Mastering chain order reddit compression. In any case, nothing is run too obviously.

Mastering chain order reddit compression I don’t always use these things but a typical chain would be: Eq to filter 20Hz or so out, saturation (tube style usually), buss compressor, another Eq w character or something special in the high end, clipper/wave shaper, limiter. Thanks. SSL-G bus compressor. 3 types of compression, 3 types of saturation. Please, specify what genre you generally work with, so that the chain can make even more sense. This is what I use for a "fast techno mastering". I grab a regular compressor because it gives me the results I'm after, and part of it may be the character and tone of a compressor, like an 1176 or an LA-2A. They opened up all the plugins used in their mastering chain, and they moved them around so they didn't overlap. i dont master. Regards vintage, I guess I can just look up what that means on Izotope's website but I wondered if someone on this thread had some more detailed insight into the what they do different apart from add some generic form of saturation, or filters based on old analogue Compression CAN cause harsh sibilance due to “the fletcher munson curve” (look it up if you are interested in the math behind it) but it doesn’t have too. Everything else I use is just band aids to cover up my mixing mistakes. Big fan of using Waves API2500 and Waves G Bus comp. So adding a mastering EQ will bring a/more color, use compressor for more uniformity but in the opposite watch to don't kill your dynamic. I also tend to think of compression as a tonal changer adding slight distortion ala the 1176 or if not as a leveler, so generally for me it's stuff like tape compression then EQ. Regular compressors are more gentle, so normally in a mastering chain I use two bus compressors with just a few dbs of gain reduction to condition the peaks so it hits the main limiter a little less hard. " Reliable, predictable. Stick it on your drum bus if you want. Limiter should be at the end of every mastering chain to ensure no peaks exceed 0db/whatever peak you have chosen. Goodhertz Wow Control is my favourite tape plug for mastering. o. Not what everyone is going for but i like it a lot. What To Think About For Mastering Chain Order . Its pretty common to chain these 2 types of compressors. Patcher multiband compression ("3 band splitter" preset with a fruity limiter added to each band before output) - moderate compression on the low band so that the low frequencies are under control before the next step. COMPRESSOR 1 - fast attack to catch peaks. Focus on understanding what these tools accomplish. Waves Abbey Road Mastering Chain (gentle wide-Q shaping, low/high filtering, a touch of dynamics processing) Voxengo Marquis Compressor ("Mix Glue" preset) Voxengo PeakBuster (FX1, very low settings like 5%, 64 bands -- it's like a hint of parallel compression) Voxengo TEOTE (slow & subtle auto-eq shaping) As for compressor/EQ vs EQ/compressor, the more EQ/compression you are using the bigger the difference in processing order - best advice I got early on is to try both orders and choose the one that works best (sounds best) for the settings you’re using (you may need to adjust settings when swapping for a fair comparison). EQ - enhancing the frequencies I want to highlight with wide boosts. sometimes saturation too. He used to laugh at Ozone people that would use it on their master (only buses and groups he said). Usually in mastering all that's in my chain is an EQ for final polish, and the vst I've linked below. I’ve had the following mastering chain for sometime and plan to simplify it: gain utility (Airwindows PurestGain) saturation (Softube Saturation Knob) saturation (Vertigo VSM-3) EQ (TDR SlickEQ M) compression (TDR Kotelnikov GE) assuming your mix is 'perfect': mastering usually involves some combination of eq, compression, imaging and limiting. And to add to what Holy_City said, a common tool used in mastering (and you can use it on individual elements in your mix as well) is 'limiting', which is just a compressor with a high ratio so that any sounds past the compressor's threshold stay at pretty much the same volume, no matter if it's 3 dB above the threshold or 30 dB above the threshold. By all means take your limiter off when it's time to print for your mastering engineer - I often print 2 mixes, one with my mastering chain and one without. We've also used it for parallel compression with multiple channels: split the channels, send one to a compressor back in to the six channels 3-4 and reverse the polarity on the other and back in to the six channels 5-6. Dynamics This is basically an all-inclusive dynamics unit in Bitwig. If you put Oxford Inflator after a limiter you would run the risk of occasionally clipping the track, aswell as messing with the overall dynamics of the track From there I add an EQ then a compressor, but I adjust the compressor first then go back and adjust the EQ. the mastering Started three songs ago, I started experimenting with reverb on the master. ) Good EQ & filters, presence knob. Scheps Omni Channel. Counter Melody. The mixing and mastering go hand in hand for me. Fabfilter Saturn 2 either warm tape setting or “The Tube” for glue. This includes your voice, your sound area, and your mic and its settings. At first I start out with nothing on the master because I don't know what to do, then I start piling on stuff thinking I'm getting more pro, and now I'm cutting down what I have on the master and just fix stuff in the mix. Hi Ambitious-Object, (mastering engineer here) I like that your limiter is at the end of the chain, looks great. I then saturate after limiting instead of before because it rounds off the hard clip. Oct 17, 2023 · The mastering process is the final stage of audio production and one of the most crucial in achieving a professional sound. Sometimes I make that chain with two plugins, sometimes I do it on an SSL E-Channel. Versatile hardware style EQ. e. So forget the set chain, forget which plugins you arbitrarily selected for mastering. Plus, with the dirt pedal goosing the compressor, it will essentially sustain for days, smooths out the tone and will give an almost tremolo effect with the compressor pumping. if anyone has any other compresssor recommendations I’m all ears If the signal needs to be tamed before or after compression in order to get the compressor to react in the way I want, I will address that in the processing chain. They may come with fixed control values but will be used for setting a ceiling and pushing the loudness. dont listen to the folks telling you not to do it. mastering is easy if you always remember these steps: 1. When it comes to mastering, your goal should be to make the most subtle tweaks possible. Allow the mix to decide what’s needs and how much. Mine goes: Tape Saturator (J37/Virtual Machine) Color EQ (API 560/Manny Marroquin EQ) And I’ll put my master chain order as Console (Slate VCC) > Comp (Waves API-2500) > Tape (Softube Tape…used Slate for a while but now really think it just makes things dull and muddy). i normally do eq before compression. You should be able to get close to -14 without anything on the master at all. Also, if you use the ARA feature in Logic Pro, plugins like Melodyne or Vocalign have to be the first plugin in the chain to take advantage of the Before Limiter. I'm kinda looking for a new bus compressor. You use both a compressor and a limiter for different roles. The controls are makeup gain, EQ correction, high booster, gains, and low mono. its not sbout feeling good or right or procedure. COMPRESSOR 2 - slow attack to even things out gently. Try this chain out, and maybe combine it with other methods like parallel compression to see if it augments your masters. I like FabFilter Pro L 2 a little more as my final limiter. If OP is making hip Hop, CTZ versus typical compression staging will make those drums knock just that little bit more. It's interesting because it can either be quite transparent or very colorful depending on how you apply it, and for a while I was going a little too hard with it and was feeling like it was making things sound blown out and with too much pumping, but once I learned how powerful it is I realized it's best used in a more subtle way (at . A lot of things could contribute to harsh sibilance before the sound even hits the compressor in your signal chain. I’m simply goosing the track a bit to give the client a real world example. That might be mastered via an analogue chain, ideally digital limiting doesn't belong near that signal path. If you only want to duck the vocals, then only feed the vocals into the sidechain. I find it's pretty decent in boost, clarity, compression but I am not a mastering master and suspect there must be trade-off for something so easy. Even tho I used a typical mastering chain, it is not Mastering in any stretch of the imagination. Before a compressor might make the compressor bring out the verb more. The ideal mastering chain is just a limiter, because the mix would be so good it doesn't need anything else! In reality a lot of my chains look like: saturation -> eq -> 2-3 db of glue compression (slow attack fast release) -> 1% sosig fattener or other clipper -> Limiter In the analog domain I suppose the tape would come last since the master is printed to tape - In the digital world, the last thing on my mastering chain would be a brick wall limiter, just to make sure to keep any possible peak in check. Aug 18, 2021 · A mastering signal chain is simply a way to categorize the order of mastering plugins within an engineer's mastering session. How you record is a huge factor in what cleanups you need to do. 808/Bass. Using a limiter in a mastering chain is for loudness. My latest track had, in order: TDR Nova (highpass st 30hz, a few dB dynamic gain reduction around 3000hz, lowpass at 22kHz), BLOCKFISH (tiny bit of glue compression), Ozone 9 (Stereo imaging + limiting), SPAN (for visual info on freq balance) and Sonarworks Reference 4 (obviously disabled this for the render). I use it on everything. Feel free to message me and I’ll give you my normal plug chain. That would hopefully be as simple as EQ->Compression->Limiter but So many things to try! And I do so many different types of work! Here's some recent stuff in relative order, relatively grouped for similar purpose: ClariphonicDSP, HarmoniEQ, Waves De-esser GlissEQ, EQuality, TR EQP1A Uhe Satin, Slate VTM UBK-1, Compassion, Slate VBC, TR VC 670 OP included a pair of screenshots. You could look multi band compression as part of your mastering chain, but honestly in the modern hip hop style I would say that -14 LUFS is actually pretty quiet, and most likely the issue is that your mix isn't loud enough before you start the mastering process. Then I use sonarworks reference 4 and wlm meter to get the LUFS level. Mix bus compression is generally used to add colour and the character of the compressor to the mix, not to achieve more loudness for mastering. If you are planning to just use it just for mastering I'm certain there are better tools out there. Kind of a difficult question to answer, people tend to approach achieving loudness differently and mastering is quite a deep topic. Everything after that is post compressor; so my signal chain is tuner -> c4 -> compressor -> OC3 -> fuzzistor -> Sansamp -> univibe chorus/vibrato -> FL-2 Using a compressor in a mastering chain is for "glue", tone, transient control, and character, amongst other things. I like -18dBFS RMS. It has a colorful dynamic section based on a Zener diode compressor. Use high and low pass on your master in a very light way will clear bass rumbling and the high will be defined pressily as well. Snare. It’s totally up to you. I don’t use izotope’s compression hardly ever, but usually on the mix bus I’ll have the waves Linear Multiband with their mastering presets and the gain at 0. Use case #1: EQ -> Saturation -> Compression -> EQ -> Peak Limit Use case #2: EQ -> Compression -> EQ -> Saturation -> Peak Limit Use case 1 would be for something where I want the saturation to audibly crunch the peak transients, putting it early in the signal chain means it can get to any peaks before the compressor does. this gives you an objective yardstick of how loud your song is. I have a limiter that lets me treat the low mid, high mid, and sides all differently. Multiband Compression: This allows you to address specific problem areas. That said, my process is to create a complete raw edit first, do one proof-listening review in search of any whoopsies, make a safety copy of the raw edit, and then do my Audacity cleanup: de-click and de-ess, then export as mp3, constant, 192 kbps, mono. Ive found compression my. To me limiting is more audible and annoying, whereas slow attack compression is more transparent. Same with balls out leads. Soothe2 and/or Gullfoss. One might have a gate and hard compressor on the snare drum, a softer bus compressor for the drums, and multiband compression and limiting on the master mix. The order or plug-ins can then change of course, and you certainly don't have to use all of that, but that's typical and yes : that is a lot of plug-ins. However, our music always has to be up to the standards of our modern world, no matter what. If they aren't in the proper order it might be okay, but putting them in the proper order makes it great. If you need a de-esser, try it at the end of the chain, see if it sounds better when places else where is the chain. It's pretty common practice to mix into a compressor or even an entire typical mastering chain. If you know how any of this works, if you understand mastering, you'll know in which order you want them. My mastering chain is as transparent as possible, you will find in DNB alot of artists make sure the mix down is impeccable and problems are solved pre master. If it's your chain in the mastering process I like the exciter after compression, but that's a personal preference, something about exciting into compression doesn't work for me generally I personally use mainly the izotope ozone suite for my masters. The order of my mastering chain is important. As the subject indicates, something in my mastering process is creating hot/sharp/painful frequencies that physically hurt my ear. But beginners often get unpleasantly surprised when adding a mix bus compressor or limiter, and especially a limiter (or clipper of some kind) which is going to be there no matter what, is a good idea to have from the get go, so that it's always a part of your equation rather than an after-thought. depending on the genre the target level you want can vary but if you are planning to post on any of the major streaming platforms (youtube, spotify, apple) they will Tokyo Dawn Labs Slick EQ M, Nova GE, Kotelnikov GE, and Limiter 6 GE are almost always on my chain. Hats. Don’t just imitate this list. Yes, and I’ll do it very early on in the mastering chain. Finally, a limiter if necessary. Depends, usually (in order) an eq to bias the program for the compressor, a compressor - usually with a hipassed side-chain, sometimes filtered/ eq'ed more, then an eq to do the main tone-shaping. Before I talk more about my mastering chain, here are samples from a recent track of mine, one is a normalized (for comparison sake) pre-mastered mix, and the other is after my mastering process of approximately the same section of music: No, that's fine, the order is not important as long as you get the results that you want. Mastering, on the other hand, I almost always have m/s processing. Sorry for the long post, but I like details. --- As far as master bus recommendations go -- AR TG Mastering Chain is my golden discovery. Many engineers in a mastering context, will use EQ after the compression because the track is already mixed, so the compression gives you the level and then the EQ finishes it off. Add any eq mastering preset and adjust to taste. By that logic, I can just say, “record with compression” since it “translates into the master” as well (whatever that means). In this post, I’m going to cover how to build a simple yet effective mastering chain in Ableton Live — using only built-in devices. (Mo Falk mastering chain) I feel kinda comfortable using this type of chain and the results don't disappoint. Some just use Pro-L2 and Kclipper. There really is little benefit to mastering yourself anymore, especially if you are not in an optimized sound environment. How To Build Your Mastering Signal Chain: A Step by Step Guide My mastering chain depends entirely on the source material/final mix but I can share some of the stuff that commonly gets used in my tracks. You should never rely on the mastering stage in order to fix your track; mixing will decide the outcome. With that you have the basic things of a master. On my mix master buss I just use a tape plug and sometimes a pultec eq (for techno). Instead, be aware of how plugin order affects the sound and make informed choices. I know what the chain is gonna do, it’s an extra drop of spice to the mix at the end but I don’t like mixing into it; I don’t like having to constantly check my master bus compressor and gain staging into the chain, so I throw it on towards the end. The quality of the plugins, their order, and how they’re implemented help to create an impressive master. 76 votes, 23 comments. But here are some things that I use often, not necessarily in this exact order: Fabfilter pro Q3. It is easily the best software mastering comp, it is literally not even close. The rest is up to you. He’s… May 29, 2020 · This mastering chain is a great starting place for most tracks: Cleaning EQ; Glueing Compressor; Tonal EQ; Tonal Compressor; Stereo Expansion; Limiter; Meter(s) But what really matters is mastering with intention. It’s highly dependent, but I like to start low-passing at around 30khz, and high-passing around 20hz. Though saying that I sometimes add compression to a chain after if Ive already modified a sound but still feel it needs more compression. That's the problem and that is infinitely more important than which plugins in which order. One good rule of thumb: Be sure to set the same (or at least a similar) ratio in all the bands being affected, or you will risk adding an imbalance to the sound. From a technical perspective, it may not matter too much, but I’d rather have a tuned wave form going through a compressor than a compressor working on something that isn’t the final product. May be of help to some. Now he uses just Ozone 8 for 80% of his tunes. They took up so much screen real estate, that it warranted two screenshots. Teeny tiny bit of OTT (on occasion) Oxford Inflator. FL Multiband Compressor is good but I find you gotta be careful when starting out. The EDM one has tube saturation, a couple EQs, multiband compression, glue compressor, and a limiter. If you have eq that are modeled after gear, try those. Nowadays I use virtual tape machine, virtual mix rack with console emulation and the cs lift and cs eq with a bump at 4k and a cut at 400hz. The comments above say the Ozone Maximiser does something different to a limiter, and the Dymanics module is Ozone's 'limiter'. From the ADAM Audio Mastering Masterclass Series. If you over-compress your low end, for example, your final mix may not "hit" your mastering chain right. For some character, Softube Chandler Curve Bender or Acustica Azure are common choices I reach for. I will reflect on what the mastering chain brings out in the mix, and make adjustments accordingly in the mix if necessary. in my experience, and in the experience of most of the producing gods, leaving your master track completely bare of anything that messes with eq and volume is the way to go. Mix bus compression is not (self) mastering. That’s right, there’s a guy who’s whole job is dedicated to mastering tracks for artists before they are released. And yes, I know Spotify's recommendations, and fears of clipping introduced by lossy compression, etc. EQ before compressor will often be less obvious than EQ after compressor, but can affect the compression character in interesting ways. Often I'll omit one of the eq's. I'm Limiting is just very hard compression. Mastering in this day and age is about a second opinion, not about plugins or loudness. my friend with way better ears than me will not master. During the mix I'll use saturation, EQ, and compression to get the dynamics balanced. But for me the chain goes: Fabfilter Pro Q3 Have a buddy that had a long mastering chain consisting of various waves plug-ins and peak limiters he used for years. I use iZotope's Ozone mastering suite with an equalizer, and maximizer, occasionally with a compressor and exciter, as well Fabfilter's Pro-L limiter. You can put a compressor. If it's an analogue sum, just a gentle compressor might run the loudest part of the mix through a few times to check I'm hitting -1db true peak, then do no digital processing to the master, not even normalisation. Your mastering chain is the last thing that will ever touch the record before it is potentially heard by millions. As I was suspecting, and leaning towards placing the Dangerous at the very end. Insert on the mix in this order : Mid side Substractive eq + stereo tool (brainworks digital v3) / clean compression (alpha compressor) / colored additive eq (pultec) / colored compression (to much choice !) / tape emulation (VTM) If you find yourself needing a ton of compression and limiting, really digging in deep --- that's often a sign you would benefit from more compression on your tracks and submix busses. Any EQ is fine. Tldr in mixing m/s has some limited application, but mastering I use it all the time Like maybe you prefer Soothe2 for resonance suppression, an SSL/VCA style compressor as a master bus glue compressor, different distortion/saturation/tape plugins to taste, etc. In the mastering stage, EQ adjustments are typically subtle and focused on addressing any remaining issues that may not have been addressed during the mixing process. My mastering chain is quite simple actually. Then usually a modern vocal chain will have a de-esser first, a compressor, then a reverb with an EQ in and out for more control, and a final coloring EQ or multiband comp to finish. there is no correct order either (e. I always try to go for more, but most of the time, I can only get away with a small amount of each. In short: the compressor in no way HAS to cause harsh sibilance. Interesting compression. Balance all instruments in this order: Kick. Sep 20, 2024 · What’s the correct order for plugins in an effects chain? This topic is confusing because there is no absolute rule. Distortion before comp allows the compressor to react to the harmonics added, which may or may not be what you’re going for. Sometimes the mastering engineer wants to take the responsibility of the loudness of the mix and asks the mixer to disable the limiters and compressor on the master bus before rendering out the mix. I use chains all the time. To be clear though, this is very gentle compression (like 1-2 dB max at 1-1. Came across this while at the dentist’s office. Remember that like any type of compression used during mastering, multiband compression should be applied with care when mastering a track. What are your mastering chain essentials? Particularly interested to hear from people that have mix mastered their own tracks, heard the result in a club setting, and have a refined opinion based on their results. This is my current mix/mastering chain; Trim EQ (high pass 30hz if needed) De-esser Multi-band (for the lows before bus compressor) SSL master bus compressor (2:1, 10ms attack, - auto release, 1-3dB reduction) Maag EQ (any air eq) Standardclip (trim the peaks) L2 (will switch to fabfilter pro l2) For example if you use compressor before eq, the compressor will be triggered based on uneq'd input. It’s irrelevant. With dirt pedals after compression I alway feel like i lose all the dynamics from pick attack. g eq > compression > eq > imaging > limiting or compression > eq > imaging > limiting) etc. the fact that you said you have to adapt elements to the compressor on the master track will in time become a more obvious problem in itself: that putting a compressor on Then, work backwards from this, and build this into the production and mixing stage (for example, if you want a loud master but you have snares that really poke out of the track, address this in the mixing stage with a limiter or clipper - this will reduce the amount of work the final mastering limiter will have to do). Mastering is much more than just loudness, but in the context of self mastering most often achieving loudness is what people are referring to. Posted by u/FunkCentral - 4 votes and 6 comments EQ --> Multi-band Stereo Tool --> Compressor 2:1 long attack and long-ish release --> Compressor 4:1 short attack and release --> 3rd compressor or saturation for tone --> Limiter smashing the shit out of the track b/c that is how the track is competitive in my genre :'( The question was regarding mastering advice, specifically the order of the processing chain, and you gave mixing advice. Two dynamic EQs. MORE COMPRESSION -if needed, I’ll use a few instances of compression doing a little gain reduction each instead of slamming a single compressor. There are no rules of thumb when it comes to the master bus, so just try stuff and see what works for you and the music you make. (At the moment quite fond of Softtube's Saturation Knob. Plugin chain order is massively important for getting good clean sounds. 5 dB boosts and cuts h Last one in the chain - before the limiter. A good start might be to: pull up a reference track, and gain it down to wherever you like to begin mastering / end mixing. There's no right way to do it, but its common to use an 1176-style compressor first to shave off the loudest peaks which requires you to use fairly fast attack and release settings, followed by an LA2A-style compressor to apply gentle compression to the entire sound (not just its loudest peaks). Saturation on the master should only enhance the tonal balance. It is your chance to make the record sound as good as it can sound. Run the mid and side (post EQ) each individually through their fruity limiter for some very light compression. Aim for 1-2 dB of gain reduction for a polished sound. If using multiband compression on the master if not used correct can really ruin the mix and throw the frequency balance off. scroll through some presets on a multiband compressor. If so I would agree with the other comment, maybe a bit too many plugins. My friends who are pro producers for a living their mastering chain just goes Pro L2->Ozone->Kclipper. I choose from these tools (and others not in the mastering starter chain) depending on the type of mix and target master media. The order you insert your plugins depends on the source material, what you’re trying to achieve, and what sounds best to your ears. im not talking shit, but seriously i rule at mixing. ) but I decided to test a simpler mastering chain on this track. He normally gets a basic mix down, then adds his master plugins in, and continues on with his mix, making adjustments to the master plugin settings when needed. You're on the right track with shooting for -12 LUFS, but it's important to understand why you would choose to target a certain level in LUFS instead of say RMS or Peak levels (which is the kind of metering Ableton uses on its faders). Bruce Sweiden (look him up- Quincy Jones/Michael Jackson mastering engineer) says compressors are for babies bc they ruin transients. In any case, nothing is run too obviously. Mastering has never been considered part of the mixing or production process at all. This is a situation when having an easy-to-access, quick DIY mastering chain can make all the difference. The only pedals before my compressor are my tuner (because of my the built in buffer) and my envelope filter - the compressor evens out the signal, so I want the raw attack for the EF. Posted this in r/mixingmastering as well but might as well post it here: . Example. . There is no one “mastering chain” that will work for everything. Generally a limiter at the end to prevent clipping. Those eq cuts by 5-10db all over the spectrum are going to absolutely ruin a mix and possibly cause phase anomalies. Another useful tool for you could be separating your processing into bands, what I mean by this is the same way that a multiband compressor applies different amounts of compression to different frequency ranges you could try taking a subsection of your mastering chain (earlier on) and duplicate it then apply it across bands using grouping. Honestly FL compressor is great since it's blind, but if you're starting you might understand how you're altering the sound better with the compressor in FL Limiter since it's got visuals. In that order it is less noticeable that things are being squashed. Just like knowing where distortion goes, where a compressor goes, where the filter goes, where the EQ's go, where to put dynamic EQ's in. The compressor, m/s EQ, and maximizer lead up to the limiter which provides the hard clipping to tame peaks. 2 Add a Limiter and add 3d of Gain. Using some graphical editing software, OP added numbers to clarify what order they were in. 5:1, very slow attack and release) and is only focussed on levelling out any erroneous peaks from the component House/ Tech House producer here It really depends on the track i m working on but Usually Maag Eq4 boosting some air - black box hg saturation - shadowhills/ glue compressor - ozone imager/exciter - pro q for final boosting - Bassroom to check low end - kClip (soft clipping a few db) - pro L2 (final limiting with a few more db gr) My default mastering chain goes something like this: Softube Saturation Knob>EQ8>Basslane>Shadow Hills Mastering Compressor>Smart:Limit Other devices of course get thrown in depending on the track, such as Chow Tape or multiband compression with Echoboy hitting the highs for stereo width. With respect to dynamics, the goals of mastering are to bring the finished track to a target level, and manage dynamic range. Used in RMS mode (but I'll return to that in a What ”most” people would call a ”mastering chain” in this day and age is one of two things, (or both) either a substitute for mastering, to show clients before the actual mastering takes place, or simply a mixbus chain with a confusing name because of some daws calls it a ”master out” channel or similar. Support Sounds, FX 4. It’s different when using saturation on a channel. Equally, compression can change the tonality of a sound, so you may need an EQ after it. Subtle settings on each when added in series can be pleasing. I usually throw my master bus chain on once I’m pretty happy with the mix. Jun 2, 2023 · Mastering EQ is a crucial component of any mastering chain, allowing you to fine-tune the tonal balance of your mix. Jul 4, 2024 · Compression is Unisum >95% of the time, and that's also where I put de-essing if I need it (TDR Arbiter). That’s just what works for me lately. this means that when the higher frequencies trip the Single band compressor and saturator, or perhaps just the saturator, which is a compressor in its own right. While the specs and formsts of mastering have changed, the intended purpose hasnt; to make material fit for commercial reproduction on different playback systems. ) It's a Sometimes it really just needs to hit a 2500 or 1176 or whatever in order for it to feel right. Like there's often good reason to EQ multiple times, compre Unless your mastering for broadcast (i. Push the drive knob until meter on the rigth peaks on the line. The final sound you're after might hinge on your kick pegging your master bus in a way that multi-band processing may prevent. While there are many approaches to mastering a song from start to finish, in this article, we’re going to focus on the essential effects common in most mastering signal chains. There’s multiple times where I may use two compressors, or multiband compression, but it’s rare for me. It definitely took me a while to figure out how to use it. But in any case, do whatever sounds best for you, everyone is different. With that being said I would feel pretty confident in saying that “mastering” is probably not where you should be looking to get over the hump. My "Mastering Chain" is a collection of "starter" tools that I draw from to master 24-bit stereo WAV files or Stem sets generated from mixes. ) Or possibly a multiband compressor plus saturator in some cases, depending mainly on the source materials I was given. Enable the DC and Soft Clip buttons. I find that this works best, and after the composition phase (Many times the tracking and mixing will be simultaneous) I will begin a loose mastering chain to reference as I The concrete Plugs change but the functionality hasn't really changed in quite a while, my chain looks currently something like this: Bass monofication --> Subbass cut/taming --> Tape simulation --> Saturation -> SSL style Bus Compressor and/or Neve Style Bus Compressor --> EQ --> Limiter --> a bunch of analyzer plugs to get the dynamics and the LUFS right. I’m not in the habit of using izotope’s vintage stuff bc I started using ozone with version 3 and I just love the way their normal digital modules work/sound. I’ve found using compression in layers to be more effective at giving more precise control over my mixes than mixing into a compressor on the stereo bus/master. Give your beats a solid mix with eq & whatever leveling/ compression you need, but please, for the love of headroom, leave the mastering to the mastering engineer. AR TG Mastering Chain. if your mix is missing dynamic use the multi-band compressor on the high. They are all incredibly clean and powerful mastering tools. Why Phase-Compensated Crossovers Are Important A lot of people use mb compression on their masters, so idk what everyone else is talking about. I’m curious about people’s mastering chains. youlean is a pretty good free one. The trick on heavy drum focused mix bus compression is use a side chain filter so that the lows of the kick don’t make it pump and just the mid range content which up front in modern music work the compressor in a musical way. It completely changes the tonal balance of a mix. 2 Saturator. i. I recently got the LImiter 6 and it includes a compressor module, so Im just wondering if theres any reason I need to use both or if I can remove the Kotelnikov. If you want after that, do some additive and coloring eq. My basic master chain looks like this: EQ to fix problem frequencies (if any are found), iZotope Imager to work with stereo, Glue compressor (SSL G-master buss), EQ for coloring mix (usually boost a couple dBs around 60Hz and boost some high frequencies), PA Black Box saturator, StandardClip and limiter to increase the final loudness. I am looking to hear from professionals on how they would rate Ozones auto mastering and auto referencing. Saturation, Distortion, Tape, Limiter, Clipper, Compressor, etc are all forms of compression. A stereo width control that actually works well (used sparingly. It sounds amazing, behaves like an analogue mastering comp would, and comes with various different algorithms to emulate various compressor types, as well as allowing you to change how parameters react… And that’s the tip of the iceberg. m invisible limiter just be careful however, once compression starts, a broadband compressor will compress everything. I've been using Fabfilter Pro-R, and set the wet/dry to like 2-5% wet and experiment with the distance, brightness, the decay (especially the decay), and EQ out the lows, and depending on the vibe of the song, I've gotten some good results as far as "meshing" everything together. The professional mixers whose work you enjoy found their master chains by experimenting and listening. Apr 14, 2023 · I like to compress a signal that's already tonally balanced so the compressor doesn't respond to uneven resonances and peaks, so last in chain, just before the ADC is my spot. Mastering really should be mostly volume and squeezing out that last few percent. My mastering chain complexity has been like a bell curve as time goes on. 1 Eq. EQing into the compressor, IMO, is easier and I can avoid anything that could cause the vocal to sound too compressed in the areas where I boost the EQ. It's the same principle with mixbus compression - for example, if you automate all your faders before you set your mixbus comp, afterward your automation moves might be out of whack. I recently watched a mixing/mastering class, and the engineer's mastering chain was Comp, Multiband Comp, something like MaxxBass, EQ, and a Limiter. If the slow compressor is already pulling the average volume down a few dB anyway then the fast limiter doesn't have to work as much and sometimes not at all. I do usually use a master bus compressor on my vocal stem, and then another on my master stem, to glue everything together if it sounds a bit disconnected. Or, “Play guitar with a plectrum”. AR TG Mastering Chain sounds great when you drive into it to where your peaks hit just pass 0 with the comp/limiter on (which is where the color comes from. I also use it on the mix master for the same reason. Your EQ choice and slope curve are important factors, obviously. Jun 5, 2024 · Gentle Compression: Use a low ratio (2:1 or 3:1) and slow attack and release times to subtly control dynamics without squashing the life out of the mix. I used to have many plugins on my master (1-2 regular compressors, 1 ott/multiband, limiter, eq, saturation, etc. I noticed recently that I was adding way too many plugins on my master chain and found that limiting my plugins actually gave me a better result. It's a channel strip to allow last minute fixes for compression, loudness, de-essing etc. master chain has ruined my mix. there can be multiple instances of each effect too - each doing less than the amount that one effect would normally do. Sometimes the mastering engineer does nothing with the mix. Oxford inflator and fruity soft clipper with pro l 2 for more gain. You can be more bold because the compression will handle it if you push something up, other things will pull back. Limiting can give sounds a certain characteristic just like compressors can. I know you’re mastering, but the principle still applies. Flavor generally means distortion and is usually Kelvin; it'll either go before the EQ or after Compression depending on how "dynamic" I want it to be. I’ll start with the imager (widen the mids 40-60%, mid-high 25-35%, highs/ultrahighs 40-60%), vintage tape to greatly boost the bass and slightly high end, equalizer to roll off the low end (around 15-20hz) and high end (20,000+hz), use the dynamic compressor set to mid-side mode to prepare the track for the limiter, then limit Routing a track to the reverb and ducking the track out of the reverb are two different processes. Please, elaborate. it's not an ability thing either. i have some chops and some pretty good ears. Im currently producing a track that I decided to test some basic mastering on. I like the sounds my chain gives to the mix, but I was curious about other chains, if you don't mind sharing. My order usually goes: Cytomic glue - izotope 7 (usually only use the eq, exciter and imager) - psp vintage warmer - s1 stereo widener - mono filter - a. Using modern pop vocals as an example, if you compress first, then the compressor will be hitting the dynamics harder and then when you use a highpass after the compressor you are not compressing the actual dynamics of the final sound. Mine looks like SSLComp > AR TG Mastering Chain Live > TEOTE > TDR Limiter 6 GE I like the Waves SSL Comp compressor, it's easy to set and it "just works. Think of a limiter/maximizer as a really powerful compressor. BTW there is no EQ in that chain, if I feel it has something wrong which needs EQing, I’ll go into the Mix and fix it. some of the best mastering engineers out there are endorsing the CTZ method these days. Too much compression kills transients and energy. Anyways right now I have Roar, Eq Eight, Multiband Dynamics, and a limiter (in that order) I've been running Kotelnikov mastering compressor and then Limiter6 on my mastering chain. Try out different orders in the chain and see how it sounds. Mastering engineers generally make no more than ~2 dB boosts or cuts (and that's a lot in the context of mastering). 0. If it does, let us know in the comment section of the video. The final master is likely to be heavily compressed anyway (if you're going for a competitive sound), so mixing into a bus compressor or mastering chain will not only give you a more accurate representation of the final product, but will also help the mastering engineer or whoever because you've I just changed my default master channel chain - the mastering racks that Abletunes gives away are actually pretty damn good. It’s not meant to change the tonal balance. It can be used as a gate, a compressor/limiter, an expander, and sidechain. Percs. For EQ’s i like using Pro Q-3 for surgical/precise moves, and I mostly go with the UAD Pultec Pro for adding frequencies. Use AI Mastering. , the compression activity itself affects all frequencies - in the case above only the detected audio is filtered, but not the audio of the compressor's output, which is full bandwidth. My mastering chain changes more with DAW than with genre (and I've produced a lot of different stuff), but currently I've been using Bitwig more and more. It's basically one giant limiting stage with a m/s EQ in the middle. If you like how it sounds go for it. Think of all the types of compression you have going already and experiment. I doubt the order with eq's matters much tho. *walks away* lol - No seriously, there's lots of variables and besides putting the limiter and some metering tools at the end, there's tons of options available. This will be different in each project, the order will change, sometimes i have more instances of a plugin, sometime i need less but a typical chain will look something like this: Klanghelm SDRR -> TDR SlickEQ M -> Klangelm MJUC -> TDR Nova -> Valhalla VintageVerb -> AnalogObsession Rare -> TDR Limiter 6 Whatever you do, especially with compression, try to mix into it. Some people mix into an EQ as well. Really good hardware style mix finalizer. i agree with all of this just wanted to add another piece which is that you may also want to use a loudness meter plugin as well. Or, “Stand closer to the mic”. EQ B4 = affects how the compressor will react to the sound EQ After = Shapes/sculps the leveled sound. If you make an EQ change going into a compressor, it may affect the behaviour if the compression due to a change in input gain. Realistically, I eventually want my Mastering Chain to just be Pro Q3->Ozone->Pro L2-> Gulfoss. DONT LISTEN TO ANYONE IN THIS THREAD. not song), I'd highly recommend NOT true peak limiting! It ruins transients, makes the high highs feel closed and restricted, and doesn't actually accomplish anything useful. --- Saturation, soft-clipping, compression, and limiting all play a role in dynamic range management. Signal chains can vary in order from one engineer to another, but generally, they contain the same type of essential mastering chain plugins. If you want to follow that up with another round of compression, doing 1-2db of reduction, but this is optional. Dynamic Comp, EQ, Multiband Stereo Imaging, Limiter/Maximizer. let a mastering engineer do it. Lead. Generally though, you would use a limiter during mastering and it would be the very last thing in your mastering chain. balis dxqet yolz xbks giwfr tbd nkbl lxdyj nfof zwjdju