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When I first started mixing, I was always trying new things and techniques, and the mixing process was на этой странице different, even though some things were always the same.
Logic pro x mixing and mastering template free I regularly update my Logic Pro mixing template to my needs, and I update it when I buy a new plugin, and I use it for every single mixing project. For example, I always had to change the sample rate, control bar display, and ruler settings. After some time, I started using bus groups on my mixes, and I realized that I was spending a lot of time preparing my mixing projects and trying to get the best reverb sound for the material.
This little stuff takes time, and it kills creativity. If you want to learn more about how to save time for creativity by preparing your mixing project beforehand, you can read this article. On the contrary, it will add value, giving you the creative time you need. The most unnecessary thing for me is to change the settings of this control bar and the ruler. So I always have the same setting on my mixing and production projects.
I always work on 48 kHz because I want to have a little headroom. So I have to constantly change the sample rate settings from the project settings section before I start working. I have this in my template, so I always have a quick look at the sample rate of my project, and I can always change it quickly, which I use a lot. I always want to see the tempo and the key of the song.
Because I change them a lot, and I forget them after a while. Also, you should set your tempo so your reverb and delay effects can work based on your tempo. I always want to see the CPU usage so that I can be careful about my plugin usage. Some plugins can drain your CPU, so you have to keep an eye on this. If it gets worse, I try to freeze my channels to keep adding big plugins to the project.
Sometimes I have to figure out something, so I open a piano plugin to play with the song, and once in a while, I record extra back vocals. You can do this when Low Latency Logic pro x mixing and mastering template free is on.
This one also saves lives. Sometimes I decide if there are any needs for a pad synth or some extra sub frequencies from a synthesizer. And the last thing that I want is to forget what I just found. This setting continuously records what you play on your MIDI, so you can always find the best part of your improvisation.
I discovered this one later, but I love it. Because it helps a lot to see the timing on the ruler with the bars. It was a habit when I was using Logic pro x mixing and mastering template free Tools, and I was missing that feature. I always think of the channels in groups because продолжение здесь helps to understand logic pro x mixing and mastering template free song.
For example, when you download a channels multitrack file and import it to your mixing project, it can be scary at first. Also, you can process the same kind of sounds together if you use those bus groups. For example, I always tend to compress the drums together to get the most energy out of them. Therefore, I have to route all of them to a bus group. Having that group from the beginning is perfect for me. The bus routings are on the second page of the buses, so your primary bus names can stay the same.
You can see it below:. Set the bus groups from the beginning of a mix project, and delete the unnecessary ones. So this is why I put a VCA type compressor on the drum bus group. You can always tweak it to your liking, and I encourage you основываясь на этих данных do so because every song is different. But if you want energetic drums, this compressor will help you a lot. Sometimes I want a big, powerful sound from drums.
When I want that, I use the Drum Crush bus. It compresses the signal to hell and adds some distortion to make it even more powerful. I put there a compressor and an overdrive plugin, but you can always logic pro x mixing and mastering template free its variations. For example, if you have something like a tape machine, you can add it with your favorite settings on every bus group, so you can always reach them with just a click. Then, you can start mixing with those plugins источник статьи, and you can open them when you need.
There is a stereo out bus; why would I use a mix bus? Good question. I use it for a couple of reasons. Sometimes I need to send the whole mix to another bus group to parallel process it, or I can put some weird effects on it and dial with the mix.
So you can do that with the Mix Bus group. Also, I always use a monitoring plugin on my stereo bus, which decreases the volume. I always keep an eye on my mix bus, and I put my limiter on the stereo out when I need it. So, the groups work like this: the channels routes to bus groups, and the bus groups routes to mix bus.
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 Читать больше 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. Logic pro x mixing and mastering template free 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 logic pro x mixing and mastering template free 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 adobe photoshop cs5 pc free. 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.
Нажмите чтобы перейти has a different character, and I mainly logic pro x mixing and mastering template free it on guitars and the percussive sounds. When I want to replicate a room, I use the small reverb.
When I want to take everything in similar places, I use medium reverb. When I want to logic pro x mixing and mastering template free the reverb as an effect, I tend to use long, big, and massive ones. But you can always edit or put an EQ after them. We have a half note, quarter note, eighth note, and a slap delay. Echo is also an eight-note delay, but it has a longer feedback time and a reverb, which I mostly use on synths or guitar solos. And lastly, we have a doubler effect.
You can use it on the lead vocal привожу ссылку to give it more power and width. Your effects on больше информации buses, so you can send those effects to each other.
Be creative and do whatever you want with them. For example, I always send delays to reverbs, so they go back in the mix. But I know you can be more creative than that. You can download the Logic Pro Mixing Template here. Please let me know if you have any questions, or issues with it. Happy mixing! What is mixing and what do mixing engineers do?
Mixing routine: how do I prepare a mixing session? What LUFS level should your master be to sound best everywhere? Free mixing template for Logic Pro and how to use it. Download the Logic Pro Mixing Template.
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Microphone Basics is supported by readers. When you buy with our links, we may earn a commission. Learn more. Regardless of who is mastering your tracks, there are a couple of important things to have tied up before you commit your track to the mastering phase.
This is an important tenet of mixing — leaving headroom for mastering. The truth is that like mixing, mastering, can also be done in any DAW, so long as you have access to a few important tools.
This 6 step guide will give you everything you need to start mastering in Logic, but remember, at the end of the day this is a creative endeavour. So, by no means should you stick to the rules. That said, certain aspects of mastering will help get your mixes to that next level, so rest assured you still have some room to work.
Import your finished mix or mixes to a new audio track in Logic, accompanied by 3 different reference tracks. Listen and compare the 4 tracks, and make a few notes literally write them down :.
Create a new audio track and load up 3 instances of Match EQ on it one for each of your reference tracks. Hit F to bring up the Project Browser on the right hand side, giving you access to your 4 audio tracks. Drag your mix file onto the Current tab in Match EQ, and one of the reference tracks onto the Reference tab. Then, on the EQ Curve, hit Match. The plugin will create an EQ curve that visually demonstrates the differences in frequency spectrum between your mix, and your reference.
Now go ahead and do the same for the other 2 references, using the other 2 instances of Match EQ. For example, it appears our mix has quite a few challenges in the low end. Compared to the references, we have a lot of energy around 80Hz, and not a lot in the Hz range. Our mix also appears to be lacking a lot of high end, dropping off significantly around 12kHz. The golden rule, as with mixing, is to use your ears, not your eyes.
You should compare any trends noted from Match EQ to the notes you took when listening and comparing. This is simply an example, and is actually using an unfinished mix to demonstrate how you can use Match EQ to level up your music production.
One of the principles in mastering is measuring. That is, using tools to measure things such as:. The Analyzer section in MultiMeter is a real time frequency analyzer, which shows you changes in frequency as they happen. There is no set goal for what this should look like across a mix; think about the different frequency settings on your car radio, iPod or in Spotify. For example in our mix, Hz is coming through really strong.
We might use an EQ to cut a little in this area. Loudness is a contentious topic in mastering, as it has been the subject of abuse for many years now. Remember how the human ear identifies louder sounds as subjectively better? Well, mastering engineers or more accurately the record labels that hired them learned how to use this to their advantage by using a limiter to make finished tracks louder and louder. This resulted in something called the Loudness War, which ended up sacrificing the beauty in music and its dynamic range in favour of overly compressed or squashed tracks that appeared louder.
Loudness is still an issue in contemporary music, though it has been stamped down by new limitations enforced by streaming and broadcast companies. All the way, seeking to retain the nuance and dynamic range that makes music music. Tricky, huh? We are going to do some more comparison to our reference tracks here; load the MultiMeter onto the Stereo Output, and listen to the loudest section of your reference tracks one by one.
Note down the value it will change over time so find an average value or note down a range e. Do this for all 3 reference tracks and compare the values, this will give you an indication as to how much squash or compression is acceptable for the genre you are working in, and what the loudness level of your master should look like.
For example, heavy rock tracks will typically feature a lot more compression and therefore be a lot louder , than say, a 20 minute free form jazz odyssey,. Phase shift is a natural by-product of EQ and is something you can get away with on individual tracks, but it can cause problems for the master.
Not only does the Linear EQ look great in black, it has a higher resolution than the standard EQ, giving you the ability to make finer adjustments — important in mastering. You should use the Linear EQ to make small adjustments based on your notes, but try not to boost or cut any more than 3dB.
If you need to make more severe adjustments, you should consider going back to the mix. This is especially the case when the frequency you want to tame is quite dynamic.
For example, certain notes on a bass guitar might create unwanted boosts in the low end, but only when that note is played.
If you are finding the mix has too much dynamic range, that is, certain sections are much louder or softer than others, you may wish to apply a little compression to the track. Of course, let your ears be the judge here, but these are some pretty universal guidelines for using compression in mastering. Applying compression to the mix can help tighten up the dynamics of your track, allowing you to employ more limiting to bring up the loudness in your mix. Multi band compressors are exactly what they sound like, compressors that operate in several bands, split across the frequency spectrum.
Whilst traditional compressors apply compressors across the entire frequency range, multi band compressors allow you to isolate particular areas of the range that are particularly dynamic. For example, you might have an overly dynamic mid-range, where guitars, vocals, and keys are all fighting for the same space, and as they come together, they make the mid-range honky, nasal, and fatiguing. The Multipressor has 4 bands, which you can tweak as desired by dragging the lines that designate the band boundaries.
This is because we have an overly dynamic low end, where certain bass notes, when combined with the kick drum, are pushing through louder than others. As with a regular compressor, you have access to controls such as ratio, threshold, attack and release, to fine-tune the compression to your needs. You also have the ability to solo or bypass a band, so you can hear it in isolation and listen to the applied compression.
At the top of the GUI, you will see a blue band moving as the compressor works. This demonstrates the gain reduction applied by the compressor. The first thing we are going to do is set the Output Ceiling to This gives us a little bit of a safety net.
When it comes to digital audio, overloads are something you want to avoid like the plague. Whereas analog gear can overload and create a subtle distortion that is often desirable, digital distortion sounds like fingernails on a chalkboard. Or rubbing polystyrene together. Or a poorly played violin. Or, a polystyrene violin scraping across a chalkboard. We do this because although plugins are extremely quick, they are never infinitely quick.
Even computers need time to process. So, to be extra safe from overloads, give yourself a little safety net. This basically filters out anything below 20Hz, which is below our hearing range anyway, and prevents anything weird from happening to your speakers. This is an important part of mastering, as you need to be able to determine whether your limiting is creating any negative artefacts such as distortion or over-compression. Now, turn up the gain until your loudness matches the notes you made when you compared your references and your mix.
When you mixed your track, you worked in the stereo field using pan, panning instruments left and right and creating space for each of them. Well, you can play in this field in mastering too, using stereo widening tools. Remember how we said mastering engineers stripped off their lab coats in the 80s and became part of the creative team? The standard format for mastered tracks is a 16 Bit WAV file at Dither is a way to hide these side effects.
Logic offers three different types, check them all out and see which you prefer. As a mastering engineer, mixing engineer, recording artists or bedroom producer, you never stop learning.
Why not leave a comment below, and share some of your mastering tips? We would love to hear about your own experiences! This post was most recently updated on June 5th,
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