Listen to everything below 100Hz on the master bus to check the kick's presence
Problem: kick is too quiet or muffled in the sub-bass range
Using an EQ on the master bus to listen to everything below 100Hz helps assess the kick's presence in the sub-bass range. This technique ensures the kick is audible and has a clear dynamic, which is essential for…
Fast attack and fast release can act like a limiter
Problem: overusing compressor for limiting
When using fast attack and fast release settings with a high ratio, a compressor can function similarly to a limiter by setting a ceiling on the signal. This is useful for preventing peaks from exceeding a certain level,…
Use a limiter instead of a compressor for fast attack and fast release tasks
Problem: using the wrong tool for limiting
When dealing with fast attack and fast release settings, a limiter is often a better tool than a compressor. This is because limiters are designed for this specific task and can provide a more transparent and controlled…
Use hard knee with high ratio for fast attack and fast release to manage transients
Problem: transients not controlled, inconsistent dynamics
When dealing with fast attack and fast release settings, a hard knee provides more precise control over the signal, especially when managing transients. A high ratio ensures that the compressor aggressively reduces the…
Use a higher threshold and higher ratio to catch peaks rather than massaging the audio constantly
Problem: peaks not controlled, inconsistent loudness
When the goal is to catch and control peaks, using a higher threshold and a higher ratio allows the compressor to only engage when the signal exceeds the threshold, making it more effective for peak control. This is…
Feedback compression has a self-correcting nature that makes it more musical and smooth
Problem: compression sounds too aggressive or unnatural
Feedback compression works by listening to the output signal after gain reduction has occurred, which allows it to self-correct and adjust based on the result of its own processing. This makes it more musical and smooth…
Use a ratio of 2:1 for mastering compression
Problem: mastering lacks consistency and polish
A 2:1 ratio is often used in mastering compression because it provides a subtle and smooth amount of gain reduction. This ratio is less aggressive and allows for more natural dynamics while still achieving a polished and…
Master within the same project for better control and consistency
Problem: mix and master feel disconnected
Mastering within the same project allows for better control and consistency because you can factor in the final mastering stage early on during mixing. This approach helps you make more informed decisions about the mix,…
Use lower ratio for more consistent compression
Problem: over-compression, inconsistent dynamics
A lower ratio allows for a more subtle and consistent compression effect, which is useful when you want to gently shape the dynamics without drastically altering the sound. This approach is often used in mastering or bus…
Use slow release settings for a 'gooey' or smooth compression sound
Problem: harsh or punchy compression
Slow release settings on a compressor can create a smoother, more 'gooey' sound by allowing the signal to gradually return to its original level after being compressed. This is especially useful for genres like trance or…
Use VCA compressors for punchier compression
Problem: lack of punch or presence
VCA compressors are known for their punchy and dynamic compression characteristics, making them ideal for genres like trance or house where a more aggressive and present sound is desired. They are often used in mastering…
Use tube-based compressors for smooth and gooey compression
Problem: harsh or unnatural compression
Tube-based compressors like the LA2A or Fairchild are known for their smooth and gooey compression characteristics, making them ideal for genres like trance or house where a warm and natural-sounding compression is…
Use a limiter to shave off transients for mastering headroom
Problem: transients taking up too much headroom
Clipping transients with a limiter helps free up headroom during mastering by reducing the initial peaks of sounds like snares and kicks. This is especially useful in mastering to ensure the track doesn't clip when…
Clipping is similar to saturation but uses a threshold instead of drive
Problem: confusing clipping and saturation
Clipping and saturation both introduce distortion, but clipping uses a threshold to limit signals above a certain level, whereas saturation increases the drive of the entire signal. This distinction is important for…
Use transient shaping to enhance or reduce transients selectively
Problem: over-clipping transients or losing punch
Transient shaping allows for more control over the attack of a sound compared to clipping. Instead of just removing the very fast initial transient, transient shaping can enhance or reduce a larger portion of the…
Clipping transients can free up 3dB of headroom without affecting the sound
Problem: limited headroom in mastering
Clipping the very initial transient of a sound can free up a small amount of headroom (around 3dB) without significantly altering the overall sound. This is useful in mastering to ensure the track can be pushed louder…
Use slow attack and release on the second compressor to shape the overall dynamics
Problem: lack of glue and cohesion in the mix
Using a slow attack and release on the second compressor allows for a more natural and subtle compression of the entire signal. This helps to maintain the emotional feel of the track while still managing the overall…
Find the sweet spot for compression ratio to avoid over-processing
Problem: over-processing or under-processing the signal
Choosing the right compression ratio is crucial to avoid over-processing the signal. Too high of a ratio can make the signal sound lifeless, while too low of a ratio may not provide enough control. Finding the sweet spot…
Listen for tonal issues after compression to ensure clarity
Problem: loss of clarity or tonal balance
After applying compression, it's important to listen for any tonal issues that may have been introduced. Compression can sometimes make a signal sound dull or lifeless if not used carefully. Checking for tonal issues…
Use a maximizer on the master bus to prevent clipping
Problem: clipping on master bus, lack of loudness
Adding a maximizer to the master bus helps maintain loudness without causing distortion. This is especially useful during the final stages of mixing when pushing the track to its maximum potential. The speaker uses Ozone…
Use custom-built mastering-grade outboard gear for the master bus
Problem: lack of precision in mastering
Incorporating custom-built mastering-grade gear, such as a limiter and EQ from an Italian engineer, on the master bus ensures high-quality, transparent mastering. This approach allows for precise control over the final…
Reverse engineer the mastering process during mixing
Problem: mixing without mastering in mind
The speaker advocates for incorporating a limiter early in the mixing process to reverse engineer the mastering stage. This ensures that the mix is already balanced and ready for mastering, reducing the need for major…
Mastering is still subjective despite being seen as objective
Problem: over-reliance on technical metrics
Even though mastering is often considered the most objective part of the production process, it is still highly subjective. Choices like brightness, darkness, or loudness are ultimately up to the mastering engineer's…
Use emotional frameworks to guide mixing and mastering decisions
Problem: mix lacks emotional direction
Using an emotional framework can help guide your mixing and mastering decisions by aligning the technical aspects of the mix with the intended emotional impact of the track. This approach is especially useful for…
Start with mastering to build technical audio fundamentals
Problem: lack of technical foundation in audio production
Mastering is a great starting point for learning audio production because it involves working with a stereo file, which is simpler and more objective than mixing with multiple channels. This approach helps develop a…
Mastering helps train your ears to hear subtle changes
Problem: difficulty hearing subtle audio changes
By starting with mastering, you learn to make precise, objective adjustments to a stereo file. This process trains your ears to detect small changes in frequency, dynamics, and stereo imaging, which are essential skills…
A structured curriculum with sections on mastering, mixing, and producing
Problem: lack of structured learning path
The program includes a detailed curriculum with nine sections each on mastering, mixing, and producing. This structured approach ensures that learners cover all essential topics in depth, allowing them to build a…
Certification validates your skills after completing the program
Problem: lack of formal recognition of skills
The program includes a certification process that allows learners to demonstrate their mastery of mastering, mixing, and production. This certification can be valuable for those looking to pursue a career in the music…
Use a frequency analyzer like Span to identify sub-bass
Problem: inability to hear sub-bass on small speakers
Using a frequency analyzer like Span helps identify problematic sub-bass frequencies that may not be audible on small speakers or headphones. This allows you to make informed decisions about how to control the low end…
Use a low shelf at 14Hz to sculpt sub-bass
Problem: boomy low end, poor loudness and translation
A low shelf at 14Hz helps control the very low frequencies without completely removing them. This keeps the sub-bass present but under control, preventing it from overwhelming the mix. This is especially important in…
Use dynamic EQ to reduce sub-bass during transients
Problem: sub-bass overpowering during transients
A dynamic EQ can be used to reduce the sub-bass only when the low-frequency transients hit. This helps maintain the presence of the sub-bass while preventing it from overpowering the mix during loud sections. This…
Use a plugin like TITARSON to control low-end
Problem: uncontrolled low end, poor translation
TITARSON is a plugin that helps control the low-end by grabbing and holding the sub-bass frequencies. Setting the crossover to around 80Hz and reducing the level by 2-3dB helps keep the sub-bass under control while…
Avoid mastering like you're mixing
Problem: incohesive master, over-adjusted elements
Mastering should not be approached like mixing. When mastering, you should think of the entire track as a single entity rather than treating individual instruments separately. This helps ensure that the final master is…
Aim for -8 LUFS with controlled gain reduction
Problem: track too quiet or too loud
Setting your track to around -8 LUFS ensures it's loud enough to compete with commercial releases without sacrificing dynamic range. Using a limiter with 7 dB of gain and a clipper to reduce peak levels helps achieve…
Use a clipper before the limiter to reduce gain reduction
Problem: over-compressed or distorted master
Adding a clipper before the limiter can help reduce the amount of gain reduction needed, resulting in a more dynamic and open-sounding master. By clipping only 2 dB of the peaks, the limiter doesn't have to work as hard,…
Use reference tracks to guide your mastering decisions
Problem: mix doesn't translate well to other systems
Listening to reference tracks helps you understand how your mix should sound in context. Without this, your mix may not translate well to other systems or compete with commercial releases. Regularly comparing your work…
Use reference tracks to compare your mix
Problem: inaccurate frequency balance, poor stereo imaging
Reference tracks help you understand how your mix should sound in context of your genre. They allow you to identify if your mix is too bright, too dark, or has incorrect stereo width. This is especially important when…
Avoid overcomplicating your mastering chain with too many plugins
Problem: overcomplicated mastering chain
Adding too many plugins to your mastering chain can lead to contradictory processing and a lack of clarity. Instead, focus on a few essential tools that you understand well. This approach mimics the way mastering was…
Use an Ampex tape machine plugin for warmth and color
Problem: lack of warmth or character in the mix
An Ampex tape machine plugin can add warmth and character to your track before any other processing. It simulates the sound of analog tape, which can give your mix a more organic feel. This is especially useful for…
Use a dynamic EQ like the Pro Q4 for precise frequency balancing
Problem: imbalanced frequency response
A dynamic EQ like the Pro Q4 allows you to make precise adjustments to specific frequency ranges based on the dynamics of the track. This is useful for shaping the low end, controlling problematic frequencies, and…
Use Tight Arse to control and tighten the low end
Problem: boomy or undefined low end
Tight Arse is a plugin that helps control the low end by tightening up the bass and making it more punchy. It prevents the low end from becoming too boomy or undefined, which can make the track sound muddy. This is…
Use a mastering compressor like Capital Mastering Compressor for glue and cohesion
Problem: lack of cohesion or glue in the mix
A mastering compressor like the Capital Mastering Compressor can be used to glue the track together and create a cohesive sound. It adds a subtle amount of gain reduction (typically less than 1 dB) to bring all the…
Use Masaleki Q for a smooth top-end boost
Problem: closed or dull high end
The Masaleki Q is a plugin that can be used to add a smooth top-end boost, typically around 27 kHz with a 1 dB shelf. This helps open up the high end of the track and add clarity and air. It's especially useful for…
Use a limiter like the Pro L2 at the end of your mastering chain
Problem: insufficient loudness or distortion
A limiter like the Pro L2 should be the final plugin in your mastering chain. It helps increase the overall loudness of the track while preventing distortion. It's important to use a limiter to ensure that the track is…
Consider using a clipper before the limiter to prevent distortion
Problem: distortion from over-limiting
A clipper can be used before the limiter to help prevent distortion by gently shaping the signal before it reaches the limiter. This allows you to push the limiter harder without introducing unwanted distortion. It's a…
Use a limiter on the master channel for mastering
Problem: track lacks loudness or dynamic control
Applying a limiter on the master channel helps control the overall dynamics of the track and ensures it meets loudness standards. In this example, the limiter is set to 'soft clip' with a look-ahead of 1.5ms, which helps…
Be persistent and proactive in building your career in music
Problem: lack of motivation or fear of failure
Rose Hall mentions that success in the music industry requires persistence, hard work, and networking. She believes that if you keep knocking on doors and making great music, you will eventually achieve your goals. This…
Compare your mix to commercial references regularly
Problem: mix lacks clarity and comparison to commercial standards
Regularly comparing your mix to commercial references helps maintain a high standard of quality and ensures that your mix aligns with industry expectations. This is especially important when working on loud and…