabFilter Pro Q3 for this because it is a well-rounded EQ with all necessary functions such as high/low pass filters and parametric eqs., but if that doesn’t work best for what I need then there are other great choices available too – just be careful not to make any mistakes!

Why should i use mid-side limiting on my master?

There are many reasons why you should use mid-side limiting on your master.
With this technique, the side channel will trigger compression more often than the center and to a greater extent.

The result is that when there’s a lot of compression happening in one direction (say left) – it’ll be less compressed as opposed to right which has been dampened by being constantly well-controlled with low levels of compressor activity during most parts of song for example.

This causes an interesting dynamic relationship between both channels where some frequencies can sound louder or quieter depending on what part they’re coming from since each speaker takes up different space around us!

The use of a compressor or limiter with the ability to do Mid-Side processing can be an excellent way to create natural sounding sound and dynamic stereo expansion, making for finer mastered tunes.

Why should you use program dependent processing during mastering?

Program dependent processing is really cool because you can dynamically manipulate the incoming signal.
For example, in Saturn 2 by FabFilter, there’s a distortion algorithm that changes depending on amplitude and frequency information from the input signal.

It has an analog quality to it too which makes for some truly unique sounds!

The master, when processed with a dynamic and program-dependent approach will sound more complex. This type of processing makes for a sonically nuanced sounding professional quality mastering job.

How to combine maximization and transient expansion during mastering?

How to combine maximization and transient expansion during mastering?
A combination of unique processing can add a lot to the overall sound; this is definitely the case with using both maximizing followed by transient expanding.
The two effects work together well, as one increases loudness while maintaining transients.

Boost from URSA DSP achieves these functions nicely so you may want to try it out for yourself!

The punch function is a great transition that will help make the track sound fuller.
If you’re looking for something specific to fix over-compression, use Inflator by Oxford Sonnox and then follow it with Punctuate by Newfangled Audio!

Why you should avoid delay-based stereo imaging during mastering??

It’s best to avoid these plugins if you want to avoid phase cancellation and the negative effects that it causes.
Delay-based stereo imaging plugins look cool but can affect your master in a really negative way; they work by delaying part of the signal, which causes phase cancellation.

Typically it’s best to avoid these plugins if you want to avoid phase cancellation and the negative effects that this has on sound quality – specifically as an effect caused by delay based processing (which is what such plugin does).

Listen up, y’all. As an alternative to delay-based stereo expansion,
I recommend using mid-side processing to affect the amplitude of the side image or attenuating the mids in order create greater width and ultimately more immersion within your music!

The concept works whether you’re using equalization techniques like compression/saturation – so get on it right away before we have a problem with our sound systems from all this excess echo that’s going around these days (hint: echoes are actually good for reverberation).

Why compress with internal side-chains during mastering?

Mastering with a stereo compressor affects all aspects of the soundtrack.
But if you are mastering pop or hip-hop, you may not want to compress the low frequencies.

Use an internal sidechain to determine which frequencies get compressed and let your lows pass through unaffected!
This way as mids and highs get squeezed in compression, your bottom end retains its impressive amplitude by comparison.

You can do something similar by using a multi-band compressor and only affecting the high ranges while leaving the low bands threshold high enough to avoid compression.
Experiment with these two types of compressors to see which one works better for you!

Why do not make your master too dynamic?

Mastering is an important part of the creative process for any musician. It can help make a song more dynamic, full-bodied, and captivating to listeners.

But should you master your work too heavily?

Well don’t go overboard: if streaming services normalize audio they might turn up peaks past 0dB which could then clip when the track has been normalized during playback on these platforms such as Spotify or Apple Music.

It is important to keep the dynamic range of your master from being too wide.

For example, if you have a peak at -2dB and your master level is set as 18LUFS (-18 LUFS or loudness units full scale), then when increasing it by 4 dBs (adding +4 decibels) the peak will be 2dB over.

Granted, streaming services account for this with their own internal limiter which can vary in quality depending on how well its been implemented but typically should not need any manual intervention unless trying to achieve specific sound effects that may require heavy limiting such as rock drums or metal guitar riffs.

 

 

What is loudness normalization in mastering?

Have you ever wondered how streaming services make all the tracks on their service play at the same volume? This is a question that many people have asked, and most of them are surprised to find out there’s an answer for it. Loudness Normalization is what these companies use in order to ensure that every track sounds as good as possible.

When you’re mastering music, keep in mind how this will affect your track since many services normalize audio to roughly -14LUFS. This means that if it’s mastered louder than -14 LUFS like a standard of around -10LUFS or above; then they’ll turn down your master about 4dBs so it matches with other songs within its genre and doesn’t leave listeners feeling fatigued from hearing loud sounds too often!

If you’ve been mastering your tracks super-loud and sacrificing dynamics to do this, it helps to know that they will be turned down regardless. That is unless your track falls below -14LUFS which would make the difference in volume smaller than 4dB.

How to use L1 Limiter from Waves Audio on your master?

The L1 was the first commercially available digital limiter, and it no doubt changed music production.

For this reason, it truly is a classic-one of the most straightforward limiters on offer.
Lowering its threshold introduces automatic make up gain while reducing peaks in signal output.

To get a more controlled and professional sound, you may want to use the L1 Limiter from Waves Audio.
The output ceiling changes how much signal can be sent out of your system so this is important for preventing distortion after using other effects such as reverb or delay.

You have two options: reducing both functions simultaneously by linking them on the right side, or just lowering one function at a time while monitoring what’s going on with the attenuation level (which shows in green) – make sure it stays between 50ms-250ms otherwise there will be too much noise!

How to use the MV2 low-level compressor from Waves Audio on your master?

To use the low-level compressor MV2 from Waves Audio on your master, you first need to set up a track.

If it’s an instrument with long release times for example, or any sound that isn’t transient heavy (like vocals), this is essential in order to get proper results when applying the effect.

Once done setting up everything and doing minor adjustments like EQing as needed – which will depend largely on what’s being compressed – switch over to “MV 2 Low Level Compressor” plugin settings by clicking its icon within your DAW software package of choice.

The input stages are already setup so all you have left is adjusting threshold level until finding suitable volume levels for compression; turning down dB amounts if desired.

If you want to introduce low-level compression, just increase the ‘low-level’ slider.
You’ll notice that this plugin shows an increase in gain as a result of your action.

However, if high levels are too much for your soundscape and need some space added back into it there’s also a way to decrease peaks with the help from the make up level options shown at every threshold setting available on Waves Audio MV2 compressor.

How to use Oxford Inflator from Sonnox on your master?

The Oxford Inflator plugin is a powerful tool for making your master sound fuller, upfront and impressive.

There are 4 main controls on the interface: input volume, output volume which control how much signal enters or exits respectively from the effect; effect percentage that changes what part of frequencies in between 20 Hz to 1000Hz will be affected by this compressor with some overlap at around 500Hz where it’s most effective; and finally curve that sets different frequency bands based on their gain change before as well as after compression – adjusting these can have drastic effects!

Oxford Inflator is a plugin from Sonnox that will help you make your music sound thicker.

It can be used on the whole mix or just for specific parts of it, and there are many different curves to choose from depending on what kind of distortion effect you want.

For instance if I wanted more high-frequency distortion in my song then lowering the value would do this well, but if I am aiming for something with less harsh treble frequencies than increasing could work better as higher values give off an overall warmer tone due to their lower frequency range (which has been shown in numerous studies).

How to use Maag EQ from Plugin Alliance for mastering?

The Maag EQ from Plugin Alliance is both professional sounding and easy to understand.

We only have 6 bands, but each can be altered with 5 different settings depending on the desired result.
The fixed frequencies all allow for a 10dB change in either direction, which makes this an excellent mastering equalizer that should serve you well.

For those who want even more precision though, there’s also the Airband- it could go up to 40kHz if needed (although I doubt most people will need such high frequency levels), and allows users a boost of 10dB when activated too!

A powerful mastering EQ plugin, Maag and Plugin Alliance’s Maag EQ offers a lot of potential for sonic shaping.

The interface is clean and intuitive with easy to read icons that represent the four main bands: Low Shelf, High Pass Filter (HPF), Bandpass Envelope Generator/Actualizer (BEQ) & Parametric Equalizer.

It also features an adjustable input gain knob in order to attenuate or amplify the signal before it enters each band’s processing stage – which comes in handy if you need more punch from your audio tracks while keeping them sounding natural at lower levels without clipping any frequencies up top due to high output volume!

How to use hard or soft-knee compression when Mastering?

Hard-knee compression is most often used for mastering, as it gives a punchier sound.

Soft-knee will give you smoother tones with less transient sounds that make the track more dynamic and professional sounding.

In general, hard knee tends to be optimal when compressing drums or bass instruments where the uncompressed level can vary at different points in time; this way any change of volume is immediately compensated by high ratio values making sure your listeners don’t have trouble hearing these quieter parts compare to louder ones.

The difference between hard and soft-knee compression is a point of contention among audio engineers.
Hard knee compressing happens when the signal gets loud enough, while soft-knees will compress at any volume as long as you have set it to do so with the threshold knob.

One other important distinction is that hard knees are more accurate in what they’re doing because there’s less variation depending on how high or low your input level was before hitting the compressor.

Soft feet can be better for controlling peaks though if you want something smoother sounding than an extreme attack time which would sound like “puh!”

How to use side chain compression when mastering?

Side-chain compression is a technique that you can use to avoid having certain frequencies trigger the compressor.
To do this, when mastering your tracks, set up an internal side chain of the master compressor and then adjust it so that only some elements are triggering its effect on other frequencies.

For example if there’s too much loud bass in one section or another part of your mix needs more dynamics without compromising quality, try using side-chain compression with frequency ranges based around what needed adjusting initially – remember not to overdo it!

Side-chain compression is a great way to make your mastered track sound tight and well balanced.

One of the best ways to use it is with mastering kick loops, which can trigger quick heavy peaks in volumes that will cause normal compressor settings to apply too much pressure on highs; side-chaining these frequencies out avoids this problem by allowing them only compress when they are triggered externally from an instrument or other signal.

This technique also has various applications for vocals—you could have bass tones cut off before any distortion occurs while retaining warmth, for example using low end EQ’s below 200 Hz as opposed to cutting at 80Hz where human vocal ranges starts.

How to set your attack when mastering?

The first stage of any compressor is the attack time.
This dictates how quickly it reacts to an incoming signal, which in turn determines what kind of sound you’ll get out on the other end with output volume and timbre also being affected by this setting.
Generally speaking, a longer attack will cause less compression but result in more over-signal; while shorter times can often be used for heavier amounts of compression without sacrificing clarity or quality too much (depending on specific settings).

If that sounds like something worth trying for yourself though, remember: just because there are no hard rules doesn’t mean experimenting isn’t fun!

The best way to master your sound is by using a slower attack.
Avoid fast attacks when mastering as they can be too harsh and bass heavy on the track, which will make it difficult for other elements of the song like vocals or higher frequency sounds to cut through in order to stand out.

Furthermore, slow attacks might also help you find spikes easier- so if any peaks are highlighted during an analysis with Pro Tools then reducing their volume level would bring them down into line with everything else more easily without having such high levels that they clip off at either side and cause distortion.

Also something worth bearing in mind is what tempo should I use?
Some people say that setting your release time close to match the BPM of your music could result in a more balanced compression.

How to set your release time when mastering?

The release time is one of the most important and influential aspects of compression, especially during mastering.
It has the power to completely change how your track sounds by either attenuating transients or letting a portion of them pass through.

The timbre changes depending on whether you use shorter or longer release times- with anything below 50ms being too short for lower frequencies that can’t be compressed as much before distorting because it releases quicker than they play out in real life; while any length over 100ms will create an unnatural sound where long periods linger after each note ends, sounding sluggish rather than energetic like other instruments might at their chosen amplitude levels.

A release time is a duration of silence that occurs before the sound from an audio track starts to decay.
For example, if you are mastering and want your output to have a transparent or clean sound you will set it for 50 milliseconds in order to make sure that the amplitude of the tracks return back quickly after compression has occurred.

If you would like your sounds more glued together such as electronic music then setting this parameter between 200-500ms should be enough for what you need depending on how much louder than everything else around them they may become with longer settings.

Mastering

The shorter the release time for compression, the louder a signal will be. The reason is that it takes less time for amplitude to return to normal after being compressed. Short release times cause distortion but the effect can have a beneficial result.

The distortion will amplify the signal, causing it to sound even louder, but this may not be ideal. A good mid-ground for your release time is 50ms if you do not want any distortion.

The general consensus is to use a short release time for all compression, but each compressor has its own quirks and you should experiment with the right settings.

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  • Is it a good idea to mix and master your own music? When musicians mix their own records, it’s often all done within the same DAW session. Therefore it might be a good idea to wonder if you should do something that someone else can do better. A better recording makes a better rough mix, which makes a better final mix, which makes a better master. The perfect mastering is something Audiobyray Mastering can help you with.
    Mastering is the term most commonly used to refer to the process of taking an audio mix and preparing it for distribution. One goal of mastering is balancing and optimizing playback for all systems. Another thing mastering does for a mix, is to enhance specific characteristics. There are several considerations in this process: unifying the sound of a record, maintaining consistency across an album, and preparing for distribution. Mastering puts the final touches on a mix.

    Mastering can do a lot for your song but it really can’t fix it. This has to do with several factors. For starters, a mastering engineer deals with a track on macro levels. It can not effectively fix issues on a micro level. As you can probably imagine, mastering can’t add delays to just your vocal track. Despite the skills and experience of a mastering engineer, getting a good result naturally also depends on the material they have to work with.

    Why is mastering important?
    Audio mastering is the final step in a music production process. The mastering involves several audio processes. For example: with mastering you can emphasize or reduce frequencies to improve the overall mix. Also, with mastering you can fix problematic frequencies and improve imbalances missed in the mixing process. Aside from this, you can create tonal balance, so there is an even distribution of frequencies. Last but not least, you can manage dynamics with mastering, control transient spikes, and glue tracks. Audiobyray.com can be of help with all of the above.
    To get great mastering results, it’s important to correctly set your mixing levels. As long as your mixes give the mastering engineer room to work and cover your noise floor, then you’re in a good range. I recommend mixing at -23 dB LUFS, or having your peaks be between -18dB and -3dB. These are however general guidelines. In the end, all mastering engineers adapt the level to their chain anyway.
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    Mastering most definitely makes a difference! A good mastering engineer will enhance your music. A mastering engineer like audiobyray.com understands the sound you’re going for will help get you there. Professional mastering is an art by itself.
    In fact, both eMastered and Landr operate in a similar way. In terms of speed, eMastered is faster with songs processed and available for download in under a minute. It takes about two minutes at Landr’s for a download to be sent by email. Currently eMastered is free to use, unlike Landr which can go up to $25 per month depending on how you want to use it. To get your track mastered, your can also choose for audiobyray.com.

    For those who have never heard of LANDR before, we’ll explain. It’s basically an online, automated mastering service. So, it doesn’t use human beings on the back end and it’s driven by an algorithm. You simply upload your tracks to this service and it automatically masters them. Then it allows you to download them instantly. Although it works okay, the system can never replace a real professional mastering engineer like audiobyray.com.

    In 2020 the Best Online Mastering Services were reviewed.

    The first spot is taken bij Abbey Road Studios, which is of course one of the world’s most iconic (mastering) studios. Runner-up is BandLab, which has become popular among indie musicians and artist. The third place goes out to Landr, a completely online and on algorithm based mastering platform. Fourth is Cloudbound, a mastering tool that is available 24/7. On the fifth spot we find Metropolis Studios and last but not least is eMastered. But of course, you can always choose for personal contact with a professional mastering engineer like audiobyray.com.

     

     

    Not everyone thinks the same on the matter of whether or not sending music into a professional mastering studio is a necessity. If the mix doesn’t need any modifying, this means that it is at a perfect volume level, the fades are well done, the EQ is consistent throughout, the compression is right on, and so on. In that case there’s no need for mastering. If these basics are not covered, audiobyray mastering can help you out.

    Mastering is the final step of audio post-production. The purpose of audio mastering is to balance sonic elements of a stereo mix. Mastering helps to optimize playback across all systems and media formats. Traditionally, mastering uses several tools like equalization, limiting, compression and stereo enhancement. Audiobyray.com is a specialist in all of the above.