Mastering in Logic Pro X : The Basics.Logic Pro X: Audio and Music Production – PDF Drive
As a rule, I work on the loudest track first, optimise it using whatever processing is required, then bounce it to a new bit interleaved AIFF file. Note that it can help to open your bounced files in the Sample Editor, so that you can trim any excess ‘dead air’ from around the song or fade out the thumps and bangs that are occasionally introduced at the start of the file by certain plug-ins. However, do leave at margin of at least a half a second at the start of each track for the benefit of those CD players that are a bit slow at cuing tracks — you can always make this truly silent by using the Silence command in the Sample Editor window’s Functions menu.
Once I’m happy with the first track, I drop it onto a spare stereo track in the Arrange window, where it can be played for direct comparison with the next track while I am fine-tuning plug-in and processor settings, the aim being to get the second track to sound as if it belongs to the same album as the first.
Obviously it’s important to make sure that the faders of both Track Audio objects are initially at unity gain so that there’s no level mismatch between them, but you may find that you need to increase the second track’s limiter gain to achieve similar subjective levels.
I usually start work with tracks that have similar instrumentation and style. I also favour working on all the heavier songs first, before working down to the ballads if the album is that varied.
Working from loudest to quietest helps you match the subjective levels of the different tracks making up the album with less risk of running out of headroom. You can make final level adjustments in your CD burning program, but if you turn down a track that has already been limited, you’re wasting headroom that might have been better utilised by limiting less in the first place.
After all, limiting very rarely makes anything sound better, it just makes it sound louder, so there’s no point in limiting the quieter tracks more than you have to. There have been a couple of Logic -related upgrades recently. Then the mix bus goes to stereo out. I realized that I almost always tend to use a compressor on my mix bus to get the most energy from the mix, so I put a compressor on the mixing template.
You have to listen to the song and dial the settings of the compressor to your likings. The best way to do this is to take the threshold all the way down to where it compresses around dB.
And change the attack and release parameters there. When you find the best settings for your mix, take the threshold back. There is no rule for that, but around 3 to 4 dB will be nice. I also use the mix knob, so if you use it like how it is, you will do parallel compression. And we came to the fun part, the effects! I have too many buses ready for most of the situations. Those effects are enough to give me what I need quickly, but I always edit them later.
Details always come later in the mix for me. This Logic Pro mixing template lets me do this easily. We have small, medium, plate, long, big, and a massive reverb on the mixing template. Every one of them has a different pre-delay and decay time. Small and medium are room reverbs; long and big are hall reverbs. It has a different character, and I mainly use it on guitars and the percussive sounds. When I want to replicate a room, I use the small reverb. I lineup stereo guitar tracks so they sound as one and I can cut multiple drum takes into one perfect performance.
If you want your songs to sound professional and modern, editing is a must. STEP 1. I will check it out and respond before getting started.
If you would like a quote Click Here. STEP 2. Mixes usually take a few days, Mastering can have a hour turnaround or less. STEP 3. If you need any changes, I am glad to help. If everything is sounding good, pay and download the finals! Do this by ear and make adjustments along the way so that comparisons are always fair. Remember, a slight difference in loudness also equates to a difference in how we perceive dynamics and frequency balance EQ.
This means that if necessary, we can make it louder without clipping. This is the true purpose of a peak limiter. Load it as the final plugin in your chain and set the ceiling to This where we start to work backwards, at least as far as the order of plugins in your chain is concerned.
Before, I mentioned how playback volume has a huge bearing on how we perceive frequency balance and dynamics. This is where we work to minimise that variable. Earlier, I shared this article on how to set up your monitoring level. Now that you are close to the goal, any issues with regard to dynamics and EQ will start to make themselves apparent.
Now you can work your way back into the chain, tackling these specific issues. Resell the rights to the master, renaming the master, releasing on a record label under your name, distribute or resell the project files and or register the copyrights under yourself or a company.
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– Mastering logic pro x pdf free
I always want to see the tempo and the key of the logif. Your Knowledge is Your Virtue Welcome to our blog made for all music producers and artists all around the world! I don’t know why, but it sounds more ‘analogue’ than any other mastering logic pro x pdf free processor I’ve used. Making the template universal. I use it for a couple pef reasons. There is no rule for that, but around 3 to mastering logic pro x pdf free dB will be nice. To me, the process of mastering is about making the songs on an album sound as good as they possibly can, but at the same time ensuring that they sit comfortably next to each other in terms of tonal balance and subjective loudness.