Ultimate Mastering - Mastering Chains for Logic Pro X.
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Mastering in Logic Pro X : The Basics - Table of Contents |
- Best Mastering Chain with FREE Plugins — Sage Audio
Give your brain time to forget about it for a bit! Just make sure there is an appropriate amount of dynamics in the music. Calibrate Your Mastering Level This bit is huge. Gain Stage Your Reference Track s Now that you have set up your monitoring level , you may also choose to use a reference track in the mastering session.
There is only one tip you need to know about using reference tracks… Turn them down or up to your mastering level! That way, there is no loudness bias between your master and the reference track. Set The Ceiling As you probably know, a limiter is very much a usual suspect in your mastering chain. Find Loudness This where we start to work backwards, at least as far as the order of plugins in your chain is concerned.
Problem Solving Now that you are close to the goal, any issues with regard to dynamics and EQ will start to make themselves apparent. Happy mastering! Unlock Your Sound Ltd uses cookies to improve the experience and the content of this website.
Quantity: 1. Product Details. Included in this pack: - 10 custom designed mastering chains for Logic Pro X.
If you have any questions or issues, feel free to email me at guy guybritton. If the mix plays at low volumes, add a utility in front of the chain an turn up the level to get the chain compressors working - if its getting too heavy - turn it down a tad.
Just added to your cart X. Check Out. View Cart. Volume Off Volume Mute. Get the free download of our Ableton-only mastering rack in the free section Deadmau5's Mastering Chain 1 LinEQ Waves Low Cut: roll-off below 32HZ depends a bit on input track Removing low frequencies we can hardly hear on most playback systems and gaining headroom for our other elements.
This type of plugin can be used to enhance the overall stereo image of your audio. You should go about stereo-widening very carefully as, if used incorrectly, it could throw your mix all over the place and make your bass sound weak , as well as cause phase issues.
If you still decide to use it, just as with most things in mastering, keep it to a minimum. Load the Stereo Spread plugin and set your Lower Freq.
Keep the Lower Int. Set the stage to 4 or 5. Finally, a limiter will catch the loudest transients in your song while increasing its loudness to standard levels. Limiting is somewhat similar to compressing, but in a much more aggressive way: these plugins will squash any sound that exceeds the threshold , enabling you to have more perceived loudness without clipping.
There are two plugins for this job inside Logic: the Limiter and the Adaptive. With the first one, you will have to dial the release by yourself, as opposed to with the latter, which will automatically adapt the value based on your audio signal.
Both can do a pretty good job but the Adaptive one will sound more natural on most applications so we recommend going with it. After you load the Limiter plugin into your project, insert the Loudness Meter afterward so you can see your audio volume in Lufs.
Basically speaking, it is the kind of metering used by streaming services and audio platforms to standardize levels. What each platform does is automatically turn down the gain of any song that is louder than a certain value , so as to create a better experience for the listener. This value will vary depending on the service. Spotify , for example, normalizes everything to Lufs. The first thing to do after you load the plugin is to set the Out Ceiling value to -1dB.
This is a safety measure to ensure better playback of your song through different systems without clipping. Now, put the Loudness Meter side-to-side with your Limiter window and adjust the Gain knob until your audio is at to Lufs. Then I reduced the output slightly to ensure that no clipping occurred. Although you could use this plugin as the last one in your chain, I decided to use it as a transition to one more processing stage.
This last plugin has a lot going on. On the left, I utilized a compressor to very gently attenuate the signal. I also made this compressor mid-side so that the side image would sound a bit wider when compared to the mid-image. For the peak limiter, I used the multi-band setting, linked the mid and side channel, and choose a limiter type based on the perceived loudness and amount of distortion.
I utilized a high-frequency limiter as well to get even more control over the signal.
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