![]() ![]() If you’ve observed good gain structure (and maybe mixed to an ‘average’ of -12dBFs rather than 0dBFs) there should still be a decibel or two on the main mix buss. Opinion varies as to how much headroom you should leave in your final bounce – either in respect to the mastering engineer working with the file, or your own self mastering – but at the very least, you should ensure the stereo buss isn’t clipping. The seeds of effective mastering start from decisions you make at the tail-end of mixing – namely in relation to headroom and the loudness of the track you’re mixing. In this tutorial, we’ll look at the latter stages of mixing and how the issues of mastering start to impact on your mixing decisions. Rather than just explore mastering as a distinct and separate exercise, though, we want to explore its practical impact on the later stages of production – from loudness considerations and headroom in mixing, through to ‘quick fix’ reference mastering and a more detailed approach to file delivery. In this two-part Logic workshop, therefore, we want to take an in-depth and practical look at the state of mastering and how it fits into your Logic workflow. Likewise, the so-called Loudness Wars seem to have passed, but have we really moved to an era of wide dynamic range, or do musicians still have a desire to push their music to the limits? In the lifetime of MusicTech, we’ve seen the fading out of the disc format and the rise of streaming and unexpected rebirth of vinyl, all largely in the last decade. The reasons behind these fundamental shifts can be explained in two ways – an evolution in music formats and more intriguingly, changes in peoples’ taste in respect to the perceived ‘sound’ of recorded music. More than any other part of the music-production workflow, the art and science of mastering seems to evolve and adapt dramatically over time. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |