![]() We end, of course, almost where we began by considering the final loudness of the master. With the multi-band compressor, for example, you might need to use just one or two bands rather than have all four pounding away at your mix. ![]() ![]() As with all parts of mastering, try to be clear on the problem first (like a wobbly low end, for example) and then use the correct tool to address this issue. As such, the multi-band compressor is both a timbral and dynamic tool, which, if used correctly, can enhance or correct a range of details, or, if used incorrectly, can ruin an otherwise good mix. The multi-band compressor is another useful way to deconstruct a track, this time splitting into a number of discrete frequency bands. This form of thinking makes more sense than L/R stereo, as the main components of the track (kick, vocal, bass and so on) sit in the mid channel, while the decorative elements (string pads, reverbs, guitars) often sit more towards the side channel. M/S processing is popular in mastering circles as it allows the engineer to separate a track in the Middle and Side components – or, to put it another way, the parts of the mix residing in the mono ‘centre’ and the other elements that wrap around it to produce the effect of stereo. ![]() With respect to EQ, we’ll look at how M/S processing can be used in Logic, allowing us to apply EQ in a more considered and focused way. In this tutorial, we look at the earlier parts of the signal processing path – namely EQ and multi-band compression – that deal with the timbral qualities of our master, moving it away from the ‘colour’ established in the mix. Last time, we started at the end of the signal chain looking at limiting and compression. Nowadays, of course, this continuity of listening experience is less important (as musicians move away from an album to single tracks), although you may still be dealing with several songs in any one session.Īnother point of difference between the two workshops is that we move from simple loudness correction (that made our rough mix stand up against the loudness of commercial recordings), to a process that actively tries to enhance and fix certain elements of the mix. Mastering was traditionally the final stage in the production process – assembling, sequencing and processing 10 or so tracks to make a cohesive listening experience. Unlike last time, where mastering was applied directly across the stereo buss, this month’s workshop assumes you’re working from bounced stereo files and preparing them for delivery to a variety of streaming services. We’ll also reference how mastering has changed in response to the rise of streaming and see how you can best deliver your music to a variety of platforms. As you’ll see, there’s plenty to take from our last workshop (especially in relation to loudness control), but in this part, we’ll see how a more professional approach involves a radically different workflow and a revised look at how you work with Logic Pro X. Just open the project, load in your own sounds, save it, and boom, you've got your own template.Having explored some ‘quick-fix’ mastering solutions in our last workshop, we’re now going to take a more in-depth look at a more professional solution to mastering – where the mix and mastering process are distinct and separate elements. The third and final version of the ULTIMATE Template is completely empty. The Choir and all of the non-orchestral stacks don't have any instruments, just empty instrument and audio tracks that are pre-routed to their proper sub-mix and stem. The second version is my complete template but with ONLY BBC Symphony Orchestra Pro by Spitfire Audio loaded in. If you happen to have the same sounds and sample libraries that I do, feel free to use this one and adjust as you need. The first is my personal template, completely untouched. When you make your purchase, you’ll get a 15-page user guide to learn about all of the features of this template, plus tips for how to get the most out of it, as well as three different versions of the template itself that best suits your needs. This template is designed to be efficient, flexible, and fun to use. I use this template to write my music for clients that enables me to get everything done quickly and at a high quality. With a logically laid out structure and powerful features, you can write your music and mix it with ultra high quality so you can deliver your music for any movie, podcast, television show, video game, or music library. This is my ULTIMATE Template, a template for Logic Pro that I’ve been developing for years that’s finally ready to share. A template with all of your sounds set up and ready to go is like a chef preparing all of their food ahead of time so when it’s time to get cooking they can play with the heat.
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