The most important phase in mastering is to distinguish any issues that should be tended to. Concentrate on apparent equilibrium, elements, width and profundity. We’ll investigate every classification a little later, however here’s a fast breakdown so you knew about every component.
For apparent equilibrium, you want to ensure that every recurrence range is appropriately adjusted. That doesn’t be guaranteed to imply that your mix ought to have a level recurrence reaction. Actually, most types complement different recurrence ranges as a feature of their unique sound.
As far as elements, you need to ensure your mix isn’t cutting or cresting, which can cause bending. In any case, the mix should be clearly sufficient to not sound too calm when heard consecutive with different tracks. You ought to likewise watch out for your LUFS levels, which measure apparent volume over the long run.
A significant part of the hard work in the width division is dealt with utilizing panning in the mix stage, however there are still ways of tweaking the sound system spread of a track while mastering. A few tracks benefit from a wide sound system picture, while others require more clarity of mind in the middle.
You have some control over the profundity of the mix utilizing EQ, elements handling and obviously, reverb. Instruments that are stronger, more splendid or drier will sound nearer to the audience, while tracks that are calmer, more blunt or wetter will sound farther away.
Be that as it may, in any event, when you know what to tune in for, it can in any case be precarious to distinguish or address issues in your mix. That is the reason I generally use REFERENCE to contrast my mix with reference tracks and ensure I’m going in the correct heading.
Add REFERENCE to your mix transport, then intuitive your #1 reference tracks into the Wave Transport. Click the Level Match button to guarantee a fair correlation, then, at that point, switch between the first and reference tracks to distinguish issues.
Look at the Trinity Show to perceive how your recurrence balance, sound system width and elements contrast with your reference tracks. This makes it simple to track down issues in your mix and immediately right them.
Apparent Equilibrium
To accomplish a reasonable recurrence reaction, you’ll have to listen near every recurrence range and recognize any issues. Begin in the sub-bass reach, under 60 Hz. Utilize an EQ to kill any unnecessary frequencies here and eliminate any thunder. At times, you might need to utilize a rack to support the subs for an all the more remarkable, base end.
Then, center around the bass frequencies from 60 Hz to 250 Hz. Ensure you can obviously hear the kick and bass. Utilize subtractive EQ assuming the track sounds boomy, or added substance EQ to add warmth. One of my #1 EQs for this recurrence range is BASSROOM on the grounds that it makes it simple to imagine my sound.
Check the 250 to 500 Hz range for issues in the low-mids. On the off chance that the track sounds sloppy, make an inconspicuous cut. To add more completion to the track, make a delicate lift with a wide ringer.
Pay attention to the midrange from 500 Hz to 2 kHz for issues with clearness. Assuming that the mix sounds square shaped, honky, or metallic, utilize subtractive EQ. A delicate lift in this recurrence reach can assist your mix with slicing through on little speakers.
Our ears are extremely delicate to the upper mid-range from 2 kHz to 6 kHz. Utilize unobtrusive lifts to add presence and detail to melodic instruments or emphasize the assault of cadenced instruments.
Simply be cautious, as helping a lot in this reach can sound piercing or cruel and rapidly causes listening weariness. Creating unnecessary cuts in this space can make a track sound far off.
The high frequencies from 6 kHz to 20 kHz are on the whole comprised of music. Supporting can make a mix sound fresh and present day, while cutting can make a mix sound one of a kind and dull, be that as it may, obviously, it relies upon where you mix is as of now at and what the audio needs.
MIXROOM’s Fluid Mastering presets make it simple to dial in sort explicit sounds. You could make your own objective presets utilizing your #1 reference mixes. Furthermore, with Brilliant Groups and mid/side handling, you can rapidly tweak your track.
Elements
As far as elements, the main thing to tune in for while mastering is cutting. While some contend that you want no less than 3 or 6 dB of headroom for mastering, the main genuine prerequisite is that the mix doesn’t hit 0 dB. If you have any desire to make critical EQ changes, you might have to lessen the increase as you come.
Then, pay attention to the elements of each instrument and the mix in general. In the event that there’s a major contrast between the boisterous and calm components in a mix, utilize a transport blower with slow assault settings, auto discharge settings, and an unobtrusive proportion of around 2.5:1 to stick the tracks together.
On the off chance that you’re working with an especially uneven mix, take a stab at utilizing a multi-band blower. This permits you to dial in various settings for each reach, giving you more control.
On the off chance that the track feels over-packed, you might have to add more elements utilizing a transient improving module like PUNCH. Change the channel to choose frequencies in the midrange or more, then change the rate slider to add energy (see picture underneath).
On the off chance that you’re uncertain about whether your track needs more paste or punch, use REFERENCE to contrast your mix with well known discharges. The purple Punch Spots in the Trinity Show will move towards the white Level Line assuming that recurrence band is more compacted in your track than in the reference track. The Punch Spots will create some distance from the Level Line assuming that recurrence band is less packed in your track than in the reference track.
Width
Dialing in the width of your track can be precarious. Does the mix sound adequately wide? Are there any stage issues? How can it sound in mono?
One normal issue is an absence of partition between instruments. To tackle this issue, utilize a mid/side EQ like MIXROOM to disconnect the essential recurrence reach to the middle or sides of the track.
For example, you could support all frequencies over 10 kHz on the sides of the mix to assist with centering the cymbals out of the focal point of the mix and account for the vocals.
In the event that you’re hoping to make your entire mix sound more extensive, attempt a sound system upgrade module like Develop. Utilize the channel to keep bass frequencies in the focal point of the mix, then, at that point, help the rate slider to spread the sides of the mix.
Depth
Profundity, tone and elements remain closely connected, so you’ve probably currently tended to the majority of the issues in your mix as of now through EQ and elements handling.
In any case, in the event that you’re hoping to move the entire mix back a little, you can apply a modest quantity of reverb to the mix transport. Listen cautiously and ensure your new reverb has a more extended tail than any reverbs utilized in the mix.
You have some control over the profundity of the mix as well as individual instruments utilizing EQ, elements handling and obviously, reverb. Instruments that sound stronger, more brilliant or drier will sound nearer to the audience, while tracks that sound calmer, more blunt or wetter will sound further away.
On the off chance that you’re hoping to carry the entire mix nearer to the audience, attempt a reverb expulsion module like SPL De-Action word.