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!

Related questions to Why compress with internal side-chains during mastering?

How to use the free Air Shelf EQ from Bertom Audio in mastering?

The Air Shelf EQ from Bertom Audio has a lot of useful functions to use for mastering.

The first dial on the plugin is really simple – it amplifies high frequencies, but you can also attenuate them too!

This is great because in many cases with mastering vocals or instruments that have come out sounding over-saturated and distorted after recording, sometimes lowering some highs will help get back clarity without losing volume in other ranges.

 

What is the difference between Boost and Tame?
Boost works on low frequencies while taming high frequencies. From our own experimentation, we found that there are two ways in which one can alter sound:

By amplifying it or weakening it.

The Bertom Freq Analyzer has a knob called “boost” to amplify certain frequency levels of your music – but not all!

If you want more bass for example, then try pushing up the boost button; if you’re looking for some clarity at higher notes (perhaps because everything else sounds muddy) go ahead and push down on the tame dial instead.

 

How to use the free NOVA EQ from Tokyo Dawn Labs in mastering?

The future is here, and it’s in your DAW! The NOVA EQ plugin from Tokyo Dawn Labs will take the master of any track to a new level.

Here are some quick tips on how you can use this amazing free tool for mastering:

On the left side of your screen there are low-pass filters that may not be useful when mastering but they’re still worth checking out.

NOVA has 4 bands which each have individual controls or settings that conforms dynamically with other parameters such as volume changes and crossovers.

 

The plugin enables you to control the output tone of voice through the settings for your bands.

You can enable them, set their respective filter types and Q value, center frequency as well as gain and threshold values; attack rates and release times are also available for global tweaking.

In addition to that which is able in this window there exists a secondary top section that allows you adjust amplitude levels as well.

The four different band outputs have independent controls but all share globally-set gains or thresholds with one another between them on an equal basis (as opposed to having each individual setting its own).

 

Gain matching, or adjusting the level of dry and unaffected mixes within a track.

Turning on this feature helps prevent clipping in audio tracks that have been mastered but still need to be balanced with other sound levels throughout the album as well.

This is essential for those seeking mastering services from professionals such as myself!

 

 

 

How to use the Stealth Limiter from T-Racks for mastering?

The Stealth Limiter from T-Racks is an excellent tool for mastering because it has a transparent sound.

If you’re looking to finish the master, I recommend using this limiter! The settings are easy – and by introducing just a mild amount of gain, we were able to get the levels up around -10 LUFS which will be perfect for most streaming platforms.

We then reduced our output level in case someone uploads online – giving us some extra protection against all those nasty noise artifacts that come with encoding.

To make sure your music sounds as accurate as possible when encoded, use high oversampling rates so there’s no distortion caused by quantization whatsoever!

I always use the Stealth Limiter from T-Racks for mastering.

It has a great way of making music sound loud and clear without sounding too harsh or digital, which is perfect when it comes to creating something that will be listened to on an inexpensive pair of earbuds as opposed to expensive studio monitors.

 

 

How to use the Quad Limiter from T-Racks for mastering?

The Quad Limiter from T-Racks is a fantastic way to bring out sound in your mixes.

For mastering use, it’s important that the output tone of voice should be knowledge and not causing any peaking.

I used this limiter to make sure no peaking was occurring, but mainly to control the signal based on frequency.

It has 3 bands that separate low, mid, and high without amplifying them too much so as not distort anything by accident or intention! The lows are controlled with a slightly longer release time than the other 2 bands because these tones can easily cause distortion if you’re not careful enough when using compression.

How to use the Master EQ-432 from T-Racks in mastering?

The Master EQ-432 is a great tool for mastering. It provides high-quality sounds that make your song sound smoother and full of life.

Wanted to make the kick stand out, so on the mid-channel, I boosted 120Hz by 0.5dB after listening intently and deciding what adjustments needed to be made in order to achieve my desired result.

One way to achieve a better mastering sound is by using the Master EQ-432 from T-Racks.

I followed this set of steps: first, on the mid-channel, I boosted 120Hz by 0.5dB.

Now you can hear more bass in your music!

Next up was my side image – for that one, I amplified 570Hz by 0.5dB and applied 4kHz by 1 dB to make it balanced with other instruments in the track because there seemed like something lacking before when listening back through headphones or speakers at home (I also used 21 kHz as well but just put it at 1 dB).

When all these additions are done correctly following each step closely together then you will have mastered an amazing song that sounds great!

How to use the VC60 Compressor and the Saturator X parallel in mastering?

One of the best ways to get a sound that is bright and punchy, but not too harsh or in-your-face, is by using two parallel compressors with one set at a lower threshold.

One Mastering Processor will be used for compression while another will act as an additional level of limiting for any clipping which may occur during mastering.

So first I tuned out the original signal being sent from my mix bus compressor into this secondary channel, so it’s only half as loud before hitting its limiter counterpart on side B – since we want our levels consistent across both channels when everything comes back together later on down the line!

One of the most complex and interesting things you can do in mastering is to parallel process two different plugins.

You may be asking yourself, “Why would I want these processors running simultaneously?” Well if done correctly it will add a whole new dimension to your mix.

Using compression and saturation has given me an entirely new sound that sounds smoother than before with more highs which makes for great listening!

Using the VC60 Compressor and Saturator X parallel in mastering is a rewarding experience.

I began by using some saturation to make the effect more pronounced, then when it was sounding just right enabled oversampling for an even fuller sound with distortion that sounds beautiful.

Afterwards I used mid-side processing, so each side of my mix could have different amounts of bass/treble present based on what they are meant to represent: either drums or vocals respectively.

 

How to use the One – Mastering Processor from T-Racks on your master?

A

How to use the One – Mastering Processor from T-Racks on your master?

The One is a dynamic yet delicate device. It was designed to include everything you need for quick and efficient mastering without sacrificing quality, but it can be used subtly in your chain of processors to really augment the sonic qualities of any recording.

I added some air for those high-end frequencies which are often lost on this type of mix; some focus that clarifies the mids while still maintaining clarity even at low volumes.

A small amount of body so as not to overwhelm with too much bass or muddy up all detail below 4kHZ  push so quieter aspects to come forward and maintain their integrity when lower volume levels are required due to space constraints such as headphones or car stereos.

I know you want to have a better-sounding master, and T-Racks is the way.

The One – Mastering Processor from T-racks only takes one click of a button for your track or album!

I increased the gain without triggering my limiter as well as introduced some moderate transient expansion with analog emulated harmonic distortion that will help it translate over smaller speakers.

Lastly, bass punch augmented our kick drum and thump on the bass guitar giving this mix more impactful sonic power

How to use the De-Esser from T-Racks in mastering?

There are a lot of ways to use the De-Esser in mastering. For this particular instance, I used it subtly with some specific settings that were tailored for controlling high frequencies like sibilance.

This is what worked best when using moderate release speed and 3 bands isolating frequency areas while staying soft enough so as not to detract from other instruments or vocals on an album track you’re working on!

How to master with the Linear Phase EQ from T-RackS?

One of the most powerful features in T-RackS is its Linear Phase EQ. It’s a really cool tool because it allows you to affect low frequencies without altering their phase, which can otherwise lead to issues with things like canceling each other out and making vocals sound muddy or too boomy.

I’ll start by setting my linear phase mode just so that as we’re cutting we know what part will be affected–so anything below 80Hz on side-channel won’t get cut at all!

Then I use this knowledge about where our cuts are going when deciding how much weight they should have: if there needs more room for something else (like the vocal), then let’s make those basslines softer;

After some tweaking, I finally found the perfect tone for this song. Just a few minor adjustments to bring out those beautiful high notes and round off that crisp low-end beat.

The EQ should be used as an amplifier of your voice’s original sound in order to create more drama; so don’t use it wrong!

How to master your tracks with T-RackS?

Audio production software T-RackS is an often overlooked and underappreciated program. It provides a lot of flexibility while still keeping things simple, which is why we wanted to take a look at this rarely discussed platform in order to establish the best signal chain that sounds great.

How does processing changes later in the mastering chain?

The process of encoding a master changes the output later in the mastering chain.

If you’re uploading your master online, there are many good reasons why you should reduce input as much as possible to ensure that when it gets encoded into an MP3 or other format for streaming purposes, distortion doesn’t occur from clipping and peaking levels being too high on your audio file.

Your masters will most likely be uploaded at some point without intent whether they’ll get smoothed out by reducing any potential peaks so that no one has their ears blown off while listening!

Limiting is not always the solution to a problem. For example, you might find that it’s too aggressive or harsh once your master has been amplified with this limiting technique.

This can happen because our ears hear different frequencies differently at different volumes; so if we have boosted the overall signal of an audio file by adding more gain before applying compression and/or limiting, then all subsequent processing will respond accordingly in terms of frequency response when these processes are applied later on during mastering- each process will change how loud one another sounds as well

But be warned: boosting any given track’s volume may cause distortions elsewhere due to changes in ear perception (eardrum sensitivity).

Why you should reduce the output of your master?

There are many good reasons why you should reduce the output of your master.
The primary reason to reduce your masters output is to ensure that the encoding process doesn’t alter the amplitude enough to cause clipping or peaking distortion.
Your master is most likely going to be online at some point, whether you intended it for it or not.

When you upload your master into YouTube, Soundcloud, Spotify and other services; they will get encoded into a lossy file like an MP3 file which can distort sound quality over time with heavy use such as streaming music on repeat all day long (or worse).

This will reduce your master’s accuracy, and it could cause distortion.
If you’re close to 0dB in amplitude, this change might push your master over the edge of clipping into a distorted sound; that is not what we want! To avoid that from happening, try reducing the output to -1 or even -2 dB True Peak. That way when changes happen within the signal’s amplitude level they won’t be pushed too far above zero decibels (0db).

How to avoid distortion when limiting your master?

To avoid distortion when limiting your master, you should keep in mind that the limiter is pushing the signal into a brick wall ceiling.
This can create unwanted distortion in myriad ways and make it harder to maintain high quality sound for an extended period of time.

The best way to avoid this kind of problem is by using oversampling as well as true peak detection so there’s no chance amplification exceeds 0 dBFS or below -10dBFS..

Oversamples assist with minimizing any transient bursts which might cause clipping if not dealt with properly but are used sparingly because they take up more space on disk than standard samples.
True Peak Detection (TPD) helps ensure peaks never exceed +/-0dB FS without risking any type of digital saturation;

To get the most out of your audio, use 3 limiter functions: oversampling, lookahead and true peak detection.
Oversample to prevent distortion when you push signal and limit with a combination of these two tactics so that it sounds better than ever!

Oversampling reduces the peaks of a signal, reducing noise. Lookahead allows for more time before clipping distortion occurs, and true peak detection automatically adjusts to avoid it.
These settings have disadvantages so listen carefully when using them.

How to monitor your processed signal when mastering?

When mastering your processed signal, it can be helpful to monitor both the input and output levels.
Monitoring within a plugin will show how much of an effect that particular processing has on the sound before sending it out for listening via headphones or speakers.

Most plugins have 32-bit internal engineering which means they are able to go above 0dB without clipping if you reduce them below this level first by using controls like volume sliders at their outputs rather than adjusting individual frequencies with amplitude modulation such as compression or gating inside EQs and dynamics processors.

Even though it’s good to get into the habit of carefully measuring your signal, you may need headroom for future plugins.
For example: clipping distortion could happen if too much compression happens without any room in between each successive plugin.

How much headroom do i need when mastering?

So many people ask me, “How much headroom do I need when mastering?” The answer is 3 to 6 dB.
It’s important that the max peak of your signal in a digital system be between -3dB and-6dB; this ensures you have enough room for processing as well!

The more headroom you have when mastering, the less likely distortion will be introduced.

If you started with 1dB of headroom and your saturator or EQ amplified the signal by 2dB in order to give it some boost while processing; then there is a chance that once processed, clipping could occur.
If 6 dBs were left untouched and only 4 dB was used for processing purposes via saturation/EQ boosting this risk would decrease significantly – as long as we are not at an average volume where compression can already do its job effectively on limiting peaks from occurring due to over-excursion!

How to gain stage your master?

How can you ensure your mix is mastered properly?
Knowing how to stage a master includes leaving enough headroom for processing, monitoring input and output of plugins, understanding when to limit without distorting the signal.

If you’re staging a record it also helps reduce limiter’s output before uploading it to a streaming service.

Why use the TRackS One for mastering?

TRackS One is a mastering plugin that helps you take your music to the next level.
With just one plugin, it’s perfect for anyone who wants to master their demo or any other recording but doesn’t have time to tinker with multiple processors.

This plug-in includes an EQ band with three settings and two limiters: standard and transparent; dynamic range control tools like attack, threshold/release knobs; stereo imager knob which can be used on mono tracks as well as stereo recordings including compression of each side in order give more width if needed; high frequency booster at 12 kHz up until 18kHz (with emphasis) along with low frequency transient shaper down around 60Hz – 80 Hz depending on what suits best.

This powerful plugin can really augment something as complex as a signal chain, by increasing the low-level details and creating an overall more impressive sound.

Why use the NewFangled Elevate for mastering?

The NewFangled Elevate is a limiter, clipper and transient shaper that can take your sound to the next level.
This unique plugin has an incredible feature where it separates out each band of frequencies for 26 total bands – limiting only individual ones at any given time.

So if you are looking for more control over how much volume or distortion in certain parts of music without affecting other ranges this would be perfect!

Furthermore, the limiter and transient shaper are two great ways to shape your sound.
In addition, whatever you lose in volume can be re-introduced with their own specific functions (the Limiter) or other plugins like a compressor for example.

Like the limiter, they have 26 bands that can be affected individually making it incredibly precise when shaping volumes of frequencies as well!

Why use the u-he Satin Tape for mastering?

The u-he Satin Tape plugin is one of the most popular options for mastering, due to its ability bring a unique and classic sound.
On top of that, it offers more control over your signal than many other tape machine plugins.

You can use this plugin for mixing as well – just take care not to make all tracks too similar in tone or you’ll run into phase issues when combining them during mastering thanks to conflicting frequencies across wide swathes of audio spectrum.

With some manipulation from crosstalk between channels on either side (as simulated by stereo widening), frequency modulation with wow/flutter settings at both low and high ends (to simulate a bit less stability) ,and maxing out headroom dials so dynamic range increases;

If you’re not sure where to start, don’t forget about the amazing mastering presets that come with this plugin.

How to use the FabFilter Saturn 2 for mastering?

The FabFilter Saturn 2 stands out as one of the best if not the best digital saturator.
It allows for 6 bands, each of which can emulate various forms of distortion from tape, to tube and transistor.

This version also offers subtle distortion types that are perfect for mastering; it affects signal left or right or mid-side giving you options with more control over your sound’s final saturation/distortion settings.

What makes this plugin great is the program dependent routing you can create.

With it, you are able to make functions contingent upon other functions which produces much more realistic sounding distortion – a result that many musicians crave for!

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.
    Providing a mix that is ideal for mastering takes in the amount of headroom in consideration. The general idea is: allow 6dB of headroom. Audiobyray Mastering recommends that the loudest part of the mix should be around -3db tot -5 db (below 0level). This encourages generally sane levels throughout the mix, it prevents any risk of inter-sample clipping and you still have masses of signal-to-noise ratio at 24-bit – and, plenty at 16 bits too, assuming you dither correctly. 
    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.